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tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. | No speaker | misfortune, his wife, “Crazy Mary,”<|quote|>tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats.</|quote|>“Look out, you Lena Lingard, | had every other kind of misfortune, his wife, “Crazy Mary,”<|quote|>tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats.</|quote|>“Look out, you Lena Lingard, look out! I’ll come over | been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,”<|quote|>tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats.</|quote|>“Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most | sisters, and even the Norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,”<|quote|>tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats.</|quote|>“Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round | out there usually got rough and mannish after they went to herding. But Lena asked Jake and me to get off our horses and stay awhile, and behaved exactly as if she were in a house and were accustomed to having visitors. She was not embarrassed by her ragged clothes, and treated us as if we were old acquaintances. Even then I noticed the unusual color of her eyes—a shade of deep violet—and their soft, confiding expression. Chris Lingard was not a very successful farmer, and he had a large family. Lena was always knitting stockings for little brothers and sisters, and even the Norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,”<|quote|>tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats.</|quote|>“Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the | gossip?” When I nodded, she pulled my hair and told me I knew too much, anyhow. We were good friends, Frances and I. I ran home to tell grandmother that Lena Lingard had come to town. We were glad of it, for she had a hard life on the farm. Lena lived in the Norwegian settlement west of Squaw Creek, and she used to herd her father’s cattle in the open country between his place and the Shimerdas’. Whenever we rode over in that direction we saw her out among her cattle, bareheaded and barefooted, scantily dressed in tattered clothing, always knitting as she watched her herd. Before I knew Lena, I thought of her as something wild, that always lived on the prairie, because I had never seen her under a roof. Her yellow hair was burned to a ruddy thatch on her head; but her legs and arms, curiously enough, in spite of constant exposure to the sun, kept a miraculous whiteness which somehow made her seem more undressed than other girls who went scantily clad. The first time I stopped to talk to her, I was astonished at her soft voice and easy, gentle ways. The girls out there usually got rough and mannish after they went to herding. But Lena asked Jake and me to get off our horses and stay awhile, and behaved exactly as if she were in a house and were accustomed to having visitors. She was not embarrassed by her ragged clothes, and treated us as if we were old acquaintances. Even then I noticed the unusual color of her eyes—a shade of deep violet—and their soft, confiding expression. Chris Lingard was not a very successful farmer, and he had a large family. Lena was always knitting stockings for little brothers and sisters, and even the Norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,”<|quote|>tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats.</|quote|>“Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the | “Yes, ’m. I’ve always liked to sew, but I never had much to do with. Mrs. Thomas makes lovely things for all the town ladies. Did you know Mrs. Gardener is having a purple velvet made? The velvet came from Omaha. My, but it’s lovely!” Lena sighed softly and stroked her cashmere folds. “Tony knows I never did like out-of-door work,” she added. Mrs. Harling glanced at her. “I expect you’ll learn to sew all right, Lena, if you’ll only keep your head and not go gadding about to dances all the time and neglect your work, the way some country girls do.” “Yes, ’m. Tiny Soderball is coming to town, too. She’s going to work at the Boys’ Home Hotel. She’ll see lots of strangers,” Lena added wistfully. “Too many, like enough,” said Mrs. Harling. “I don’t think a hotel is a good place for a girl; though I guess Mrs. Gardener keeps an eye on her waitresses.” Lena’s candid eyes, that always looked a little sleepy under their long lashes, kept straying about the cheerful rooms with naïve admiration. Presently she drew on her cotton gloves. “I guess I must be leaving,” she said irresolutely. Frances told her to come again, whenever she was lonesome or wanted advice about anything. Lena replied that she did n’t believe she would ever get lonesome in Black Hawk. She lingered at the kitchen door and begged Ántonia to come and see her often. “I’ve got a room of my own at Mrs. Thomas’s, with a carpet.” Tony shuffled uneasily in her cloth slippers. “I’ll come sometime, but Mrs. Harling don’t like to have me run much,” she said evasively. “You can do what you please when you go out, can’t you?” Lena asked in a guarded whisper. “Ain’t you crazy about town, Tony? I don’t care what anybody says, I’m done with the farm!” She glanced back over her shoulder toward the dining-room, where Mrs. Harling sat. When Lena was gone, Frances asked Ántonia why she had n’t been a little more cordial to her. “I did n’t know if your mother would like her coming here,” said Ántonia, looking troubled. “She was kind of talked about, out there.” “Yes, I know. But mother won’t hold it against her if she behaves well here. You need n’t say anything about that to the children. I guess Jim has heard all that gossip?” When I nodded, she pulled my hair and told me I knew too much, anyhow. We were good friends, Frances and I. I ran home to tell grandmother that Lena Lingard had come to town. We were glad of it, for she had a hard life on the farm. Lena lived in the Norwegian settlement west of Squaw Creek, and she used to herd her father’s cattle in the open country between his place and the Shimerdas’. Whenever we rode over in that direction we saw her out among her cattle, bareheaded and barefooted, scantily dressed in tattered clothing, always knitting as she watched her herd. Before I knew Lena, I thought of her as something wild, that always lived on the prairie, because I had never seen her under a roof. Her yellow hair was burned to a ruddy thatch on her head; but her legs and arms, curiously enough, in spite of constant exposure to the sun, kept a miraculous whiteness which somehow made her seem more undressed than other girls who went scantily clad. The first time I stopped to talk to her, I was astonished at her soft voice and easy, gentle ways. The girls out there usually got rough and mannish after they went to herding. But Lena asked Jake and me to get off our horses and stay awhile, and behaved exactly as if she were in a house and were accustomed to having visitors. She was not embarrassed by her ragged clothes, and treated us as if we were old acquaintances. Even then I noticed the unusual color of her eyes—a shade of deep violet—and their soft, confiding expression. Chris Lingard was not a very successful farmer, and he had a large family. Lena was always knitting stockings for little brothers and sisters, and even the Norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,”<|quote|>tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats.</|quote|>“Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he | there.” “Yes, I know. But mother won’t hold it against her if she behaves well here. You need n’t say anything about that to the children. I guess Jim has heard all that gossip?” When I nodded, she pulled my hair and told me I knew too much, anyhow. We were good friends, Frances and I. I ran home to tell grandmother that Lena Lingard had come to town. We were glad of it, for she had a hard life on the farm. Lena lived in the Norwegian settlement west of Squaw Creek, and she used to herd her father’s cattle in the open country between his place and the Shimerdas’. Whenever we rode over in that direction we saw her out among her cattle, bareheaded and barefooted, scantily dressed in tattered clothing, always knitting as she watched her herd. Before I knew Lena, I thought of her as something wild, that always lived on the prairie, because I had never seen her under a roof. Her yellow hair was burned to a ruddy thatch on her head; but her legs and arms, curiously enough, in spite of constant exposure to the sun, kept a miraculous whiteness which somehow made her seem more undressed than other girls who went scantily clad. The first time I stopped to talk to her, I was astonished at her soft voice and easy, gentle ways. The girls out there usually got rough and mannish after they went to herding. But Lena asked Jake and me to get off our horses and stay awhile, and behaved exactly as if she were in a house and were accustomed to having visitors. She was not embarrassed by her ragged clothes, and treated us as if we were old acquaintances. Even then I noticed the unusual color of her eyes—a shade of deep violet—and their soft, confiding expression. Chris Lingard was not a very successful farmer, and he had a large family. Lena was always knitting stockings for little brothers and sisters, and even the Norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,”<|quote|>tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats.</|quote|>“Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our | My Antonia |
The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. | No speaker | eyes at the men! …”<|quote|>The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.</|quote|>“Maybe you lose a steer | sail round so fine, making eyes at the men! …”<|quote|>The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.</|quote|>“Maybe you lose a steer and learn not to make | at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …”<|quote|>The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.</|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him | and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …”<|quote|>The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.</|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, | trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …”<|quote|>The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.</|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and | got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …”<|quote|>The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.</|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, | farm. Lena lived in the Norwegian settlement west of Squaw Creek, and she used to herd her father’s cattle in the open country between his place and the Shimerdas’. Whenever we rode over in that direction we saw her out among her cattle, bareheaded and barefooted, scantily dressed in tattered clothing, always knitting as she watched her herd. Before I knew Lena, I thought of her as something wild, that always lived on the prairie, because I had never seen her under a roof. Her yellow hair was burned to a ruddy thatch on her head; but her legs and arms, curiously enough, in spite of constant exposure to the sun, kept a miraculous whiteness which somehow made her seem more undressed than other girls who went scantily clad. The first time I stopped to talk to her, I was astonished at her soft voice and easy, gentle ways. The girls out there usually got rough and mannish after they went to herding. But Lena asked Jake and me to get off our horses and stay awhile, and behaved exactly as if she were in a house and were accustomed to having visitors. She was not embarrassed by her ragged clothes, and treated us as if we were old acquaintances. Even then I noticed the unusual color of her eyes—a shade of deep violet—and their soft, confiding expression. Chris Lingard was not a very successful farmer, and he had a large family. Lena was always knitting stockings for little brothers and sisters, and even the Norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,” tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …”<|quote|>The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.</|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened | she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,” tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …”<|quote|>The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.</|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one | My Antonia |
“Maybe you lose a steer and learn not to make somethings with your eyes at married men,” | Mrs. Shimerda | gorging themselves in somebody’s cornfield.<|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,”</|quote|>Mrs. Shimerda told her hectoringly. | were scattered and might be gorging themselves in somebody’s cornfield.<|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,”</|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy | an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.<|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,”</|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, | behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.<|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,”</|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on | good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.<|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,”</|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she | head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.<|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,”</|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he | Lingard was not a very successful farmer, and he had a large family. Lena was always knitting stockings for little brothers and sisters, and even the Norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,” tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.<|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,”</|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the | out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield.<|quote|>“Maybe you lose a steer and learn not to make somethings with your eyes at married men,”</|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently | My Antonia |
Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. | No speaker | your eyes at married men,”<|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.</|quote|>“I never made anything to | not to make somethings with your eyes at married men,”<|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.</|quote|>“I never made anything to him with my eyes. I | heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,”<|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.</|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for | showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,”<|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.</|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our | however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,”<|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.</|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. | over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,”<|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.</|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and | stockings for little brothers and sisters, and even the Norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,” tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,”<|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.</|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front | pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,”<|quote|>Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.</|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over | My Antonia |
“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” | Lena | only smiled her sleepy smile.<|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”</|quote|>V AFTER Lena came to | Shimerda told her hectoringly. Lena only smiled her sleepy smile.<|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”</|quote|>V AFTER Lena came to Black Hawk I often met | me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.<|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”</|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw | Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.<|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”</|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor | chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.<|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”</|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. | that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.<|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”</|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his | who disapproved of her, admitted that she was a good daughter to her mother. As Tony said, she had been talked about. She was accused of making Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,” tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.<|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”</|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter | up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile.<|quote|>“I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”</|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s | My Antonia |
V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying | No speaker | off. It ain’t my prairie.”<|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying</|quote|>“findings” for Mrs. Thomas. If | and I can’t order him off. It ain’t my prairie.”<|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying</|quote|>“findings” for Mrs. Thomas. If I happened to walk home | and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”<|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying</|quote|>“findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel | came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”<|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying</|quote|>“findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After | his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”<|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying</|quote|>“findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples | under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”<|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying</|quote|>“findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. | Ole Benson lose the little sense he had—and that at an age when she should still have been in pinafores. [Illustration: Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,” tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”<|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying</|quote|>“findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and | out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.”<|quote|>V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying</|quote|>“findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, | My Antonia |
“findings” | No speaker | matching sewing silk or buying<|quote|>“findings”</|quote|>for Mrs. Thomas. If I | downtown, where she would be matching sewing silk or buying<|quote|>“findings”</|quote|>for Mrs. Thomas. If I happened to walk home with | sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying<|quote|>“findings”</|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on | Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying<|quote|>“findings”</|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny | as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying<|quote|>“findings”</|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on | Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying<|quote|>“findings”</|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena | Lena Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,” tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying<|quote|>“findings”</|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the | of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying<|quote|>“findings”</|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and | My Antonia |
for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was | No speaker | sewing silk or buying “findings”<|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was</|quote|>“retail trade,” was permitted to | where she would be matching sewing silk or buying “findings”<|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was</|quote|>“retail trade,” was permitted to see them and to “get | smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings”<|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was</|quote|>“retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One | and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings”<|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was</|quote|>“retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his | fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings”<|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was</|quote|>“retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs | slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings”<|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was</|quote|>“retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, | Lingard knitting stockings] Ole lived in a leaky dugout somewhere at the edge of the settlement. He was fat and lazy and discouraged, and bad luck had become a habit with him. After he had had every other kind of misfortune, his wife, “Crazy Mary,” tried to set a neighbor’s barn on fire, and was sent to the asylum at Lincoln. She was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, traveling by night and hiding in barns and haystacks by day. When she got back to the Norwegian settlement, her poor feet were as hard as hoofs. She promised to be good, and was allowed to stay at home—though every one realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbors. Not long after Mary came back from the asylum, I heard a young Dane, who was helping us to thrash, tell Jake and Otto that Chris Lingard’s oldest girl had put Ole Benson out of his head, until he had no more sense than his crazy wife. When Ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever Lena Lingard was herding. There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings”<|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was</|quote|>“retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a | horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings”<|quote|>for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was</|quote|>“retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of | My Antonia |
“retail trade,” | No speaker | Mrs. Thomas, though she was<|quote|>“retail trade,”</|quote|>was permitted to see them | things and order goods, and Mrs. Thomas, though she was<|quote|>“retail trade,”</|quote|>was permitted to see them and to “get ideas.” They | theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was<|quote|>“retail trade,”</|quote|>was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in | parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was<|quote|>“retail trade,”</|quote|>was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, | to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was<|quote|>“retail trade,”</|quote|>was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go | not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was<|quote|>“retail trade,”</|quote|>was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped | There he would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was<|quote|>“retail trade,”</|quote|>was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on | the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was<|quote|>“retail trade,”</|quote|>was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front | My Antonia |
was permitted to see them and to | No speaker | though she was “retail trade,”<|quote|>was permitted to see them and to</|quote|>“get ideas.” They were all | order goods, and Mrs. Thomas, though she was “retail trade,”<|quote|>was permitted to see them and to</|quote|>“get ideas.” They were all generous, these traveling men; they | they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,”<|quote|>was permitted to see them and to</|quote|>“get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon | the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,”<|quote|>was permitted to see them and to</|quote|>“get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own | or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,”<|quote|>was permitted to see them and to</|quote|>“get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he | behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,”<|quote|>was permitted to see them and to</|quote|>“get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her | would sit down on the draw-side and help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,”<|quote|>was permitted to see them and to</|quote|>“get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their | out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,”<|quote|>was permitted to see them and to</|quote|>“get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about | My Antonia |
“get ideas.” | No speaker | to see them and to<|quote|>“get ideas.”</|quote|>They were all generous, these | was “retail trade,” was permitted to see them and to<|quote|>“get ideas.”</|quote|>They were all generous, these traveling men; they gave Tiny | hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to<|quote|>“get ideas.”</|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and | giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to<|quote|>“get ideas.”</|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. | when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to<|quote|>“get ideas.”</|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t | door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to<|quote|>“get ideas.”</|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. | help her watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to<|quote|>“get ideas.”</|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods | make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to<|quote|>“get ideas.”</|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you | My Antonia |
They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— | No speaker | them and to “get ideas.”<|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,—</|quote|>“Sister, you know mother’s name | trade,” was permitted to see them and to “get ideas.”<|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,—</|quote|>“Sister, you know mother’s name is Berthe. I don’t know | was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.”<|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,—</|quote|>“Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” | the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.”<|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,—</|quote|>“Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into | was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.”<|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,—</|quote|>“Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green | made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.”<|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,—</|quote|>“Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail | watch her cattle. All the settlement was talking about it. The Norwegian preacher’s wife went to Lena and told her she ought not to allow this; she begged Lena to come to church on Sundays. Lena said she had n’t a dress in the world any less ragged than the one on her back. Then the minister’s wife went through her old trunks and found some things she had worn before her marriage. The next Sunday Lena appeared at church, a little late, with her hair done up neatly on her head, like a young woman, wearing shoes and stockings, and the new dress, which she had made over for herself very becomingly. The congregation stared at her. Until that morning no one—unless it were Ole—had realized how pretty she was, or that she was growing up. The swelling lines of her figure had been hidden under the shapeless rags she wore in the fields. After the last hymn had been sung, and the congregation was dismissed, Ole slipped out to the hitch-bar and lifted Lena on her horse. That, in itself, was shocking; a married man was not expected to do such things. But it was nothing to the scene that followed. Crazy Mary darted out from the group of women at the church door, and ran down the road after Lena, shouting horrible threats. “Look out, you Lena Lingard, look out! I’ll come over with a corn-knife one day and trim some of that shape off you. Then you won’t sail round so fine, making eyes at the men! …” The Norwegian women did n’t know where to look. They were formal housewives, most of them, with a severe sense of decorum. But Lena Lingard only laughed her lazy, good-natured laugh and rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.”<|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,—</|quote|>“Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance | dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.”<|quote|>They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,—</|quote|>“Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after | My Antonia |
Lena patted his bristly head. | No speaker | Berthe, or M for Mother.”<|quote|>Lena patted his bristly head.</|quote|>“I’d get the B, Chrissy. | ought to get B for Berthe, or M for Mother.”<|quote|>Lena patted his bristly head.</|quote|>“I’d get the B, Chrissy. It will please her for | thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.”<|quote|>Lena patted his bristly head.</|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time | were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.”<|quote|>Lena patted his bristly head.</|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen | money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.”<|quote|>Lena patted his bristly head.</|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when | to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.”<|quote|>Lena patted his bristly head.</|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets | rode on, gazing back over her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.”<|quote|>Lena patted his bristly head.</|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the | off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.”<|quote|>Lena patted his bristly head.</|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down | My Antonia |
“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” | Lena | Lena patted his bristly head.<|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”</|quote|>That satisfied him. His face | Berthe, or M for Mother.” Lena patted his bristly head.<|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”</|quote|>That satisfied him. His face cleared at once, and he | hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head.<|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”</|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into | n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head.<|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”</|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes | year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head.<|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”</|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but | at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head.<|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”</|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I | her shoulder at Ole’s infuriated wife. The time came, however, when Lena did n’t laugh. More than once Crazy Mary chased her across the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head.<|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”</|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, | in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head.<|quote|>“I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”</|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were | My Antonia |
That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. | No speaker | calls her by it now.”<|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.</|quote|>“I get awful homesick for | about her name. Nobody ever calls her by it now.”<|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.</|quote|>“I get awful homesick for them, all the same,” she | “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”<|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.</|quote|>“I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard | the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”<|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.</|quote|>“I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I | in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”<|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.</|quote|>“I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if | gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”<|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.</|quote|>“I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods | the prairie and round and round the Shimerdas’ cornfield. Lena never told her father; perhaps she was ashamed; perhaps she was more afraid of his anger than of the corn-knife. I was at the Shimerdas’ one afternoon when Lena came bounding through the red grass as fast as her white legs could carry her. She ran straight into the house and hid in Ántonia’s feather-bed. Mary was not far behind; she came right up to the door and made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”<|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.</|quote|>“I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to | them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.”<|quote|>That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.</|quote|>“I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing | My Antonia |
“I get awful homesick for them, all the same,” | Lena | back of her woolen glove.<|quote|>“I get awful homesick for them, all the same,”</|quote|>she murmured, as if she | wiped her eyes with the back of her woolen glove.<|quote|>“I get awful homesick for them, all the same,”</|quote|>she murmured, as if she were answering some remembered reproach. | start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.<|quote|>“I get awful homesick for them, all the same,”</|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to | get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.<|quote|>“I get awful homesick for them, all the same,”</|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, | much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.<|quote|>“I get awful homesick for them, all the same,”</|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it | They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.<|quote|>“I get awful homesick for them, all the same,”</|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the | made us feel how sharp her blade was, showing us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.<|quote|>“I get awful homesick for them, all the same,”</|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally | and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove.<|quote|>“I get awful homesick for them, all the same,”</|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after | My Antonia |
she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: | No speaker | for them, all the same,”<|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:</|quote|>“This is reality, whether you | glove. “I get awful homesick for them, all the same,”<|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:</|quote|>“This is reality, whether you like it or not. All | turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,”<|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:</|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving | you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,”<|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:</|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and | spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,”<|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:</|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, | Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,”<|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:</|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind | us very graphically just what she meant to do to Lena. Mrs. Shimerda, leaning out of the window, enjoyed the situation keenly, and was sorry when Ántonia sent Mary away, mollified by an apronful of bottle-tomatoes. Lena came out from Tony’s room behind the kitchen, very pink from the heat of the feathers, but otherwise calm. She begged Ántonia and me to go with her, and help get her cattle together; they were scattered and might be gorging themselves in somebody’s cornfield. “Maybe you lose a steer and learn not to make somethings with your eyes at married men,” Mrs. Shimerda told her hectoringly. Lena only smiled her sleepy smile. “I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.” V AFTER Lena came to Black Hawk I often met her downtown, where she would be matching sewing silk or buying “findings” for Mrs. Thomas. If I happened to walk home with her, she told me all about the dresses she was helping to make, or about what she saw and heard when she was with Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,”<|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:</|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing | of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,”<|quote|>she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:</|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at | My Antonia |
“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” | No speaker | song, as if it said:<|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”</|quote|>It was as if we | with a kind of bitter song, as if it said:<|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”</|quote|>It was as if we were being punished for loving | the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:<|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”</|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. | my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:<|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”</|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the | awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:<|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”</|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when | left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:<|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”</|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave | Tiny Soderball at the hotel on Saturday nights. The Boys’ Home was the best hotel on our branch of the Burlington, and all the commercial travelers in that territory tried to get into Black Hawk for Sunday. They used to assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:<|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”</|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. | three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said:<|quote|>“This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”</|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the | My Antonia |
It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— | No speaker | underneath. This is the truth.”<|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,—</|quote|>“Martha,” “Norma,” “Rigoletto,” —telling us | and this is what was underneath. This is the truth.”<|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,—</|quote|>“Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. | with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”<|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,—</|quote|>“Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her | light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”<|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,—</|quote|>“Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or | all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”<|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,—</|quote|>“Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and | him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”<|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,—</|quote|>“Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, | assemble in the parlor after supper on Saturday nights. Marshall Field’s man, Anson Kirkpatrick, played the piano and sang all the latest sentimental songs. After Tiny had helped the cook wash the dishes, she and Lena sat on the other side of the double doors between the parlor and the dining-room, listening to the music and giggling at the jokes and stories. Lena often said she hoped I would be a traveling man when I grew up. They had a gay life of it; nothing to do but ride about on trains all day and go to theaters when they were in big cities. Behind the hotel there was an old store building, where the salesmen opened their big trunks and spread out their samples on the counters. The Black Hawk merchants went to look at these things and order goods, and Mrs. Thomas, though she was “retail trade,” was permitted to see them and to “get ideas.” They were all generous, these traveling men; they gave Tiny Soderball handkerchiefs and gloves and ribbons and striped stockings, and so many bottles of perfume and cakes of scented soap that she bestowed some of them on Lena. One afternoon in the week before Christmas I came upon Lena and her funny, square-headed little brother Chris, standing before the drug-store, gazing in at the wax dolls and blocks and Noah’s arks arranged in the frosty show window. The boy had come to town with a neighbor to do his Christmas shopping, for he had money of his own this year. He was only twelve, but that winter he had got the job of sweeping out the Norwegian church and making the fire in it every Sunday morning. A cold job it must have been, too! We went into Duckford’s dry-goods store, and Chris unwrapped all his presents and showed them to me—something for each of the six younger than himself, even a rubber pig for the baby. Lena had given him one of Tiny Soderball’s bottles of perfume for his mother, and he thought he would get some handkerchiefs to go with it. They were cheap, and he had n’t much money left. We found a tableful of handkerchiefs spread out for view at Duckford’s. Chris wanted those with initial letters in the corner, because he had never seen any before. He studied them seriously, while Lena looked over his shoulder, telling him she thought the red letters would hold their color best. He seemed so perplexed that I thought perhaps he had n’t enough money, after all. Presently he said gravely,— “Sister, you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”<|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,—</|quote|>“Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he | you know mother’s name is Berthe. I don’t know if I ought to get B for Berthe, or M for Mother.” Lena patted his bristly head. “I’d get the B, Chrissy. It will please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.”<|quote|>It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,—</|quote|>“Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have | My Antonia |
—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, | No speaker | for us,— “Martha,” “Norma,” “Rigoletto,”<|quote|>—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,</|quote|>“like Heaven” to her. She | to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,”<|quote|>—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,</|quote|>“like Heaven” to her. She was never too tired to | in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,”<|quote|>—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,</|quote|>“like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals | I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,”<|quote|>—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,</|quote|>“like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases | choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,”<|quote|>—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,</|quote|>“like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what | lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,”<|quote|>—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,</|quote|>“like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful | please her for you to think about her name. Nobody ever calls her by it now.” That satisfied him. His face cleared at once, and he took three reds and three blues. When the neighbor came in to say that it was time to start, Lena wound Chris’s comforter about his neck and turned up his jacket collar—he had no overcoat—and we watched him climb into the wagon and start on his long, cold drive. As we walked together up the windy street, Lena wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,”<|quote|>—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,</|quote|>“like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer | magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,”<|quote|>—telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,</|quote|>“like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down | My Antonia |
“like Heaven” | Antonia | house seemed, as she said,<|quote|>“like Heaven”</|quote|>to her. She was never | her mother’s complaints, the Harlings’ house seemed, as she said,<|quote|>“like Heaven”</|quote|>to her. She was never too tired to make taffy | pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,<|quote|>“like Heaven”</|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. | On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,<|quote|>“like Heaven”</|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings | Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,<|quote|>“like Heaven”</|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up | on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,<|quote|>“like Heaven”</|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and | wiped her eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,<|quote|>“like Heaven”</|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but | in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said,<|quote|>“like Heaven”</|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something | My Antonia |
to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. | No speaker | as she said, “like Heaven”<|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.</|quote|>“Mrs. Harling, did you ever | complaints, the Harlings’ house seemed, as she said, “like Heaven”<|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.</|quote|>“Mrs. Harling, did you ever hear about what happened up | the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven”<|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.</|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the | nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven”<|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.</|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind | at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven”<|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.</|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for | icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven”<|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.</|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck | eyes with the back of her woolen glove. “I get awful homesick for them, all the same,” she murmured, as if she were answering some remembered reproach. VI WINTER comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs. In the morning, when I was fighting my way to school against the wind, I could n’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautify—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven”<|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.</|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough | the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven”<|quote|>to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.</|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat | My Antonia |
“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” | Antonia | told us a new story.<|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”</|quote|>Mrs. Harling came out and | kernels for walnut taffy, Tony told us a new story.<|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”</|quote|>Mrs. Harling came out and sat down among us. “Could | Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.<|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”</|quote|>Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was | drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.<|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”</|quote|>Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some | complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.<|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”</|quote|>Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in | witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.<|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”</|quote|>Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands | and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.<|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”</|quote|>Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed | gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story.<|quote|>“Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”</|quote|>Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done | My Antonia |
Mrs. Harling came out and sat down among us. | No speaker | one of the grain wagons.”<|quote|>Mrs. Harling came out and sat down among us.</|quote|>“Could you throw the wheat | Iversons’, and I was driving one of the grain wagons.”<|quote|>Mrs. Harling came out and sat down among us.</|quote|>“Could you throw the wheat into the bin yourself, Tony?” | evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”<|quote|>Mrs. Harling came out and sat down among us.</|quote|>“Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the | in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”<|quote|>Mrs. Harling came out and sat down among us.</|quote|>“Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and | her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”<|quote|>Mrs. Harling came out and sat down among us.</|quote|>“Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man | by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”<|quote|>Mrs. Harling came out and sat down among us.</|quote|>“Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. | the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”<|quote|>Mrs. Harling came out and sat down among us.</|quote|>“Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. | the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.”<|quote|>Mrs. Harling came out and sat down among us.</|quote|>“Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down | My Antonia |
“Could you throw the wheat into the bin yourself, Tony?” | Mrs. Harling | and sat down among us.<|quote|>“Could you throw the wheat into the bin yourself, Tony?”</|quote|>She knew what heavy work | wagons.” Mrs. Harling came out and sat down among us.<|quote|>“Could you throw the wheat into the bin yourself, Tony?”</|quote|>She knew what heavy work it was. “Yes, mam, I | taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us.<|quote|>“Could you throw the wheat into the bin yourself, Tony?”</|quote|>She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The | that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us.<|quote|>“Could you throw the wheat into the bin yourself, Tony?”</|quote|>She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun | and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us.<|quote|>“Could you throw the wheat into the bin yourself, Tony?”</|quote|>She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told | book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us.<|quote|>“Could you throw the wheat into the bin yourself, Tony?”</|quote|>She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first | that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us.<|quote|>“Could you throw the wheat into the bin yourself, Tony?”</|quote|>She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind | the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us.<|quote|>“Could you throw the wheat into the bin yourself, Tony?”</|quote|>She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except | My Antonia |
She knew what heavy work it was. | No speaker | into the bin yourself, Tony?”<|quote|>She knew what heavy work it was.</|quote|>“Yes, mam, I did. I | “Could you throw the wheat into the bin yourself, Tony?”<|quote|>She knew what heavy work it was.</|quote|>“Yes, mam, I did. I could shovel just as fast | you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?”<|quote|>She knew what heavy work it was.</|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got | a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?”<|quote|>She knew what heavy work it was.</|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going | had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?”<|quote|>She knew what heavy work it was.</|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but | two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?”<|quote|>She knew what heavy work it was.</|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the | what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?”<|quote|>She knew what heavy work it was.</|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, | Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?”<|quote|>She knew what heavy work it was.</|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, | My Antonia |
“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ | Antonia | what heavy work it was.<|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’</|quote|>“I told him nobody wanted | bin yourself, Tony?” She knew what heavy work it was.<|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’</|quote|>“I told him nobody wanted to drownd themselves, but if | in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was.<|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’</|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the | a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was.<|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’</|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, | While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was.<|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’</|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and | greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was.<|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’</|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of | It was as if we were being punished for loving the loveliness of summer. If I loitered on the playground after school, or went to the post-office for the mail and lingered to hear the gossip about the cigar-stand, it would be growing dark by the time I came home. The sun was gone; the frozen streets stretched long and blue before me; the lights were shining pale in kitchen windows, and I could smell the suppers cooking as I passed. Few people were abroad, and each one of them was hurrying toward a fire. The glowing stoves in the houses were like magnets. When one passed an old man, one could see nothing of his face but a red nose sticking out between a frosted beard and a long plush cap. The young men capered along with their hands in their pockets, and sometimes tried a slide on the icy sidewalk. The children, in their bright hoods and comforters, never walked, but always ran from the moment they left their door, beating their mittens against their sides. When I got as far as the Methodist Church, I was about halfway home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was.<|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’</|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that | already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was.<|quote|>“Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’</|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her | My Antonia |
“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. | Antonia | himself in one of ’em.’<|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle.</|quote|>“‘Oh, cattle,’ he says, ‘you’ll | a man could n’t drownd himself in one of ’em.’<|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle.</|quote|>“‘Oh, cattle,’ he says, ‘you’ll all take care of your | long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’<|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle.</|quote|>“‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought | The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’<|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle.</|quote|>“‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy | yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’<|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle.</|quote|>“‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the | which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’<|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle.</|quote|>“‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old | home. I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for color came over people, like the Laplander’s craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were like lumps of ice. The crude reds and greens and blues of that colored glass held us there. On winter nights, the lights in the Harlings’ windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’<|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle.</|quote|>“‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and | Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’<|quote|>“I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle.</|quote|>“‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and | My Antonia |
“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. | Antonia | I won’t go no farther.’<|quote|>“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.</|quote|>“I begun to scream, and | and I’m tired of trampin’. I won’t go no farther.’<|quote|>“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.</|quote|>“I begun to scream, and the men run to stop | they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’<|quote|>“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.</|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, | we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’<|quote|>“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.</|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. | burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’<|quote|>“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.</|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and | little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’<|quote|>“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.</|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not | windows drew me like the painted glass. Inside that warm, roomy house there was color, too. After supper I used to catch up my cap, stick my hands in my pockets, and dive through the willow hedge as if witches were after me. Of course, if Mr. Harling was at home, if his shadow stood out on the blind of the west room, I did not go in, but turned and walked home by the long way, through the street, wondering what book I should read as I sat down with the two old people. Such disappointments only gave greater zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’<|quote|>“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.</|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener | said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’<|quote|>“I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.</|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, | My Antonia |
“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” | Antonia | thrashing machine after the wheat.<|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.”</|quote|>“Was he clear dead, Tony?” | jumped head-first right into the thrashing machine after the wheat.<|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.”</|quote|>“Was he clear dead, Tony?” we cried. “Was he dead? | So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.<|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.”</|quote|>“Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you | “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.<|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.”</|quote|>“Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in | we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.<|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.”</|quote|>“Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In | mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.<|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.”</|quote|>“Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm | zest to the nights when we acted charades, or had a costume ball in the back parlor, with Sally always dressed like a boy. Frances taught us to dance that winter, and she said, from the first lesson, that Ántonia would make the best dancer among us. On Saturday nights, Mrs. Harling used to play the old operas for us,— “Martha,” “Norma,” “Rigoletto,” —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.<|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.”</|quote|>“Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, | and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat.<|quote|>“I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.”</|quote|>“Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was | My Antonia |
we cried. | No speaker | “Was he clear dead, Tony?”<|quote|>we cried.</|quote|>“Was he dead? Well, I | ain’t never worked right since.” “Was he clear dead, Tony?”<|quote|>we cried.</|quote|>“Was he dead? Well, I guess so! There, now, Nina’s | the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?”<|quote|>we cried.</|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the | and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?”<|quote|>we cried.</|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had | thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?”<|quote|>we cried.</|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” | was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?”<|quote|>we cried.</|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and | —telling us the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?”<|quote|>we cried.</|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that | “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?”<|quote|>we cried.</|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty | My Antonia |
“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” | Antonia | clear dead, Tony?” we cried.<|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”</|quote|>Mrs. Harling spoke up sternly. | worked right since.” “Was he clear dead, Tony?” we cried.<|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”</|quote|>Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll | had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried.<|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”</|quote|>Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to | tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried.<|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”</|quote|>Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in | was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried.<|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”</|quote|>Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it | against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried.<|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”</|quote|>Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down | the story while she played. Every Saturday night was like a party. The parlor, the back parlor, and the dining-room were warm and brightly lighted, with comfortable chairs and sofas, and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried.<|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”</|quote|>Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a | and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried.<|quote|>“Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”</|quote|>Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a | My Antonia |
Mrs. Harling spoke up sternly. | No speaker | get you while Tony’s here.”<|quote|>Mrs. Harling spoke up sternly.</|quote|>“Stop crying, Nina, or I’ll | Nina. No old tramp won’t get you while Tony’s here.”<|quote|>Mrs. Harling spoke up sternly.</|quote|>“Stop crying, Nina, or I’ll always send you upstairs when | job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”<|quote|>Mrs. Harling spoke up sternly.</|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there | thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”<|quote|>Mrs. Harling spoke up sternly.</|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and | I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”<|quote|>Mrs. Harling spoke up sternly.</|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was | like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”<|quote|>Mrs. Harling spoke up sternly.</|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through | and gay pictures on the walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”<|quote|>Mrs. Harling spoke up sternly.</|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the | happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.”<|quote|>Mrs. Harling spoke up sternly.</|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar | My Antonia |
“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” | Mrs. Harling | Mrs. Harling spoke up sternly.<|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”</|quote|>“Never, mam. He had n’t | get you while Tony’s here.” Mrs. Harling spoke up sternly.<|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”</|quote|>“Never, mam. He had n’t been seen nowhere except in | and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly.<|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”</|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing | “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly.<|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”</|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole | “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly.<|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”</|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying | burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly.<|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”</|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on | walls. One always felt at ease there. Ántonia brought her sewing and sat with us—she was already beginning to make pretty clothes for herself. After the long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly.<|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”</|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, | have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly.<|quote|>“Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”</|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of | My Antonia |
“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” | Antonia | where he came from, Ántonia?”<|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.”</|quote|>“Some poetry?” we exclaimed. “I | Did they never find out where he came from, Ántonia?”<|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.”</|quote|>“Some poetry?” we exclaimed. “I remember,” said Frances. “It was | upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”<|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.”</|quote|>“Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to | stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”<|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.”</|quote|>“Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic | to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”<|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.”</|quote|>“Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but | His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”<|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.”</|quote|>“Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave | long winter evenings on the prairie, with Ambrosch’s sullen silences and her mother’s complaints, the Harlings’ house seemed, as she said, “like Heaven” to her. She was never too tired to make taffy or chocolate cookies for us. If Sally whispered in her ear, or Charley gave her three winks, Tony would rush into the kitchen and build a fire in the range on which she had already cooked three meals that day. While we sat in the kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”<|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.”</|quote|>“Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical | Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?”<|quote|>“Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.”</|quote|>“Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, | My Antonia |
we exclaimed. | No speaker | and some poetry.” “Some poetry?”<|quote|>we exclaimed.</|quote|>“I remember,” said Frances. “It | in a piece of paper, and some poetry.” “Some poetry?”<|quote|>we exclaimed.</|quote|>“I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ | Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?”<|quote|>we exclaimed.</|quote|>“I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer | I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?”<|quote|>we exclaimed.</|quote|>“I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and | and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?”<|quote|>we exclaimed.</|quote|>“I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never | rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?”<|quote|>we exclaimed.</|quote|>“I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the | kitchen waiting for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?”<|quote|>we exclaimed.</|quote|>“I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was | down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?”<|quote|>we exclaimed.</|quote|>“I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s | My Antonia |
“I remember,” | Frances | poetry.” “Some poetry?” we exclaimed.<|quote|>“I remember,”</|quote|>said Frances. “It was ‘The | piece of paper, and some poetry.” “Some poetry?” we exclaimed.<|quote|>“I remember,”</|quote|>said Frances. “It was ‘The Old Oaken Bucket,’ cut out | came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed.<|quote|>“I remember,”</|quote|>said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In | send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed.<|quote|>“I remember,”</|quote|>said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. | men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed.<|quote|>“I remember,”</|quote|>said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to | we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed.<|quote|>“I remember,”</|quote|>said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House | for the cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed.<|quote|>“I remember,”</|quote|>said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about | we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed.<|quote|>“I remember,”</|quote|>said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; | My Antonia |
said Frances. | No speaker | poetry?” we exclaimed. “I remember,”<|quote|>said Frances.</|quote|>“It was ‘The Old Oaken | paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,”<|quote|>said Frances.</|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a | on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,”<|quote|>said Frances.</|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, | upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,”<|quote|>said Frances.</|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had | to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,”<|quote|>said Frances.</|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, | to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,”<|quote|>said Frances.</|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday | cookies to bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,”<|quote|>said Frances.</|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and | and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,”<|quote|>said Frances.</|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s | My Antonia |
“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” | Frances | exclaimed. “I remember,” said Frances.<|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”</|quote|>“Now, was n’t that strange, | some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances.<|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”</|quote|>“Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. | freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances.<|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”</|quote|>“Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy | Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances.<|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”</|quote|>“Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, | the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances.<|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”</|quote|>“Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII | water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances.<|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”</|quote|>“Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better | bake or the taffy to cool, Nina used to coax Ántonia to tell her stories—about the calf that broke its leg, or how Yulka saved her little turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances.<|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”</|quote|>“Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there | I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances.<|quote|>“It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”</|quote|>“Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert | My Antonia |
“Now, was n’t that strange, Miss Frances?” | Antonia | and showed it to me.”<|quote|>“Now, was n’t that strange, Miss Frances?”</|quote|>Tony asked thoughtfully. “What would | brought it into the office and showed it to me.”<|quote|>“Now, was n’t that strange, Miss Frances?”</|quote|>Tony asked thoughtfully. “What would anybody want to kill themselves | the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”<|quote|>“Now, was n’t that strange, Miss Frances?”</|quote|>Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling | little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”<|quote|>“Now, was n’t that strange, Miss Frances?”</|quote|>Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the | wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”<|quote|>“Now, was n’t that strange, Miss Frances?”</|quote|>Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; | go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”<|quote|>“Now, was n’t that strange, Miss Frances?”</|quote|>Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, | turkeys from drowning in the freshet, or about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”<|quote|>“Now, was n’t that strange, Miss Frances?”</|quote|>Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was | was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.”<|quote|>“Now, was n’t that strange, Miss Frances?”</|quote|>Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, | My Antonia |
Tony asked thoughtfully. | No speaker | n’t that strange, Miss Frances?”<|quote|>Tony asked thoughtfully.</|quote|>“What would anybody want to | it to me.” “Now, was n’t that strange, Miss Frances?”<|quote|>Tony asked thoughtfully.</|quote|>“What would anybody want to kill themselves in summer for? | in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?”<|quote|>Tony asked thoughtfully.</|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long | to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?”<|quote|>Tony asked thoughtfully.</|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked | hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?”<|quote|>Tony asked thoughtfully.</|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until | Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?”<|quote|>Tony asked thoughtfully.</|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would | about old Christmases and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?”<|quote|>Tony asked thoughtfully.</|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great | Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?”<|quote|>Tony asked thoughtfully.</|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on | My Antonia |
“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” | Antonia | Miss Frances?” Tony asked thoughtfully.<|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”</|quote|>“So it is, Ántonia,” said | “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully.<|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”</|quote|>“So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll | of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully.<|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”</|quote|>“So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of | there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully.<|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”</|quote|>“So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and | get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully.<|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”</|quote|>“So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and | have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully.<|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”</|quote|>“So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and | and weddings in Bohemia. Nina interpreted the stories about the crêche fancifully, and in spite of our derision she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully.<|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”</|quote|>“So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, | was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully.<|quote|>“What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”</|quote|>“So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable | My Antonia |
“So it is, Ántonia,” | Mrs. Harling | too! It’s nice everywhere then.”<|quote|>“So it is, Ántonia,”</|quote|>said Mrs. Harling heartily. “Maybe | summer for? In thrashing time, too! It’s nice everywhere then.”<|quote|>“So it is, Ántonia,”</|quote|>said Mrs. Harling heartily. “Maybe I’ll go home and help | Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”<|quote|>“So it is, Ántonia,”</|quote|>said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what | n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”<|quote|>“So it is, Ántonia,”</|quote|>said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep | “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”<|quote|>“So it is, Ántonia,”</|quote|>said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on | was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”<|quote|>“So it is, Ántonia,”</|quote|>said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the | she cherished a belief that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”<|quote|>“So it is, Ántonia,”</|quote|>said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would | He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.”<|quote|>“So it is, Ántonia,”</|quote|>said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, | My Antonia |
said Mrs. Harling heartily. | No speaker | then.” “So it is, Ántonia,”<|quote|>said Mrs. Harling heartily.</|quote|>“Maybe I’ll go home and | time, too! It’s nice everywhere then.” “So it is, Ántonia,”<|quote|>said Mrs. Harling heartily.</|quote|>“Maybe I’ll go home and help you thrash next summer. | a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,”<|quote|>said Mrs. Harling heartily.</|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were | could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,”<|quote|>said Mrs. Harling heartily.</|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed | I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,”<|quote|>said Mrs. Harling heartily.</|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the | goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,”<|quote|>said Mrs. Harling heartily.</|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and | that Christ was born in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,”<|quote|>said Mrs. Harling heartily.</|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be | a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,”<|quote|>said Mrs. Harling heartily.</|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. | My Antonia |
“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” | Mrs. Harling | Ántonia,” said Mrs. Harling heartily.<|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”</|quote|>There was a basic harmony | everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily.<|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”</|quote|>There was a basic harmony between Ántonia and her mistress. | worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily.<|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”</|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to | letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily.<|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”</|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of | now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily.<|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”</|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare | machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily.<|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”</|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where | in Bohemia a short time before the Shimerdas left that country. We all liked Tony’s stories. Her voice had a peculiarly engaging quality; it was deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily.<|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”</|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His | ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily.<|quote|>“Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”</|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the | My Antonia |
There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in | No speaker | smelling it a long while.”<|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in</|quote|>“A Winter’s Tale,” in London. | ready to eat? I’ve been smelling it a long while.”<|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in</|quote|>“A Winter’s Tale,” in London. The door from the office | would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”<|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in</|quote|>“A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow | paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”<|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in</|quote|>“A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this | up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”<|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in</|quote|>“A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was | no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”<|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in</|quote|>“A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough | deep, a little husky, and one always heard the breath vibrating behind it. Everything she said seemed to come right out of her heart. One evening when we were picking out kernels for walnut taffy, Tony told us a new story. “Mrs. Harling, did you ever hear about what happened up in the Norwegian settlement last summer, when I was thrashing there? We were at Iversons’, and I was driving one of the grain wagons.” Mrs. Harling came out and sat down among us. “Could you throw the wheat into the bin yourself, Tony?” She knew what heavy work it was. “Yes, mam, I did. I could shovel just as fast as that fat Andern boy that drove the other wagon. One day it was just awful hot. When we got back to the field from dinner, we took things kind of easy. The men put in the horses and got the machine going, and Ole Iverson was up on the deck, cutting bands. I was sitting against a straw stack, trying to get some shade. My wagon was n’t going out first, and somehow I felt the heat awful that day. The sun was so hot like it was going to burn the world up. After a while I see a man coming across the stubble, and when he got close I see it was a tramp. His toes stuck out of his shoes, and he had n’t shaved for a long while, and his eyes was awful red and wild, like he had some sickness. He comes right up and begins to talk like he knows me already. He says: ‘The ponds in this country is done got so low a man could n’t drownd himself in one of ’em.’ “I told him nobody wanted to drownd themselves, but if we did n’t have rain soon we’d have to pump water for the cattle. “‘Oh, cattle,’ he says, ‘you’ll all take care of your cattle! Ain’t you got no beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”<|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in</|quote|>“A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The | beer here?’ I told him he’d have to go to the Bohemians for beer; the Norwegians did n’t have none when they thrashed. ‘My God!’ he says, ‘so it’s Norwegians now, is it? I thought this was Americy.’ “Then he goes up to the machine and yells out to Ole Iverson, ‘Hello, partner, let me up there. I can cut bands, and I’m tired of trampin’. I won’t go no farther.’ “I tried to make signs to Ole, ’cause I thought that man was crazy and might get the machine stopped up. But Ole, he was glad to get down out of the sun and chaff—it gets down your neck and sticks to you something awful when it’s hot like that. So Ole jumped down and crawled under one of the wagons for shade, and the tramp got on the machine. He cut bands all right for a few minutes, and then, Mrs. Harling, he waved his hand to me and jumped head-first right into the thrashing machine after the wheat. “I begun to scream, and the men run to stop the horses, but the belt had sucked him down, and by the time they got her stopped he was all beat and cut to pieces. He was wedged in so tight it was a hard job to get him out, and the machine ain’t never worked right since.” “Was he clear dead, Tony?” we cried. “Was he dead? Well, I guess so! There, now, Nina’s all upset. We won’t talk about it. Don’t you cry, Nina. No old tramp won’t get you while Tony’s here.” Mrs. Harling spoke up sternly. “Stop crying, Nina, or I’ll always send you upstairs when Ántonia tells us about the country. Did they never find out where he came from, Ántonia?” “Never, mam. He had n’t been seen nowhere except in a little town they call Conway. He tried to get beer there, but there was n’t any saloon. Maybe he came in on a freight, but the brakeman had n’t seen him. They could n’t find no letters nor nothing on him; nothing but an old penknife in his pocket and the wishbone of a chicken wrapped up in a piece of paper, and some poetry.” “Some poetry?” we exclaimed. “I remember,” said Frances. “It was ‘The Old Oaken Bucket,’ cut out of a newspaper and nearly worn out. Ole Iverson brought it into the office and showed it to me.” “Now, was n’t that strange, Miss Frances?” Tony asked thoughtfully. “What would anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.”<|quote|>There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in</|quote|>“A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky | My Antonia |
“A Winter’s Tale,” | No speaker | having a great success in<|quote|>“A Winter’s Tale,”</|quote|>in London. The door from | and that Mary Anderson was having a great success in<|quote|>“A Winter’s Tale,”</|quote|>in London. The door from the office opened, and Johnnie | and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in<|quote|>“A Winter’s Tale,”</|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted | very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in<|quote|>“A Winter’s Tale,”</|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was | rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in<|quote|>“A Winter’s Tale,”</|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing | music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in<|quote|>“A Winter’s Tale,”</|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up | anybody want to kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in<|quote|>“A Winter’s Tale,”</|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. | parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in<|quote|>“A Winter’s Tale,”</|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. | My Antonia |
in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. | No speaker | success in “A Winter’s Tale,”<|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes.</|quote|>“Good evening, gentlemen. No ladies | Anderson was having a great success in “A Winter’s Tale,”<|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes.</|quote|>“Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going | instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,”<|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes.</|quote|>“Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had | as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,”<|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes.</|quote|>“Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his | her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,”<|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes.</|quote|>“Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing | Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,”<|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes.</|quote|>“Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought | kill themselves in summer for? In thrashing time, too! It’s nice everywhere then.” “So it is, Ántonia,” said Mrs. Harling heartily. “Maybe I’ll go home and help you thrash next summer. Is n’t that taffy nearly ready to eat? I’ve been smelling it a long while.” There was a basic harmony between Ántonia and her mistress. They had strong, independent natures, both of them. They knew what they liked, and were not always trying to imitate other people. They loved children and animals and music, and rough play and digging in the earth. They liked to prepare rich, hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,”<|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes.</|quote|>“Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over | the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,”<|quote|>in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes.</|quote|>“Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind | My Antonia |
It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. | No speaker | play for me this evening?”<|quote|>It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company.</|quote|>“She seems all right, gentlemen. | of you gentlemen going to play for me this evening?”<|quote|>It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company.</|quote|>“She seems all right, gentlemen. Nothing happened to her since | was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?”<|quote|>It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company.</|quote|>“She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men | Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?”<|quote|>It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company.</|quote|>“She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where | vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?”<|quote|>It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company.</|quote|>“She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from | to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?”<|quote|>It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company.</|quote|>“She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson | hearty food and to see people eat it; to make up soft white beds and to see youngsters asleep in them. They ridiculed conceited people and were quick to help unfortunate ones. Deep down in each of them there was a kind of hearty joviality, a relish of life, not over-delicate, but very invigorating. I never tried to define it, but I was distinctly conscious of it. I could not imagine Ántonia’s living for a week in any other house in Black Hawk than the Harlings’. VII WINTER lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men’s affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk. Through January and February I went to the river with the Harlings on clear nights, and we skated up to the big island and made bonfires on the frozen sand. But by March the ice was rough and choppy, and the snow on the river bluffs was gray and mournful-looking. I was tired of school, tired of winter clothes, of the rutted streets, of the dirty drifts and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?”<|quote|>It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company.</|quote|>“She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him | Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?”<|quote|>It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company.</|quote|>“She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He | My Antonia |
The men gathered round him, as he began to play | No speaker | good old plantation songs to-night.”<|quote|>The men gathered round him, as he began to play</|quote|>“My Old Kentucky Home.” They | like we might have some good old plantation songs to-night.”<|quote|>The men gathered round him, as he began to play</|quote|>“My Old Kentucky Home.” They sang one negro melody after | the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.”<|quote|>The men gathered round him, as he began to play</|quote|>“My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery | he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.”<|quote|>The men gathered round him, as he began to play</|quote|>“My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress | note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.”<|quote|>The men gathered round him, as he began to play</|quote|>“My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She | sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.”<|quote|>The men gathered round him, as he began to play</|quote|>“My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of | and the piles of cinders that had lain in the yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.”<|quote|>The men gathered round him, as he began to play</|quote|>“My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood | soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.”<|quote|>The men gathered round him, as he began to play</|quote|>“My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old | My Antonia |
“My Old Kentucky Home.” | No speaker | as he began to play<|quote|>“My Old Kentucky Home.”</|quote|>They sang one negro melody | The men gathered round him, as he began to play<|quote|>“My Old Kentucky Home.”</|quote|>They sang one negro melody after another, while the mulatto | her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play<|quote|>“My Old Kentucky Home.”</|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was | was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play<|quote|>“My Old Kentucky Home.”</|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded | head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play<|quote|>“My Old Kentucky Home.”</|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because | sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play<|quote|>“My Old Kentucky Home.”</|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she | yards so long. There was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play<|quote|>“My Old Kentucky Home.”</|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind | Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play<|quote|>“My Old Kentucky Home.”</|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old | My Antonia |
They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was | No speaker | play “My Old Kentucky Home.”<|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was</|quote|>“not right” in his head, | him, as he began to play “My Old Kentucky Home.”<|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was</|quote|>“not right” in his head, and she was ashamed of | time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.”<|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was</|quote|>“not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and | body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.”<|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was</|quote|>“not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on | head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.”<|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was</|quote|>“not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from | recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.”<|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was</|quote|>“not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck | was only one break in the dreary monotony of that month; when Blind d’Arnault, the negro pianist, came to town. He gave a concert at the Opera House on Monday night, and he and his manager spent Saturday and Sunday at our comfortable hotel. Mrs. Harling had known d’Arnault for years. She told Ántonia she had better go to see Tiny that Saturday evening, as there would certainly be music at the Boys’ Home. Saturday night after supper I ran downtown to the hotel and slipped quietly into the parlor. The chairs and sofas were already occupied, and the air smelled pleasantly of cigar smoke. The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.”<|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was</|quote|>“not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. | almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.”<|quote|>They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was</|quote|>“not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though | My Antonia |
“not right” | No speaker | that her blind baby was<|quote|>“not right”</|quote|>in his head, and she | laundress for the d’Arnaults, concluded that her blind baby was<|quote|>“not right”</|quote|>in his head, and she was ashamed of him. She | an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was<|quote|>“not right”</|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat | after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was<|quote|>“not right”</|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation | like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was<|quote|>“not right”</|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, | came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was<|quote|>“not right”</|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head | The parlor had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was<|quote|>“not right”</|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers | kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was<|quote|>“not right”</|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began | My Antonia |
in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his | No speaker | blind baby was “not right”<|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his</|quote|>“fidgets,” that she hid him | the d’Arnaults, concluded that her blind baby was “not right”<|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his</|quote|>“fidgets,” that she hid him away from people. All the | which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right”<|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his</|quote|>“fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk | while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right”<|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his</|quote|>“fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run | empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right”<|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his</|quote|>“fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the | the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right”<|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his</|quote|>“fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the | had once been two rooms, and the floor was sway-backed where the partition had been cut away. The wind from without made waves in the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right”<|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his</|quote|>“fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, | Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right”<|quote|>in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his</|quote|>“fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus | My Antonia |
“fidgets,” | No speaker | his sunken eyes and his<|quote|>“fidgets,”</|quote|>that she hid him away | he was so ugly, with his sunken eyes and his<|quote|>“fidgets,”</|quote|>that she hid him away from people. All the dainties | of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his<|quote|>“fidgets,”</|quote|>that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, | Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his<|quote|>“fidgets,”</|quote|>that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away | off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his<|quote|>“fidgets,”</|quote|>that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big | all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his<|quote|>“fidgets,”</|quote|>that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window | the long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his<|quote|>“fidgets,”</|quote|>that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any | sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his<|quote|>“fidgets,”</|quote|>that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not | My Antonia |
that she hid him away from people. All the dainties she brought down from the | No speaker | sunken eyes and his “fidgets,”<|quote|>that she hid him away from people. All the dainties she brought down from the</|quote|>“Big House” were for the | was so ugly, with his sunken eyes and his “fidgets,”<|quote|>that she hid him away from people. All the dainties she brought down from the</|quote|>“Big House” were for the blind child, and she beat | his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,”<|quote|>that she hid him away from people. All the dainties she brought down from the</|quote|>“Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named | South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,”<|quote|>that she hid him away from people. All the dainties she brought down from the</|quote|>“Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along | scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,”<|quote|>that she hid him away from people. All the dainties she brought down from the</|quote|>“Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss | grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,”<|quote|>that she hid him away from people. All the dainties she brought down from the</|quote|>“Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master | long carpet. A coal stove glowed at either end of the room, and the grand piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,”<|quote|>that she hid him away from people. All the dainties she brought down from the</|quote|>“Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he | all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,”<|quote|>that she hid him away from people. All the dainties she brought down from the</|quote|>“Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff | My Antonia |
“Big House” | No speaker | she brought down from the<|quote|>“Big House”</|quote|>were for the blind child, | from people. All the dainties she brought down from the<|quote|>“Big House”</|quote|>were for the blind child, and she beat and cuffed | the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the<|quote|>“Big House”</|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, | When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the<|quote|>“Big House”</|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood | since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the<|quote|>“Big House”</|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped | No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the<|quote|>“Big House”</|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give | piano in the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the<|quote|>“Big House”</|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost | back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the<|quote|>“Big House”</|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the | My Antonia |
were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he | No speaker | down from the “Big House”<|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he</|quote|>“was n’t all wrong.” She | All the dainties she brought down from the “Big House”<|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he</|quote|>“was n’t all wrong.” She named him Samson, because he | concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House”<|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he</|quote|>“was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt | was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House”<|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he</|quote|>“was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t | last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House”<|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he</|quote|>“was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun | here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House”<|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he</|quote|>“was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the | the middle stood open. There was an atmosphere of unusual freedom about the house that night, for Mrs. Gardener had gone to Omaha for a week. Johnnie had been having drinks with the guests until he was rather absent-minded. It was Mrs. Gardener who ran the business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House”<|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he</|quote|>“was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously | his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House”<|quote|>were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he</|quote|>“was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the | My Antonia |
She named him Samson, because he was blind, but on the plantation he was known as | No speaker | he “was n’t all wrong.”<|quote|>She named him Samson, because he was blind, but on the plantation he was known as</|quote|>“yellow Martha’s simple child.” He | heard, and his mammy said he “was n’t all wrong.”<|quote|>She named him Samson, because he was blind, but on the plantation he was known as</|quote|>“yellow Martha’s simple child.” He was docile and obedient, but | from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.”<|quote|>She named him Samson, because he was blind, but on the plantation he was known as</|quote|>“yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss | laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.”<|quote|>She named him Samson, because he was blind, but on the plantation he was known as</|quote|>“yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, | play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.”<|quote|>She named him Samson, because he was blind, but on the plantation he was known as</|quote|>“yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept | negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.”<|quote|>She named him Samson, because he was blind, but on the plantation he was known as</|quote|>“yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. | business and looked after everything. Her husband stood at the desk and welcomed incoming travelers. He was a popular fellow, but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.”<|quote|>She named him Samson, because he was blind, but on the plantation he was known as</|quote|>“yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense | to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.”<|quote|>She named him Samson, because he was blind, but on the plantation he was known as</|quote|>“yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front | My Antonia |
He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the | No speaker | as “yellow Martha’s simple child.”<|quote|>He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the</|quote|>“Big House,” where Miss Nellie | the plantation he was known as “yellow Martha’s simple child.”<|quote|>He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the</|quote|>“Big House,” where Miss Nellie d’Arnault practiced the piano every | them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.”<|quote|>He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the</|quote|>“Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, | him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.”<|quote|>He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the</|quote|>“Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the | thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.”<|quote|>He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the</|quote|>“Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing | would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.”<|quote|>He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the</|quote|>“Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold | but no manager. Mrs. Gardener was admittedly the best-dressed woman in Black Hawk, drove the best horse, and had a smart trap and a little white-and-gold sleigh. She seemed indifferent to her possessions, was not half so solicitous about them as her friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.”<|quote|>He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the</|quote|>“Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable | head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.”<|quote|>He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the</|quote|>“Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied | My Antonia |
“Big House,” | No speaker | the south wing of the<|quote|>“Big House,”</|quote|>where Miss Nellie d’Arnault practiced | the boxwood hedge, up to the south wing of the<|quote|>“Big House,”</|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This | he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the<|quote|>“Big House,”</|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped | and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the<|quote|>“Big House,”</|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she | which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the<|quote|>“Big House,”</|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while | nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the<|quote|>“Big House,”</|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, | friends were. She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the<|quote|>“Big House,”</|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible | teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the<|quote|>“Big House,”</|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, | My Antonia |
where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the | No speaker | wing of the “Big House,”<|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the</|quote|>“Big House.” But the next | hedge, up to the south wing of the “Big House,”<|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the</|quote|>“Big House.” But the next time Samson had a chance, | known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,”<|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the</|quote|>“Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his | her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,”<|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the</|quote|>“Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing | him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,”<|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the</|quote|>“Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the | of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,”<|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the</|quote|>“Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if | She was tall, dark, severe, with something Indian-like in the rigid immobility of her face. Her manner was cold, and she talked little. Guests felt that they were receiving, not conferring, a favor when they stayed at her house. Even the smartest traveling men were flattered when Mrs. Gardener stopped to chat with them for a moment. The patrons of the hotel were divided into two classes; those who had seen Mrs. Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,”<|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the</|quote|>“Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson | opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,”<|quote|>where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the</|quote|>“Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, | My Antonia |
“Big House.” | No speaker | ever found him near the<|quote|>“Big House.”</|quote|>But the next time Samson | do to him if he ever found him near the<|quote|>“Big House.”</|quote|>But the next time Samson had a chance, he ran | was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the<|quote|>“Big House.”</|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking | away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the<|quote|>“Big House.”</|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly | “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the<|quote|>“Big House.”</|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill | off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the<|quote|>“Big House.”</|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew | Gardener’s diamonds, and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the<|quote|>“Big House.”</|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted | so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the<|quote|>“Big House.”</|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him | My Antonia |
But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him | No speaker | him near the “Big House.”<|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him</|quote|>“meddling.” Samson had got too | him if he ever found him near the “Big House.”<|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him</|quote|>“meddling.” Samson had got too near the mastiff’s kennel once, | ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.”<|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him</|quote|>“meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered | home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.”<|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him</|quote|>“meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, | she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.”<|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him</|quote|>“meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out | then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.”<|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him</|quote|>“meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of | and those who had not. When I stole into the parlor Anson Kirkpatrick, Marshall Field’s man, was at the piano, playing airs from a musical comedy then running in Chicago. He was a dapper little Irishman, very vain, homely as a monkey, with friends everywhere, and a sweetheart in every port, like a sailor. I did not know all the men who were sitting about, but I recognized a furniture salesman from Kansas City, a drug man, and Willy O’Reilly, who traveled for a jewelry house and sold musical instruments. The talk was all about good and bad hotels, actors and actresses and musical prodigies. I learned that Mrs. Gardener had gone to Omaha to hear Booth and Barrett, who were to play there next week, and that Mary Anderson was having a great success in “A Winter’s Tale,” in London. The door from the office opened, and Johnnie Gardener came in, directing Blind d’Arnault,—he would never consent to be led. He was a heavy, bulky mulatto, on short legs, and he came tapping the floor in front of him with his gold-headed cane. His yellow face was lifted in the light, with a show of white teeth, all grinning, and his shrunken, papery eyelids lay motionless over his blind eyes. “Good evening, gentlemen. No ladies here? Good-evening, gentlemen. We going to have a little music? Some of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.”<|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him</|quote|>“meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in | empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.”<|quote|>But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him</|quote|>“meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that | My Antonia |
Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, | No speaker | he ever found him “meddling.”<|quote|>Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered,</|quote|>“Somebody dancing in there.” He | to the big mastiff if he ever found him “meddling.”<|quote|>Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered,</|quote|>“Somebody dancing in there.” He jerked his bullet head toward | no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.”<|quote|>Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered,</|quote|>“Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing | Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.”<|quote|>Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered,</|quote|>“Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, | this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.”<|quote|>Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered,</|quote|>“Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but | other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.”<|quote|>Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered,</|quote|>“Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused | of you gentlemen going to play for me this evening?” It was the soft, amiable negro voice, like those I remembered from early childhood, with the note of docile subservience in it. He had the negro head, too; almost no head at all; nothing behind the ears but folds of neck under close-clipped wool. He would have been repulsive if his face had not been so kindly and happy. It was the happiest face I had seen since I left Virginia. He felt his way directly to the piano. The moment he sat down, I noticed the nervous infirmity of which Mrs. Harling had told me. When he was sitting, or standing still, he swayed back and forth incessantly, like a rocking toy. At the piano, he swayed in time to the music, and when he was not playing, his body kept up this motion, like an empty mill grinding on. He found the pedals and tried them, ran his yellow hands up and down the keys a few times, tinkling off scales, then turned to the company. “She seems all right, gentlemen. Nothing happened to her since the last time I was here. Mrs. Gardener, she always has this piano tuned up before I come. Now, gentlemen, I expect you’ve all got grand voices. Seems like we might have some good old plantation songs to-night.” The men gathered round him, as he began to play “My Old Kentucky Home.” They sang one negro melody after another, while the mulatto sat rocking himself, his head thrown back, his yellow face lifted, its shriveled eyelids never fluttering. He was born in the Far South, on the d’Arnault plantation, where the spirit if not the fact of slavery persisted. When he was three weeks old he had an illness which left him totally blind. As soon as he was old enough to sit up alone and toddle about, another affliction, the nervous motion of his body, became apparent. His mother, a buxom young negro wench who was laundress for the d’Arnaults, concluded that her blind baby was “not right” in his head, and she was ashamed of him. She loved him devotedly, but he was so ugly, with his sunken eyes and his “fidgets,” that she hid him away from people. All the dainties she brought down from the “Big House” were for the blind child, and she beat and cuffed her other children whenever she found them teasing him or trying to get his chicken-bone away from him. He began to talk early, remembered everything he heard, and his mammy said he “was n’t all wrong.” She named him Samson, because he was blind, but on the plantation he was known as “yellow Martha’s simple child.” He was docile and obedient, but when he was six years old he began to run away from home, always taking the same direction. He felt his way through the lilacs, along the boxwood hedge, up to the south wing of the “Big House,” where Miss Nellie d’Arnault practiced the piano every morning. This angered his mother more than anything else he could have done; she was so ashamed of his ugliness that she could n’t bear to have white folks see him. Whenever she caught him slipping away from the cabin, she whipped him unmercifully, and told him what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.”<|quote|>Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered,</|quote|>“Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not | what dreadful things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.”<|quote|>Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered,</|quote|>“Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come | My Antonia |
He jerked his bullet head toward the dining-room. | No speaker | whispered, “Somebody dancing in there.”<|quote|>He jerked his bullet head toward the dining-room.</|quote|>“I hear little feet,—girls, I | men who stood behind him, whispered, “Somebody dancing in there.”<|quote|>He jerked his bullet head toward the dining-room.</|quote|>“I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a | heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.”<|quote|>He jerked his bullet head toward the dining-room.</|quote|>“I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the | than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.”<|quote|>He jerked his bullet head toward the dining-room.</|quote|>“I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. | and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.”<|quote|>He jerked his bullet head toward the dining-room.</|quote|>“I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what | this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.”<|quote|>He jerked his bullet head toward the dining-room.</|quote|>“I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, | things old Mr. d’Arnault would do to him if he ever found him near the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.”<|quote|>He jerked his bullet head toward the dining-room.</|quote|>“I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow | room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.”<|quote|>He jerked his bullet head toward the dining-room.</|quote|>“I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly | My Antonia |
Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. | No speaker | hear little feet,—girls, I ’spect.”<|quote|>Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows.</|quote|>“What’s the matter with you | head toward the dining-room. “I hear little feet,—girls, I ’spect.”<|quote|>Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows.</|quote|>“What’s the matter with you girls? Dancing out here by | and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.”<|quote|>Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows.</|quote|>“What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. | body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.”<|quote|>Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows.</|quote|>“What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener | fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.”<|quote|>Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows.</|quote|>“What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with | if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.”<|quote|>Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows.</|quote|>“What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses | the “Big House.” But the next time Samson had a chance, he ran away again. If Miss d’Arnault stopped practicing for a moment and went toward the window, she saw this hideous little pickaninny, dressed in an old piece of sacking, standing in the open space between the hollyhock rows, his body rocking automatically, his blind face lifted to the sun and wearing an expression of idiotic rapture. Often she was tempted to tell Martha that the child must be kept at home, but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.”<|quote|>Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows.</|quote|>“What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the | breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.”<|quote|>Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows.</|quote|>“What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, | My Antonia |
The girls, still laughing, were trying to escape. Tiny looked alarmed. | No speaker | me to your friends, Tiny.”<|quote|>The girls, still laughing, were trying to escape. Tiny looked alarmed.</|quote|>“Mrs. Gardener would n’t like | side of the partition! Introduce me to your friends, Tiny.”<|quote|>The girls, still laughing, were trying to escape. Tiny looked alarmed.</|quote|>“Mrs. Gardener would n’t like it,” she protested. “She’d be | the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.”<|quote|>The girls, still laughing, were trying to escape. Tiny looked alarmed.</|quote|>“Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to | dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.”<|quote|>The girls, still laughing, were trying to escape. Tiny looked alarmed.</|quote|>“Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what | that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.”<|quote|>The girls, still laughing, were trying to escape. Tiny looked alarmed.</|quote|>“Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on | He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.”<|quote|>The girls, still laughing, were trying to escape. Tiny looked alarmed.</|quote|>“Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her | but somehow the memory of his foolish, happy face deterred her. She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.”<|quote|>The girls, still laughing, were trying to escape. Tiny looked alarmed.</|quote|>“Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in | played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.”<|quote|>The girls, still laughing, were trying to escape. Tiny looked alarmed.</|quote|>“Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for | My Antonia |
“Mrs. Gardener would n’t like it,” | Tiny | to escape. Tiny looked alarmed.<|quote|>“Mrs. Gardener would n’t like it,”</|quote|>she protested. “She’d be awful | girls, still laughing, were trying to escape. Tiny looked alarmed.<|quote|>“Mrs. Gardener would n’t like it,”</|quote|>she protested. “She’d be awful mad if you was to | kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed.<|quote|>“Mrs. Gardener would n’t like it,”</|quote|>she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. | “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed.<|quote|>“Mrs. Gardener would n’t like it,”</|quote|>she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the | his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed.<|quote|>“Mrs. Gardener would n’t like it,”</|quote|>she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an | the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed.<|quote|>“Mrs. Gardener would n’t like it,”</|quote|>she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and | She remembered that his sense of hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed.<|quote|>“Mrs. Gardener would n’t like it,”</|quote|>she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I | real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed.<|quote|>“Mrs. Gardener would n’t like it,”</|quote|>she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, | My Antonia |
she protested. | No speaker | Gardener would n’t like it,”<|quote|>she protested.</|quote|>“She’d be awful mad if | escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,”<|quote|>she protested.</|quote|>“She’d be awful mad if you was to come out | the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,”<|quote|>she protested.</|quote|>“She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener | Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,”<|quote|>she protested.</|quote|>“She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and | body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,”<|quote|>she protested.</|quote|>“She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little | he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,”<|quote|>she protested.</|quote|>“She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding | hearing was nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,”<|quote|>she protested.</|quote|>“She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them | across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,”<|quote|>she protested.</|quote|>“She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a | My Antonia |
“She’d be awful mad if you was to come out here and dance with us.” | Tiny | n’t like it,” she protested.<|quote|>“She’d be awful mad if you was to come out here and dance with us.”</|quote|>“Mrs. Gardener’s in Omaha, girl. | looked alarmed. “Mrs. Gardener would n’t like it,” she protested.<|quote|>“She’d be awful mad if you was to come out here and dance with us.”</|quote|>“Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and | “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested.<|quote|>“She’d be awful mad if you was to come out here and dance with us.”</|quote|>“Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, | mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested.<|quote|>“She’d be awful mad if you was to come out here and dance with us.”</|quote|>“Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S | To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested.<|quote|>“She’d be awful mad if you was to come out here and dance with us.”</|quote|>“Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he | for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested.<|quote|>“She’d be awful mad if you was to come out here and dance with us.”</|quote|>“Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, | nearly all he had,—though it did not occur to her that he might have more of it than other children. One day Samson was standing thus while Miss Nellie was playing her lesson to her music-master. The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested.<|quote|>“She’d be awful mad if you was to come out here and dance with us.”</|quote|>“Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me | softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested.<|quote|>“She’d be awful mad if you was to come out here and dance with us.”</|quote|>“Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch | My Antonia |
O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. | No speaker | I got you all straight?”<|quote|>O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office.</|quote|>“Easy, boys, easy!” he entreated | Tony and you’re Mary. Have I got you all straight?”<|quote|>O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office.</|quote|>“Easy, boys, easy!” he entreated them. “You’ll wake the cook, | trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?”<|quote|>O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office.</|quote|>“Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. | They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?”<|quote|>O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office.</|quote|>“Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, | on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?”<|quote|>O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office.</|quote|>“Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his | and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?”<|quote|>O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office.</|quote|>“Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came | The windows were open. He heard them get up from the piano, talk a little while, and then leave the room. He heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?”<|quote|>O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office.</|quote|>“Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was | out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?”<|quote|>O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office.</|quote|>“Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. | My Antonia |
he entreated them. | No speaker | the office. “Easy, boys, easy!”<|quote|>he entreated them.</|quote|>“You’ll wake the cook, and | Johnnie Gardener ran in from the office. “Easy, boys, easy!”<|quote|>he entreated them.</|quote|>“You’ll wake the cook, and there’ll be the devil to | come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!”<|quote|>he entreated them.</|quote|>“You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie | here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!”<|quote|>he entreated them.</|quote|>“You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, | of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!”<|quote|>he entreated them.</|quote|>“You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted | opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!”<|quote|>he entreated them.</|quote|>“You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he | heard the door close after them. He crept up to the front windows and stuck his head in: there was no one there. He could always detect the presence of any one in a room. He put one foot over the window sill and straddled it. His mother had told him over and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!”<|quote|>he entreated them.</|quote|>“You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, | No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!”<|quote|>he entreated them.</|quote|>“You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and | My Antonia |
Johnnie shook his head. | No speaker | Come along, nobody’ll tell tales.”<|quote|>Johnnie shook his head.</|quote|>“’S a fact, boys,” he | wire Molly to bring another. Come along, nobody’ll tell tales.”<|quote|>Johnnie shook his head.</|quote|>“’S a fact, boys,” he said confidentially. “If I take | them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.”<|quote|>Johnnie shook his head.</|quote|>“’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly | here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.”<|quote|>Johnnie shook his head.</|quote|>“’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her | he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.”<|quote|>Johnnie shook his head.</|quote|>“’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that | wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.”<|quote|>Johnnie shook his head.</|quote|>“’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with | and over how his master would give him to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.”<|quote|>Johnnie shook his head.</|quote|>“’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls | big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.”<|quote|>Johnnie shook his head.</|quote|>“’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country | My Antonia |
he said confidentially. | No speaker | head. “’S a fact, boys,”<|quote|>he said confidentially.</|quote|>“If I take a drink | tell tales.” Johnnie shook his head. “’S a fact, boys,”<|quote|>he said confidentially.</|quote|>“If I take a drink in Black Hawk, Molly knows | the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,”<|quote|>he said confidentially.</|quote|>“If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters | Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,”<|quote|>he said confidentially.</|quote|>“If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a | into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,”<|quote|>he said confidentially.</|quote|>“If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at | intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,”<|quote|>he said confidentially.</|quote|>“If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we | to the big mastiff if he ever found him “meddling.” Samson had got too near the mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,”<|quote|>he said confidentially.</|quote|>“If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in | were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,”<|quote|>he said confidentially.</|quote|>“If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when | My Antonia |
His guests laughed and slapped him on the shoulder. | No speaker | Molly knows it in Omaha!”<|quote|>His guests laughed and slapped him on the shoulder.</|quote|>“Oh, we’ll make it all | a drink in Black Hawk, Molly knows it in Omaha!”<|quote|>His guests laughed and slapped him on the shoulder.</|quote|>“Oh, we’ll make it all right with Molly. Get your | minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!”<|quote|>His guests laughed and slapped him on the shoulder.</|quote|>“Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his | all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!”<|quote|>His guests laughed and slapped him on the shoulder.</|quote|>“Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw | the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!”<|quote|>His guests laughed and slapped him on the shoulder.</|quote|>“Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little | He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!”<|quote|>His guests laughed and slapped him on the shoulder.</|quote|>“Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was | mastiff’s kennel once, and had felt his terrible breath in his face. He thought about that, but he pulled in his other foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!”<|quote|>His guests laughed and slapped him on the shoulder.</|quote|>“Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the | white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!”<|quote|>His guests laughed and slapped him on the shoulder.</|quote|>“Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while | My Antonia |
Molly was Mrs. Gardener’s name, of course. | No speaker | Get your back up, Johnnie.”<|quote|>Molly was Mrs. Gardener’s name, of course.</|quote|>“Molly Bawn” was painted in | it all right with Molly. Get your back up, Johnnie.”<|quote|>Molly was Mrs. Gardener’s name, of course.</|quote|>“Molly Bawn” was painted in large blue letters on the | along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.”<|quote|>Molly was Mrs. Gardener’s name, of course.</|quote|>“Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without | boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.”<|quote|>Molly was Mrs. Gardener’s name, of course.</|quote|>“Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He | Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.”<|quote|>Molly was Mrs. Gardener’s name, of course.</|quote|>“Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than | who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.”<|quote|>Molly was Mrs. Gardener’s name, of course.</|quote|>“Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, | foot. Through the dark he found his way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.”<|quote|>Molly was Mrs. Gardener’s name, of course.</|quote|>“Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. | and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.”<|quote|>Molly was Mrs. Gardener’s name, of course.</|quote|>“Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing | My Antonia |
“Molly Bawn” | No speaker | Mrs. Gardener’s name, of course.<|quote|>“Molly Bawn”</|quote|>was painted in large blue | back up, Johnnie.” Molly was Mrs. Gardener’s name, of course.<|quote|>“Molly Bawn”</|quote|>was painted in large blue letters on the glossy white | head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course.<|quote|>“Molly Bawn”</|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he | the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course.<|quote|>“Molly Bawn”</|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like | a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course.<|quote|>“Molly Bawn”</|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other | playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course.<|quote|>“Molly Bawn”</|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in | way to the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course.<|quote|>“Molly Bawn”</|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore | you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course.<|quote|>“Molly Bawn”</|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have | My Antonia |
was painted in large blue letters on the glossy white side of the hotel bus, and | No speaker | name, of course. “Molly Bawn”<|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and</|quote|>“Molly” was engraved inside Johnnie’s | Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn”<|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and</|quote|>“Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless | a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn”<|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and</|quote|>“Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from | and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn”<|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and</|quote|>“Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to | of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn”<|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and</|quote|>“Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for | was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn”<|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and</|quote|>“Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the | the Thing, to its mouth. He touched it softly, and it answered softly, kindly. He shivered and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn”<|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and</|quote|>“Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red | The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn”<|quote|>was painted in large blue letters on the glossy white side of the hotel bus, and</|quote|>“Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh | My Antonia |
“Molly” | No speaker | of the hotel bus, and<|quote|>“Molly”</|quote|>was engraved inside Johnnie’s ring | on the glossy white side of the hotel bus, and<|quote|>“Molly”</|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on | it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and<|quote|>“Molly”</|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, | be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and<|quote|>“Molly”</|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change | The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and<|quote|>“Molly”</|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all | that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and<|quote|>“Molly”</|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin | and stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and<|quote|>“Molly”</|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral | was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and<|quote|>“Molly”</|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow | My Antonia |
was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, | No speaker | the hotel bus, and “Molly”<|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly,</|quote|>“Who’s that goin’ back on | the glossy white side of the hotel bus, and “Molly”<|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly,</|quote|>“Who’s that goin’ back on me? One of these city | in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly”<|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly,</|quote|>“Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively | down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly”<|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly,</|quote|>“Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her | girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly”<|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly,</|quote|>“Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault | was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly”<|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly,</|quote|>“Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow | stood still. Then he began to feel it all over, ran his finger tips along the slippery sides, embraced the carved legs, tried to get some conception of its shape and size, of the space it occupied in primeval night. It was cold and hard, and like nothing else in his black universe. He went back to its mouth, began at one end of the keyboard and felt his way down into the mellow thunder, as far as he could go. He seemed to know that it must be done with the fingers, not with the fists or the feet. He approached this highly artificial instrument through a mere instinct, and coupled himself to it, as if he knew it was to piece him out and make a whole creature of him. After he had tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly”<|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly,</|quote|>“Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white | of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly”<|quote|>was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly,</|quote|>“Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig | My Antonia |
Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— | No speaker | let that floor get cold?”<|quote|>Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—</|quote|>“the light of youth.” D’Arnault | girls, you ain’t goin’ to let that floor get cold?”<|quote|>Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—</|quote|>“the light of youth.” D’Arnault played until his manager came | African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?”<|quote|>Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—</|quote|>“the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New | be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?”<|quote|>Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—</|quote|>“the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled | boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?”<|quote|>Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—</|quote|>“the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, | out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?”<|quote|>Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—</|quote|>“the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one | tried over all the sounds, he began to finger out passages from things Miss Nellie had been practicing, passages that were already his, that lay under the bones of his pinched, conical little skull, definite as animal desires. The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and bleeding to the floor. He had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?”<|quote|>Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—</|quote|>“the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their | he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?”<|quote|>Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—</|quote|>“the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one | My Antonia |
“the light of youth.” | No speaker | is called,—by no metaphor, alas!—<|quote|>“the light of youth.”</|quote|>D’Arnault played until his manager | their eyes that brilliancy which is called,—by no metaphor, alas!—<|quote|>“the light of youth.”</|quote|>D’Arnault played until his manager came and shut the piano. | and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—<|quote|>“the light of youth.”</|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he | pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—<|quote|>“the light of youth.”</|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII | music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—<|quote|>“the light of youth.”</|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each | on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—<|quote|>“the light of youth.”</|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on | had what his mother called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—<|quote|>“the light of youth.”</|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the | to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!—<|quote|>“the light of youth.”</|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to | My Antonia |
D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up | No speaker | alas!— “the light of youth.”<|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up</|quote|>“Home, Sweet Home,” all Black | which is called,—by no metaphor, alas!— “the light of youth.”<|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up</|quote|>“Home, Sweet Home,” all Black Hawk knew it was ten | commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.”<|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up</|quote|>“Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front | dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.”<|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up</|quote|>“Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where | while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.”<|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up</|quote|>“Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, | Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.”<|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up</|quote|>“Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every | called a fit. The doctor came and gave him opium. When Samson was well again, his young mistress led him back to the piano. Several teachers experimented with him. They found he had absolute pitch, and a remarkable memory. As a very young child he could repeat, after a fashion, any composition that was played for him. No matter how many wrong notes he struck, he never lost the intention of a passage, he brought the substance of it across by irregular and astonishing means. He wore his teachers out. He could never learn like other people, never acquired any finish. He was always a negro prodigy who played barbarously and wonderfully. As piano playing, it was perhaps abominable, but as music it was something real, vitalized by a sense of rhythm that was stronger than his other physical senses,—that not only filled his dark mind, but worried his body incessantly. To hear him, to watch him, was to see a negro enjoying himself as only a negro can. It was as if all the agreeable sensations possible to creatures of flesh and blood were heaped up on those black and white keys, and he were gloating over them and trickling them through his yellow fingers. In the middle of a crashing waltz d’Arnault suddenly began to play softly, and, turning to one of the men who stood behind him, whispered, “Somebody dancing in there.” He jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.”<|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up</|quote|>“Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their | jerked his bullet head toward the dining-room. “I hear little feet,—girls, I ’spect.” Anson Kirkpatrick mounted a chair and peeped over the transom. Springing down, he wrenched open the doors and ran out into the dining-room. Tiny and Lena, Ántonia and Mary Dusak, were waltzing in the middle of the floor. They separated and fled toward the kitchen, giggling. Kirkpatrick caught Tiny by the elbows. “What’s the matter with you girls? Dancing out here by yourselves, when there’s a roomful of lonesome men on the other side of the partition! Introduce me to your friends, Tiny.” The girls, still laughing, were trying to escape. Tiny looked alarmed. “Mrs. Gardener would n’t like it,” she protested. “She’d be awful mad if you was to come out here and dance with us.” “Mrs. Gardener’s in Omaha, girl. Now, you’re Lena, are you?—and you’re Tony and you’re Mary. Have I got you all straight?” O’Reilly and the others began to pile the chairs on the tables. Johnnie Gardener ran in from the office. “Easy, boys, easy!” he entreated them. “You’ll wake the cook, and there’ll be the devil to pay for me. She won’t hear the music, but she’ll be down the minute anything’s moved in the dining-room.” “Oh, what do you care, Johnnie? Fire the cook and wire Molly to bring another. Come along, nobody’ll tell tales.” Johnnie shook his head. “’S a fact, boys,” he said confidentially. “If I take a drink in Black Hawk, Molly knows it in Omaha!” His guests laughed and slapped him on the shoulder. “Oh, we’ll make it all right with Molly. Get your back up, Johnnie.” Molly was Mrs. Gardener’s name, of course. “Molly Bawn” was painted in large blue letters on the glossy white side of the hotel bus, and “Molly” was engraved inside Johnnie’s ring and on his watch-case—doubtless on his heart, too. He was an affectionate little man, and he thought his wife a wonderful woman; he knew that without her he would hardly be more than a clerk in some other man’s hotel. At a word from Kirkpatrick, d’Arnault spread himself out over the piano, and began to draw the dance music out of it, while the perspiration shone on his short wool and on his uplifted face. He looked like some glistening African god of pleasure, full of strong, savage blood. Whenever the dancers paused to change partners or to catch breath, he would boom out softly, “Who’s that goin’ back on me? One of these city gentlemen, I bet! Now, you girls, you ain’t goin’ to let that floor get cold?” Ántonia seemed frightened at first, and kept looking questioningly at Lena and Tiny over Willy O’Reilly’s shoulder. Tiny Soderball was trim and slender, with lively little feet and pretty ankles—she wore her dresses very short. She was quicker in speech, lighter in movement and manner than the other girls. Mary Dusak was broad and brown of countenance, slightly marked by smallpox, but handsome for all that. She had beautiful chestnut hair, coils of it; her forehead was low and smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.”<|quote|>D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up</|quote|>“Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never | My Antonia |
“Home, Sweet Home,” | No speaker | and the harp struck up<|quote|>“Home, Sweet Home,”</|quote|>all Black Hawk knew it | Mrs. Vanni gave the signal, and the harp struck up<|quote|>“Home, Sweet Home,”</|quote|>all Black Hawk knew it was ten o’clock. You could | hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up<|quote|>“Home, Sweet Home,”</|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the | and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up<|quote|>“Home, Sweet Home,”</|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh | taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up<|quote|>“Home, Sweet Home,”</|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller | When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up<|quote|>“Home, Sweet Home,”</|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help | smooth, and her commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up<|quote|>“Home, Sweet Home,”</|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no | Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up<|quote|>“Home, Sweet Home,”</|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild | My Antonia |
all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with | No speaker | struck up “Home, Sweet Home,”<|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with</|quote|>“the hired girls.” IX THERE | the signal, and the harp struck up “Home, Sweet Home,”<|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with</|quote|>“the hired girls.” IX THERE was a curious social situation | run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,”<|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with</|quote|>“the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to | at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,”<|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with</|quote|>“the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to | children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,”<|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with</|quote|>“the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a | them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,”<|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with</|quote|>“the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The | commanding dark eyes regarded the world indifferently and fearlessly. She looked bold and resourceful and unscrupulous, and she was all of these. They were handsome girls, had the fresh color of their country up-bringing, and in their eyes that brilliancy which is called,—by no metaphor, alas!— “the light of youth.” D’Arnault played until his manager came and shut the piano. Before he left us, he showed us his gold watch which struck the hours, and a topaz ring, given him by some Russian nobleman who delighted in negro melodies, and had heard d’Arnault play in New Orleans. At last he tapped his way upstairs, after bowing to everybody, docile and happy. I walked home with Ántonia. We were so excited that we dreaded to go to bed. We lingered a long while at the Harlings’ gate, whispering in the cold until the restlessness was slowly chilled out of us. VIII THE Harling children and I were never happier, never felt more contented and secure, than in the weeks of spring which broke that long winter. We were out all day in the thin sunshine, helping Mrs. Harling and Tony break the ground and plant the garden, dig around the orchard trees, tie up vines and clip the hedges. Every morning, before I was up, I could hear Tony singing in the garden rows. After the apple and cherry trees broke into bloom, we ran about under them, hunting for the new nests the birds were building, throwing clods at each other, and playing hide-and-seek with Nina. Yet the summer which was to change everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,”<|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with</|quote|>“the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions | everything was coming nearer every day. When boys and girls are growing up, life can’t stand still, not even in the quietest of country towns; and they have to grow up, whether they will or no. That is what their elders are always forgetting. It must have been in June, for Mrs. Harling and Ántonia were preserving cherries, when I stopped one morning to tell them that a dancing pavilion had come to town. I had seen two drays hauling the canvas and painted poles up from the depot. That afternoon three cheerful-looking Italians strolled about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,”<|quote|>all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with</|quote|>“the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given | My Antonia |
“the hired girls.” | No speaker | condemnation for a waltz with<|quote|>“the hired girls.”</|quote|>IX THERE was a curious | with their sweethearts and general condemnation for a waltz with<|quote|>“the hired girls.”</|quote|>IX THERE was a curious social situation in Black Hawk. | the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with<|quote|>“the hired girls.”</|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible | to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with<|quote|>“the hired girls.”</|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I | then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with<|quote|>“the hired girls.”</|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and | grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with<|quote|>“the hired girls.”</|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in | about Black Hawk, looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with<|quote|>“the hired girls.”</|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery | foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with<|quote|>“the hired girls.”</|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But | My Antonia |
IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had | No speaker | waltz with “the hired girls.”<|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had</|quote|>“advantages,” never seem to me, | and general condemnation for a waltz with “the hired girls.”<|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had</|quote|>“advantages,” never seem to me, when I meet them now, | girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.”<|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had</|quote|>“advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made | town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.”<|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had</|quote|>“advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically | fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.”<|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had</|quote|>“advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in | middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.”<|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had</|quote|>“advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the | looking at everything, and with them was a dark, stout woman who wore a long gold watch chain about her neck and carried a black lace parasol. They seemed especially interested in children and vacant lots. When I overtook them and stopped to say a word, I found them affable and confiding. They told me they worked in Kansas City in the winter, and in summer they went out among the farming towns with their tent and taught dancing. When business fell off in one place, they moved on to another. The dancing pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.”<|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had</|quote|>“advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or | cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.”<|quote|>IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had</|quote|>“advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. | My Antonia |
“advantages,” | No speaker | sacrifices and who have had<|quote|>“advantages,”</|quote|>never seem to me, when | for whom they made such sacrifices and who have had<|quote|>“advantages,”</|quote|>never seem to me, when I meet them now, half | of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had<|quote|>“advantages,”</|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant | for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had<|quote|>“advantages,”</|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they | who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had<|quote|>“advantages,”</|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter | and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had<|quote|>“advantages,”</|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. | pavilion was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had<|quote|>“advantages,”</|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny | before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had<|quote|>“advantages,”</|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make | My Antonia |
never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were | No speaker | and who have had “advantages,”<|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were</|quote|>“refined,” and that the country | whom they made such sacrifices and who have had “advantages,”<|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were</|quote|>“refined,” and that the country girls, who “worked out,” were | debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,”<|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were</|quote|>“refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on | a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,”<|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were</|quote|>“refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because | lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,”<|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were</|quote|>“refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew | tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,”<|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were</|quote|>“refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that | was put up near the Danish laundry, on a vacant lot surrounded by tall, arched cottonwood trees. It was very much like a merry-go-round tent, with open sides and gay flags flying from the poles. Before the week was over, all the ambitious mothers were sending their children to the afternoon dancing class. At three o’clock one met little girls in white dresses and little boys in the round-collared shirts of the time, hurrying along the sidewalk on their way to the tent. Mrs. Vanni received them at the entrance, always dressed in lavender with a great deal of black lace, her important watch chain lying on her bosom. She wore her hair on the top of her head, built up in a black tower, with red coral combs. When she smiled, she showed two rows of strong, crooked yellow teeth. She taught the little children herself, and her husband, the harpist, taught the older ones. Often the mothers brought their fancy-work and sat on the shady side of the tent during the lesson. The popcorn man wheeled his glass wagon under the big cottonwood by the door, and lounged in the sun, sure of a good trade when the dancing was over. Mr. Jensen, the Danish laundryman, used to bring a chair from his porch and sit out in the grass plot. Some ragged little boys from the depot sold pop and iced lemonade under a white umbrella at the corner, and made faces at the spruce youngsters who came to dance. That vacant lot soon became the most cheerful place in town. Even on the hottest afternoons the cottonwoods made a rustling shade, and the air smelled of popcorn and melted butter, and Bouncing Bets wilting in the sun. Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,”<|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were</|quote|>“refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take | so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,”<|quote|>never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were</|quote|>“refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, | My Antonia |
“refined,” | No speaker | uninquiring belief that they were<|quote|>“refined,”</|quote|>and that the country girls, | Hawk merchants had a confident, uninquiring belief that they were<|quote|>“refined,”</|quote|>and that the country girls, who “worked out,” were not. | in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were<|quote|>“refined,”</|quote|>and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their | jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were<|quote|>“refined,”</|quote|>and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they | unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were<|quote|>“refined,”</|quote|>and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were | a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were<|quote|>“refined,”</|quote|>and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a | Those hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were<|quote|>“refined,”</|quote|>and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the | was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were<|quote|>“refined,”</|quote|>and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather | My Antonia |
and that the country girls, who | No speaker | belief that they were “refined,”<|quote|>and that the country girls, who</|quote|>“worked out,” were not. The | merchants had a confident, uninquiring belief that they were “refined,”<|quote|>and that the country girls, who</|quote|>“worked out,” were not. The American farmers in our county | the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,”<|quote|>and that the country girls, who</|quote|>“worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what | and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,”<|quote|>and that the country girls, who</|quote|>“worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn | and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,”<|quote|>and that the country girls, who</|quote|>“worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs | tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,”<|quote|>and that the country girls, who</|quote|>“worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope | hardy flowers had run away from the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,”<|quote|>and that the country girls, who</|quote|>“worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, | the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,”<|quote|>and that the country girls, who</|quote|>“worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, | My Antonia |
“worked out,” | No speaker | that the country girls, who<|quote|>“worked out,”</|quote|>were not. The American farmers | that they were “refined,” and that the country girls, who<|quote|>“worked out,”</|quote|>were not. The American farmers in our county were quite | listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who<|quote|>“worked out,”</|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the | in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who<|quote|>“worked out,”</|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. | Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who<|quote|>“worked out,”</|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, | condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who<|quote|>“worked out,”</|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is | the laundryman’s garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who<|quote|>“worked out,”</|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was | and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who<|quote|>“worked out,”</|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are | My Antonia |
were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all | No speaker | country girls, who “worked out,”<|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all</|quote|>“hired girls.” I always knew | were “refined,” and that the country girls, who “worked out,”<|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all</|quote|>“hired girls.” I always knew I should live long enough | dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,”<|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all</|quote|>“hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first | because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,”<|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all</|quote|>“hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young | were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,”<|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all</|quote|>“hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was | a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,”<|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all</|quote|>“hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and | garden, and the grass in the middle of the lot was pink with them. The Vannis kept exemplary order, and closed every evening at the hour suggested by the City Council. When Mrs. Vanni gave the signal, and the harp struck up “Home, Sweet Home,” all Black Hawk knew it was ten o’clock. You could set your watch by that tune as confidently as by the Round House whistle. At last there was something to do in those long, empty summer evenings, when the married people sat like images on their front porches, and the boys and girls tramped and tramped the board sidewalks—northward to the edge of the open prairie, south to the depot, then back again to the post-office, the ice-cream parlor, the butcher shop. Now there was a place where the girls could wear their new dresses, and where one could laugh aloud without being reproved by the ensuing silence. That silence seemed to ooze out of the ground, to hang under the foliage of the black maple trees with the bats and shadows. Now it was broken by light-hearted sounds. First the deep purring of Mr. Vanni’s harp came in silvery ripples through the blackness of the dusty-smelling night; then the violins fell in—one of them was almost like a flute. They called so archly, so seductively, that our feet hurried toward the tent of themselves. Why had n’t we had a tent before? Dancing became popular now, just as roller skating had been the summer before. The Progressive Euchre Club arranged with the Vannis for the exclusive use of the floor on Tuesday and Friday nights. At other times any one could dance who paid his money and was orderly; the railroad men, the Round House mechanics, the delivery boys, the iceman, the farmhands who lived near enough to ride into town after their day’s work was over. I never missed a Saturday night dance. The tent was open until midnight then. The country boys came in from farms eight and ten miles away, and all the country girls were on the floor,—Ántonia and Lena and Tiny, and the Danish laundry girls and their friends. I was not the only boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,”<|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all</|quote|>“hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings | sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,”<|quote|>were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all</|quote|>“hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher | My Antonia |
“hired girls.” | No speaker | they were all Bohemians, all<|quote|>“hired girls.”</|quote|>I always knew I should | her and the three Marys; they were all Bohemians, all<|quote|>“hired girls.”</|quote|>I always knew I should live long enough to see | it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all<|quote|>“hired girls.”</|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of | better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all<|quote|>“hired girls.”</|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would | they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all<|quote|>“hired girls.”</|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the | desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all<|quote|>“hired girls.”</|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several | boy who found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all<|quote|>“hired girls.”</|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as | their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all<|quote|>“hired girls.”</|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and | My Antonia |
I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on | No speaker | all Bohemians, all “hired girls.”<|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on</|quote|>“popular nights,” Sylvester stood back | the three Marys; they were all Bohemians, all “hired girls.”<|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on</|quote|>“popular nights,” Sylvester stood back in the shadow under the | All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.”<|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on</|quote|>“popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side | than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.”<|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on</|quote|>“popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry | lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.”<|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on</|quote|>“popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. | were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.”<|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on</|quote|>“popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At | found these dances gayer than the others. The young men who belonged to the Progressive Euchre Club used to drop in late and risk a tiff with their sweethearts and general condemnation for a waltz with “the hired girls.” IX THERE was a curious social situation in Black Hawk. All the young men felt the attraction of the fine, well-set-up country girls who had come to town to earn a living, and, in nearly every case, to help the father struggle out of debt, or to make it possible for the younger children of the family to go to school. Those girls had grown up in the first bitter-hard times, and had got little schooling themselves. But the younger brothers and sisters, for whom they made such sacrifices and who have had “advantages,” never seem to me, when I meet them now, half as interesting or as well educated. The older girls, who helped to break up the wild sod, learned so much from life, from poverty, from their mothers and grandmothers; they had all, like Ántonia, been early awakened and made observant by coming at a tender age from an old country to a new. I can remember a score of these country girls who were in service in Black Hawk during the few years I lived there, and I can remember something unusual and engaging about each of them. Physically they were almost a race apart, and out-of-door work had given them a vigor which, when they got over their first shyness on coming to town, developed into a positive carriage and freedom of movement, and made them conspicuous among Black Hawk women. That was before the day of High-School athletics. Girls who had to walk more than half a mile to school were pitied. There was not a tennis court in the town; physical exercise was thought rather inelegant for the daughters of well-to-do families. Some of the High-School girls were jolly and pretty, but they stayed indoors in winter because of the cold, and in summer because of the heat. When one danced with them their bodies never moved inside their clothes; their muscles seemed to ask but one thing—not to be disturbed. I remember those girls merely as faces in the schoolroom, gay and rosy, or listless and dull, cut off below the shoulders, like cherubs, by the ink-smeared tops of the high desks that were surely put there to make us round-shouldered and hollow-chested. The daughters of Black Hawk merchants had a confident, uninquiring belief that they were “refined,” and that the country girls, who “worked out,” were not. The American farmers in our county were quite as hard-pressed as their neighbors from other countries. All alike had come to Nebraska with little capital and no knowledge of the soil they must subdue. All had borrowed money on their land. But no matter in what straits the Pennsylvanian or Virginian found himself, he would not let his daughters go out into service. Unless his girls could teach a country school, they sat at home in poverty. The Bohemian and Scandinavian girls could not get positions as teachers, because they had had no opportunity to learn the language. Determined to help in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.”<|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on</|quote|>“popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling had gone down to the cellar for beer. As he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. He looked out through the side door in time to see a pair of long legs vaulting over the picket fence. Ántonia was standing there, angry and excited. Young Harry Paine, who was to marry his employer’s daughter on Monday, had come to the tent with a crowd of friends and danced all evening. Afterward, he begged Ántonia to let him walk home with her. She said she supposed he was a nice young man, as he was one of Miss Frances’s friends, and she did n’t mind. On the back porch he tried to kiss her, and when she protested,—because he was going to be married on Monday,—he caught her and kissed her until she got one hand free and slapped him. Mr. Harling put his beer bottles down on the table. “This is what I’ve been expecting, Ántonia. You’ve been going with girls who have a reputation for being free and easy, and now you’ve got the same reputation. I won’t have this and that fellow tramping about my back yard all the time. This is the end of it, to-night. It stops, | of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.”<|quote|>I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on</|quote|>“popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men | My Antonia |
“popular nights,” | No speaker | be among the onlookers on<|quote|>“popular nights,”</|quote|>Sylvester stood back in the | or their friends happened to be among the onlookers on<|quote|>“popular nights,”</|quote|>Sylvester stood back in the shadow under the cottonwood trees, | who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on<|quote|>“popular nights,”</|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch | three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on<|quote|>“popular nights,”</|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and | his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on<|quote|>“popular nights,”</|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that | in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on<|quote|>“popular nights,”</|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first | in the struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on<|quote|>“popular nights,”</|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling had gone down to the cellar for beer. As he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. He looked out through the side door in time to see a pair of long legs vaulting over the picket fence. Ántonia was standing there, angry and excited. Young Harry Paine, who was to marry his employer’s daughter on Monday, had come to the tent with a crowd of friends and danced all evening. Afterward, he begged Ántonia to let him walk home with her. She said she supposed he was a nice young man, as he was one of Miss Frances’s friends, and she did n’t mind. On the back porch he tried to kiss her, and when she protested,—because he was going to be married on Monday,—he caught her and kissed her until she got one hand free and slapped him. Mr. Harling put his beer bottles down on the table. “This is what I’ve been expecting, Ántonia. You’ve been going with girls who have a reputation for being free and easy, and now you’ve got the same reputation. I won’t have this and that fellow tramping about my back yard all the time. This is the end of it, to-night. It stops, short. You | stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on<|quote|>“popular nights,”</|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said | My Antonia |
Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the | No speaker | the onlookers on “popular nights,”<|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the</|quote|>“hired girls.” She had lived | friends happened to be among the onlookers on “popular nights,”<|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the</|quote|>“hired girls.” She had lived in their house and yard | cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,”<|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the</|quote|>“hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best | were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,”<|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the</|quote|>“hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” | there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,”<|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the</|quote|>“hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. | short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,”<|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the</|quote|>“hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling had gone down to the cellar for beer. As he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. He looked out through the side door in time to see a pair of long legs vaulting over the picket fence. Ántonia was standing there, angry and excited. Young Harry Paine, who was to marry his employer’s daughter on Monday, had come to the tent with a crowd of friends and danced | struggle to clear the homestead from debt, they had no alternative but to go into service. Some of them, after they came to town, remained as serious and as discreet in behavior as they had been when they ploughed and herded on their father’s farm. Others, like the three Bohemian Marys, tried to make up for the years of youth they had lost. But every one of them did what she had set out to do, and sent home those hard-earned dollars. The girls I knew were always helping to pay for ploughs and reapers, brood-sows, or steers to fatten. One result of this family solidarity was that the foreign farmers in our county were the first to become prosperous. After the fathers were out of debt, the daughters married the sons of neighbors,—usually of like nationality,—and the girls who once worked in Black Hawk kitchens are to-day managing big farms and fine families of their own; their children are better off than the children of the town women they used to serve. I thought the attitude of the town people toward these girls very stupid. If I told my schoolmates that Lena Lingard’s grandfather was a clergyman, and much respected in Norway, they looked at me blankly. What did it matter? All foreigners were ignorant people who could n’t speak English. There was not a man in Black Hawk who had the intelligence or cultivation, much less the personal distinction, of Ántonia’s father. Yet people saw no difference between her and the three Marys; they were all Bohemians, all “hired girls.” I always knew I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,”<|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the</|quote|>“hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling had gone down to the cellar for beer. As he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. He looked out through the side door in time to see a pair of long legs vaulting over the picket fence. Ántonia was standing there, angry and excited. Young Harry Paine, who was to marry his employer’s daughter on Monday, had come to the tent with a crowd of friends and danced all evening. Afterward, he begged Ántonia to let him walk home with her. She said she supposed he was a nice young man, as he was one of Miss Frances’s friends, and she did n’t mind. On the back porch he tried to kiss her, and when she protested,—because he was going to be married on Monday,—he caught her and kissed her until she got one hand free and slapped him. Mr. Harling put his beer bottles down on the table. “This is what I’ve been expecting, Ántonia. You’ve been going with girls who have a reputation for being free and easy, and now you’ve got the same reputation. I won’t have this and that fellow tramping about my back yard all the time. This is the end of it, to-night. It stops, short. You can quit going to these dances, or you can hunt another place. Think it over.” The next morning when Mrs. Harling and Frances tried to reason with Ántonia, they found her agitated but determined. “Stop going to the tent?” she panted. “I would n’t think of it for a minute! My own father could n’t make me stop! Mr. Harling ain’t my boss outside my work. I won’t give up my friends, either. The boys I go with are nice fellows. I thought Mr. Paine was all right, too, because he used to come here. I guess I gave him a red face for his wedding, all right!” she blazed out indignantly. “You’ll have to do one thing or the other, Ántonia,” Mrs. Harling told her decidedly. “I can’t go back on what Mr. Harling has said. This is his house.” “Then I’ll just leave, Mrs. Harling. Lena’s been wanting me to get a place closer to her for a long while. Mary Svoboda’s going away from the Cutters’ to work at the hotel, and I can have her place.” Mrs. Harling rose from her chair. “Ántonia, if you go to the Cutters to work, you cannot come back to this house again. You know what that man is. It will be the ruin of you.” Tony snatched up the tea-kettle and began to pour boiling water over the glasses, laughing excitedly. “Oh, I can take care of myself! I’m a lot stronger than Cutter is. They pay four dollars there, and there’s no children. The work’s nothing; I can have every evening, and be | arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,”<|quote|>Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the</|quote|>“hired girls.” She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and | My Antonia |
“hired girls.” | No speaker | than as one of the<|quote|>“hired girls.”</|quote|>She had lived in their | a ward of the Harlings than as one of the<|quote|>“hired girls.”</|quote|>She had lived in their house and yard and garden; | to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the<|quote|>“hired girls.”</|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of | who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the<|quote|>“hired girls.”</|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked | to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the<|quote|>“hired girls.”</|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success | service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the<|quote|>“hired girls.”</|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling had gone down to the cellar for beer. As he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. He looked out through the side door in time to see a pair of long legs vaulting over the picket fence. Ántonia was standing there, angry and excited. Young Harry Paine, who was to marry his employer’s daughter on Monday, had come to the tent with a crowd of friends and danced all evening. | I should live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the<|quote|>“hired girls.”</|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling had gone down to the cellar for beer. As he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. He looked out through the side door in time to see a pair of long legs vaulting over the picket fence. Ántonia was standing there, angry and excited. Young Harry Paine, who was to marry his employer’s daughter on Monday, had come to the tent with a crowd of friends and danced all evening. Afterward, he begged Ántonia to let him walk home with her. She said she supposed he was a nice young man, as he was one of Miss Frances’s friends, and she did n’t mind. On the back porch he tried to kiss her, and when she protested,—because he was going to be married on Monday,—he caught her and kissed her until she got one hand free and slapped him. Mr. Harling put his beer bottles down on the table. “This is what I’ve been expecting, Ántonia. You’ve been going with girls who have a reputation for being free and easy, and now you’ve got the same reputation. I won’t have this and that fellow tramping about my back yard all the time. This is the end of it, to-night. It stops, short. You can quit going to these dances, or you can hunt another place. Think it over.” The next morning when Mrs. Harling and Frances tried to reason with Ántonia, they found her agitated but determined. “Stop going to the tent?” she panted. “I would n’t think of it for a minute! My own father could n’t make me stop! Mr. Harling ain’t my boss outside my work. I won’t give up my friends, either. The boys I go with are nice fellows. I thought Mr. Paine was all right, too, because he used to come here. I guess I gave him a red face for his wedding, all right!” she blazed out indignantly. “You’ll have to do one thing or the other, Ántonia,” Mrs. Harling told her decidedly. “I can’t go back on what Mr. Harling has said. This is his house.” “Then I’ll just leave, Mrs. Harling. Lena’s been wanting me to get a place closer to her for a long while. Mary Svoboda’s going away from the Cutters’ to work at the hotel, and I can have her place.” Mrs. Harling rose from her chair. “Ántonia, if you go to the Cutters to work, you cannot come back to this house again. You know what that man is. It will be the ruin of you.” Tony snatched up the tea-kettle and began to pour boiling water over the glasses, laughing excitedly. “Oh, I can take care of myself! I’m a lot stronger than Cutter is. They pay four dollars there, and there’s no children. The work’s nothing; I can have every evening, and be out a | get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the<|quote|>“hired girls.”</|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about “the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and | My Antonia |
She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about | No speaker | one of the “hired girls.”<|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about</|quote|>“the Harlings’ Tony” as they | of the Harlings than as one of the “hired girls.”<|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about</|quote|>“the Harlings’ Tony” as they did about “the Marshalls’ Anna” | at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.”<|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about</|quote|>“the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call | a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.”<|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about</|quote|>“the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were | her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.”<|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about</|quote|>“the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys | was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.”<|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about</|quote|>“the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling had gone down to the cellar for beer. As he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. He looked out through the side door in time to see a pair of long legs vaulting over the picket fence. Ántonia was standing there, angry and excited. Young Harry Paine, who was to marry his employer’s daughter on Monday, had come to the tent with a crowd of friends and danced all evening. Afterward, he begged Ántonia to let him walk home with her. She said she supposed he was a nice young man, as he was one of Miss Frances’s friends, and she did n’t mind. On the back porch he tried to kiss her, and when she protested,—because he was going to be married on Monday,—he caught her and kissed her until she got one hand free and slapped him. Mr. Harling put his beer bottles down on the table. “This is what I’ve been | live long enough to see my country girls come into their own, and I have. To-day the best that a harassed Black Hawk merchant can hope for is to sell provisions and farm machinery and automobiles to the rich farms where that first crop of stalwart Bohemian and Scandinavian girls are now the mistresses. The Black Hawk boys looked forward to marrying Black Hawk girls, and living in a brand-new little house with best chairs that must not be sat upon, and hand-painted china that must not be used. But sometimes a young fellow would look up from his ledger, or out through the grating of his father’s bank, and let his eyes follow Lena Lingard, as she passed the window with her slow, undulating walk, or Tiny Soderball, tripping by in her short skirt and striped stockings. The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background. But anxious mothers need have felt no alarm. They mistook the mettle of their sons. The respect for respectability was stronger than any desire in Black Hawk youth. Our young man of position was like the son of a royal house; the boy who swept out his office or drove his delivery wagon might frolic with the jolly country girls, but he himself must sit all evening in a plush parlor where conversation dragged so perceptibly that the father often came in and made blundering efforts to warm up the atmosphere. On his way home from his dull call, he would perhaps meet Tony and Lena, coming along the sidewalk whispering to each other, or the three Bohemian Marys in their long plush coats and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.”<|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about</|quote|>“the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling had gone down to the cellar for beer. As he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. He looked out through the side door in time to see a pair of long legs vaulting over the picket fence. Ántonia was standing there, angry and excited. Young Harry Paine, who was to marry his employer’s daughter on Monday, had come to the tent with a crowd of friends and danced all evening. Afterward, he begged Ántonia to let him walk home with her. She said she supposed he was a nice young man, as he was one of Miss Frances’s friends, and she did n’t mind. On the back porch he tried to kiss her, and when she protested,—because he was going to be married on Monday,—he caught her and kissed her until she got one hand free and slapped him. Mr. Harling put his beer bottles down on the table. “This is what I’ve been expecting, Ántonia. You’ve been going with girls who have a reputation for being free and easy, and now you’ve got the same reputation. I won’t have this and that fellow tramping about my back yard all the time. This is the end of it, to-night. It stops, short. You can quit going to these dances, or you can hunt another place. Think it over.” The next morning when Mrs. Harling and Frances tried to reason with Ántonia, they found her agitated but determined. “Stop going to the tent?” she panted. “I would n’t think of it for a minute! My own father could n’t make me stop! Mr. Harling ain’t my boss outside my work. I won’t give up my friends, either. The boys I go with are nice fellows. I thought Mr. Paine was all right, too, because he used to come here. I guess I gave him a red face for his wedding, all right!” she blazed out indignantly. “You’ll have to do one thing or the other, Ántonia,” Mrs. Harling told her decidedly. “I can’t go back on what Mr. Harling has said. This is his house.” “Then I’ll just leave, Mrs. Harling. Lena’s been wanting me to get a place closer to her for a long while. Mary Svoboda’s going away from the Cutters’ to work at the hotel, and I can have her place.” Mrs. Harling rose from her chair. “Ántonia, if you go to the Cutters to work, you cannot come back to this house again. You know what that man is. It will be the ruin of you.” Tony snatched up the tea-kettle and began to pour boiling water over the glasses, laughing excitedly. “Oh, I can take care of myself! I’m a lot stronger than Cutter is. They pay four dollars there, and there’s no children. The work’s nothing; I can have every evening, and be out a lot in the afternoons.” “I thought you liked children. Tony, what’s come over you?” “I don’t know, something has.” Ántonia tossed her head and set her jaw. “A girl like me has got to take her good times when she can. Maybe there won’t be any tent next year. I guess I want to have my fling, like the other girls.” Mrs. Harling gave a short, harsh laugh. “If you go to work for the Cutters, you’re likely to have a fling that you | and caps, comporting themselves with a dignity that only made their eventful histories the more piquant. If he went to the hotel to see a traveling man on business, there was Tiny, arching her shoulders at him like a kitten. If he went into the laundry to get his collars, there were the four Danish girls, smiling up from their ironing-boards, with their white throats and their pink cheeks. The three Marys were the heroines of a cycle of scandalous stories, which the old men were fond of relating as they sat about the cigar-stand in the drug-store. Mary Dusak had been housekeeper for a bachelor rancher from Boston, and after several years in his service she was forced to retire from the world for a short time. Later she came back to town to take the place of her friend, Mary Svoboda, who was similarly embarrassed. The three Marys were considered as dangerous as high explosives to have about the kitchen, yet they were such good cooks and such admirable housekeepers that they never had to look for a place. The Vannis’ tent brought the town boys and the country girls together on neutral ground. Sylvester Lovett, who was cashier in his father’s bank, always found his way to the tent on Saturday night. He took all the dances Lena Lingard would give him, and even grew bold enough to walk home with her. If his sisters or their friends happened to be among the onlookers on “popular nights,” Sylvester stood back in the shadow under the cottonwood trees, smoking and watching Lena with a harassed expression. Several times I stumbled upon him there in the dark, and I felt rather sorry for him. He reminded me of Ole Benson, who used to sit on the draw-side and watch Lena herd her cattle. Later in the summer, when Lena went home for a week to visit her mother, I heard from Ántonia that young Lovett drove all the way out there to see her, and took her buggy-riding. In my ingenuousness I hoped that Sylvester would marry Lena, and thus give all the country girls a better position in the town. Sylvester dallied about Lena until he began to make mistakes in his work; had to stay at the bank until after dark to make his books balance. He was daft about her, and every one knew it. To escape from his predicament he ran away with a widow six years older than himself, who owned a half-section. This remedy worked, apparently. He never looked at Lena again, nor lifted his eyes as he ceremoniously tipped his hat when he happened to meet her on the sidewalk. So that was what they were like, I thought, these white-handed, high-collared clerks and bookkeepers! I used to glare at young Lovett from a distance and only wished I had some way of showing my contempt for him. X IT was at the Vannis’ tent that Ántonia was discovered. Hitherto she had been looked upon more as a ward of the Harlings than as one of the “hired girls.”<|quote|>She had lived in their house and yard and garden; her thoughts never seemed to stray outside that little kingdom. But after the tent came to town she began to go about with Tiny and Lena and their friends. The Vannis often said that Ántonia was the best dancer of them all. I sometimes heard murmurs in the crowd outside the pavilion that Mrs. Harling would soon have her hands full with that girl. The young men began to joke with each other about</|quote|>“the Harlings’ Tony” as they did about “the Marshalls’ Anna” or “the Gardeners’ Tiny.” Ántonia talked and thought of nothing but the tent. She hummed the dance tunes all day. When supper was late, she hurried with her dishes, dropped and smashed them in her excitement. At the first call of the music, she became irresponsible. If she had n’t time to dress, she merely flung off her apron and shot out of the kitchen door. Sometimes I went with her; the moment the lighted tent came into view she would break into a run, like a boy. There were always partners waiting for her; she began to dance before she got her breath. Ántonia’s success at the tent had its consequences. The iceman lingered too long now, when he came into the covered porch to fill the refrigerator. The delivery boys hung about the kitchen when they brought the groceries. Young farmers who were in town for Saturday came tramping through the yard to the back door to engage dances, or to invite Tony to parties and picnics. Lena and Norwegian Anna dropped in to help her with her work, so that she could get away early. The boys who brought her home after the dances sometimes laughed at the back gate and wakened Mr. Harling from his first sleep. A crisis was inevitable. One Saturday night Mr. Harling | My Antonia |
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