Читать книгу Dorian - Nephi Anderson - Страница 5

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About six o'clock in the afternoon, Mildred Brown went down through the fields to the lower pasture. She wore a gingham apron which covered her from neck to high-topped boots. She carried in one hand an easel and stool and in the other hand a box of colors. Mildred came each day to a particular spot in this lower pasture and set up her easel and stool in the shade of a black willow bush to paint a particular scene. She did her work as nearly as possible at the same time each afternoon to get the same effect of light and shade and the same stretch of reflected sunlight on the open water spaces in the marshland.

And the scene before her was worthy of a master hand, which, of course, Mildred Brown was not as yet. From her position in the shade of the willow, she looked out over the flat marshlands toward the west. Nearby, at the edge of the firmer pasture lands, the rushes grew luxuriously, now crowned with large, glossy-brown "cat-tails." The flats to the left were spotted by beds of white and black saleratus and bunches of course salt grass. Openings of sluggish water lay hot in the sun, winding in and out among reeds, and at this hour every clear afternoon, shining with the undimmed reflection of the burning sun. The air was laden with salty odors of the marshes. A light afternoon haze hung over the distance. Frogs were lazily croaking, and the killdeer's shrill cry came plaintively to the ear. A number of cows stood knee-deep in mud and water, round as barrels, and breathing hard, with tails unceasingly switching away the flies.

Dorian was in the field turning the water on his lucerne patch when he saw Mildred coming as usual down the path. He had not expected her that afternoon as he thought the picture which she had been working on was finished; but after adjusting the flow of water, he joined her, relieving her of stool and easel. They then walked on together, the big farm boy in overalls and the tall graceful girl in the enveloping gingham.

Mildred's visit had now extended to ten days, by which time Dorian had about gotten over his timidity in her presence. In fact, that had not been difficult. The girl was not a bit "stuck up," and she entered easily and naturally into the home life on the farm. She had changed considerably since Dorian had last seen her, some two years ago. Her face was still pale, although it seemed that a little pink was now creeping into her cheeks; her eyes were still big and round and blue; her hair was now done up in thick shining braids. She talked freely to Dorian and his mother, and at last Dorian had to some extent been able to find his tongue in the presence of a girl nearly his own age.

The two stopped in the shade of the willow. He set up the easel and opened the stool, while she got out her colors and brushes.

"Thank you," she said to him. "Did you get through with your work in the field?"

"I was just turning the water on the lucerne. I got through shocking the wheat some time ago."

"Is there a good crop! I don't know much about such things, but I want to learn." She smiled up into his ruddy face.

"The wheat is fine. The heads are well developed. I wouldn't be surprised if it went fifty bushels to the acre."

"Fifty bushels?" She began to squeeze the tubes of colors on to the palette.

Dorian explained; and as he talked, she seated herself, placed the canvas on the easel, and began mixing the colors.

"I thought you finished that picture yesterday," he said.

"I was not satisfied with it, and so I thought I would put in another hour on it. The setting sun promises to be unusually fine today, and I want to put a little more of its beauty into my picture, if I can."

The young man seated himself on the grass well toward the rear where he could see her at work. He thought it wonderful to be able thus to make a beautiful picture out of such a commonplace thing as a saleratus swamp. But then, he was beginning to think that this girl was capable of endless wonders. He had met no other girl just like her, so young and so beautiful, and yet so talented and so well-informed; so rich, and yet so simple in manner of her life; so high born and bred, and yet so companionable with those of humbler station.

The painter squeezed a daub of brilliant red on to her palette. She gazed for a moment at the western sky, then turning to Dorian, she asked:

"Do you think I dare put a little more red in my picture?"

"Dare?" he repeated.

The young man followed the pointing finger of the girl into the flaming depths of the sky, then came and leaned carefully over the painting.

"Tell me which is redder, the real or the picture?" she asked.

Dorian looked critically back and forth. "The sky is redder," be decided.

"And yet if I make my picture as red as the sky naturally is, many people would say that it is too red to be true. I'll risk it anyway." Then she carefully laid on a little more color.

"Nature itself, our teacher told us, is always more intense than any representation of nature."

She worked on in silence for a few moments, then without looking from her canvas, she asked: "Do you like being a farmer?"

"Oh, I guess so," he replied somewhat indefinitely. "I've lived on a farm all my life, and I don't know anything else. I used to think I would like to get away, but mother always wanted to stay. There's been a lot of hard work for both of us, but now things are coming more our way, and I like it better. Anyway, I couldn't live in the city now."

"Why?"

"Well, I don't seem able to breathe in the city, with its smoke and its noise and its crowding together of houses and people."

"You ought to go to Chicago or New York or Boston," she replied. "Then you would see some crowds and hear some noises."

"Have you been there?"

"I studied drawing and painting in Boston. Next to farming, what would you like to do?"

He thought for a moment—"When I was a little fellow—"

"Which you are not," she interrupted as she changed brushes.

"I thought that if I ever could attain to the position of standing behind a counter in a store where I could take a piece of candy whenever I wanted it, I should have attained to the heights of happiness. But, now, of course—"

"Well, and now?"

"I believe I'd like to be a school teacher."

"Why a teacher?"

"Because I'd then have the chance to read a lot of books."

"You like to read, don't you? and you like candy, and you like pictures."

"Especially, when someone else paints them."

Mildred arose, stepped back to get the distance for examination. "I don't think I had better use more color," she commented, "but those cat-tails in the corner need touching up a bit."

"I suppose you have been to school a lot?" he asked.

"No; just completed the high school; then, not being very strong, mother thought it best not to send me to the University; but she lets me dabble a little in painting and in music."

Dorian could not keep his eyes off this girl who had already completed the high school course which he had not yet begun; besides, she had learned a lot of other things which would be beyond him to ever reach. Even though he were an ignoramus, he could bask in the light of her greater learning. She did not resent that.

"What do you study in High School!" he asked.

"Oh, a lot of things—don't you know?" She again looked up at him.

"Not exactly."

"We studied algebra and mathematics and English and English literature, and French, and a lot of other things."

"What's algebra like?"

"Oh dear, do you want me to draw it?"

"Can you draw it?"

"About as well as I can tell it in words. Algebra is higher mathematics; yes, that's it."

"And what's the difference between English and English literature?"

"English is grammar and how sentences are or should be made. English literature is made up mostly of the reading of the great authors, such as Milton and Shakespeare,"

"Gee!" exclaimed Dorian, "that would be great fun."

"Fun? just you try it. Nobody reads these writers now only in school, where they have to. But say, Dorian"—she arose to inspect her work again. "Have I too much purple in that bunch of salt-grass on the left? What do you think?"

"I don't see any purple at all in the real grass," he said.

"There is purple there, however; but of course, you, not being an artist, cannot see it." She laughed a little for fear he might think her pronouncement harsh.

"What—what is an artist?"

"An artist is one who has learned to see more than other people can in the common things about them."

The definition was not quite clear to him. He had proved that he could see farther and clearer than she could when looking at trees or chipmunks. He looked critically again at the picture.

"I mean, of course," she added, as she noted his puzzled look, "that an artist is one who sees in nature the beauty in form, in light and shade, and in color."

"You haven't put that tree in the right place," he objected! "and you have left out that house altogether."

"This is not a photograph," she answered. "I put in my picture only that which I want there. The tree isn't in the right place, so I moved it. The house has no business in the picture because I want it to represent a scene of wild, open lonesomeness. I want to make the people who look at it feel so lonesome that they want to cry!"

She was an odd girl!

"Oh, don't you understand. I want them only to feel like it. When you saw that charcoal drawing I made the other day, you laughed."

"Well, it was funny."

"That's just it. An artist wants to be able to make people feel like laughing or crying, for then he knows he has reached their soul."

"I've got to look after the water for a few minutes, then I'll come back and help you carry your things," he said. "You're about through, aren't you?"

"Thank you; I'll be ready now in a few minutes. Go see to your water.

I'll wait for you. How beautiful the west is now!"

They stood silently for a few moments side by side, looking at the glory of the setting sun through banks of clouds and then down behind the purple mountain. Then Dorian, with shovel on shoulder, hastened to his irrigating. The blossoming field of lucerne was usually a common enough sight, but now it was a stretch of sweet-scented waves of green and purple.

Mildred looked at the farmer boy until he disappeared behind the willow fence, then she began to pack up her things. Presently, she heard some low bellowing, and, looking up, she saw a number of cows, with tails erect, galloping across the fields. They had broken the fence, and were now having a gay frolic on forbidden grounds. Mildred saw that they were making directly for the corner of the pasture where she was. She was afraid of cows, even when they were within the quiet enclosure of the yard, and here was a wild lot apparently coming upon her to destroy her. She crouched, terror stricken, as if to take shelter behind the frail bulwark of her easel.

Then she saw a horse leap through the gap in the fence and come galloping after the cows. On the horse was a girl, not a large girl, but she was riding fearlessly, bare-back, and urging the horse to greater strides. Her black hair was trailing in the wind as she waved a willow switch and shouted lustily at the cows. She managed to head the cows off before they had reached Mildred, rounding them up sharply and driving them back through the breach into the road which they followed quietly homeward. The rider then galloped back to the frightened girl.

"Did the cows scare you?" she asked.

"Yes," panted Mildred. "I'm so frightened of cows, and these were so wild."

"They were just playing. They wouldn't hurt you; but they did look fierce."

"Whose cows were they?"

"They're ours. I have to get them up every day. Sometimes when the flies are bad they get a little mad, but I'm not afraid of them. They know me, you bet. I can milk the kickiest one of the lot."

"Do you milk the cows?"

"Sure—but what is that?" The rider had caught sight of the picture.

"Did you make that?"

"Yes; I painted it."

"My!" She dismounted, and with arm through bridle, she and the horse came up for a closer view of the picture. The girl looked at it mutely for a moment. "It's pretty" she said; "I wish I could make a picture like that."

Mildred smiled at her. She was such a round, rosy girl, so full of health and life and color. Not such a little girl either, now a nearer view was obtained. She was only a year or two younger than Mildred herself.

"I wish I could do what you can," said the painter of pictures.

"I—what? I can't do anything like that."

"No; but you can ride a horse, and stop runaway cows. You can do a lot of things that I cannot do because you are stronger than I am. I wish I had some of that rosy red in your cheeks."

"You can have some of mine," laughed the other, "for I have more than enough; but you wouldn't like the freckles."

"I wouldn't mind them, I'm sure; but let me thank you for what you did, and let's get acquainted." Mildred held out her hand, which the other took somewhat shyly. "Don't you have to go home with your cows?"

"Yes, I guess so."

"Then we'll go back together." She gathered her material and they walked on up the path, Mildred ahead, for she was timid of the horse which the other led by the bridle rein. At the bars in the corner of the upper pasture the horse was turned loose into his own feeding ground, and the girls went on together.

"You live near here, don't you?" inquired Mildred.

"Yes, just over there."

"Oh, are you Carlia Duke?"

"Yes; how did you know?"

"Dorian has told me about you."

"Has he? We're neighbors; an' you're the girl that's visiting with the

Trent's?"

"Yes."

"Well, I'm glad to meet you. Dorian has told me about you, too."

Thus these two, meeting for the first time, went on chatting together; and thus Dorian saw them. He had missed Mildred at the lower pasture, and so, with shovel again on shoulder, he had followed up the homeward path. The girls were some distance ahead, so he did not try to overtake them. In fact, he slackened his pace a little, so as not to get too close to them to disturb them; but he saw them plainly walk close together up the road in the twilight of the summer evening, the tall, light-haired Mildred, and the shorter, dark-haired Carlia; and the child in Dorian seemed to vanish, and the man in him asserted himself in thought and feelings which it would have been hard for him to describe in words.