with short story and poem, almost no illustration. I had a treasure house in the school books of my elders, especially the McGuffey series of Readers from One to Six. For pictures I was driven to the Bible, dictionary, historical works read by my father, agricultural papers, and medical books about cattle and sheep.
"Near the time of my mother's passing we moved from Hopewell to the city of Wabash in order that she might have constant medical attention, and the younger children better opportunities for schooling. Here we had magazines and more books in which I was interested. The one volume in which my heart was enwrapt was a collection of masterpieces of fiction belonging to my eldest sister. It contained 'Paul and Virginia,' 'Undine,' 'Picciola,' 'The Vicar of Wakefield,' 'Pilgrim's Progress,' and several others I soon learned by heart, and the reading and rereading of those exquisitely expressed and conceived stories may have done much in forming high conceptions of what really constitutes literature and in furthering the lofty ideals instilled by my parents. One of these stories formed the basis of my first publicly recognized literary effort."
Reared by people who constantly pointed out every natural beauty, using it wherever possible to drive home a precept, the child lived out-of-doors with the wild almost entirely. If she reported promptly three times a day when the bell rang at meal time, with enough clothing to constitute a decent covering, nothing more was asked until the Sabbath. To be taken from such freedom, her feet shod, her body restricted by as much clothing as ever had been worn on Sunday, shut up in a schoolroom, and set to droning over books, most of which she detested, was the worst punishment ever inflicted upon her she declares. She hated mathematics in any form and spent all her time on natural science, language, and literature. "Friday afternoon," writes Mrs. Porter, "was always taken up with an exercise called 'rhetoricals,' a misnomer as a rule, but let that pass. Each week pupils of one of the four years furnished entertainment for the assembled high school and faculty. Our subjects were always assigned, and we cordially disliked them. This particular day I was to have a paper on 'Mathematical Law.'
"I put off the work until my paper had been called for several times, and so came to Thursday night with excuses and not a line. I was told to bring my work the next morning without fail. I went home in hot anger. Why in all this beautiful world, would they not allow me to do something I could do, and let any one of four members of my class who revelled in mathematics do my subject? That evening I was distracted. 'I can't do a paper on mathematics, and I won't!' I said stoutly; 'but I'll do such a paper on a subject I can write about as will open their foolish eyes and make them see how wrong they are.'"
Before me on the table lay the book I loved, the most wonderful story in which was 'Picciola' by Saintine. Instantly I began to write. Breathlessly I wrote for hours. I exceeded our limit ten times over. The poor Italian Count, the victim of political offences, shut by Napoleon from the wonderful grounds, mansion, and life that were his, restricted to the bare prison walls of Fenestrella, deprived of books and writing material, his one interest in life became a sprout of green, sprung, no doubt, from a seed dropped by a passing bird, between the stone flagging of the prison yard before his window. With him I had watched over it through all the years since I first had access to the book; with him I had prayed for it. I had broken into a cold sweat of fear when the jailer first menaced it; I had hated the wind that bent it roughly, and implored the sun. I had sung a paean of joy at its budding, and worshipped in awe before its thirty perfect blossoms. The Count had named it 'Picciola'--the little one--to me also it was a personal possession. That night we lived the life of our 'little one' over again, the Count and I, and never were our anxieties and our joys more poignant.
"Next morning," says Mrs. Porter, "I dared my crowd to see how long they could remain on the grounds, and yet reach the assembly room before the last toll of the bell. This scheme worked. Coming in so late the principal opened exercises without remembering my paper. Again, at noon, I was as late as I dared be, and I escaped until near the close of the exercises, through which I sat in cold fear. When my name was reached at last the principal looked at me inquiringly and then announced my inspiring mathematical subject. I arose, walked to the front, and made my best bow. Then I said: 'I waited until yesterday because I knew absolutely nothing about my subject'--the audience laughed--'and I could find nothing either here or in the library at home, so last night I reviewed Saintine's masterpiece, "Picciola."'
"Then instantly I began to read. I was almost paralyzed at my audacity, and with each word I expected to hear a terse little interruption. Imagine my amazement when I heard at the end of the first page: 'Wait a minute!' Of course I waited, and the principal left the room. A moment later she reappeared accompanied by the superintendent of the city schools. 'Begin again,' she said. 'Take your time.'
"I was too amazed to speak. Then thought came in a rush. My paper was good. It was as good as I had believed it. It was better than I had known. I did go on! We took that assembly room and the corps of teachers into our confidence, the Count and I, and told them all that was in our hearts about a little flower that sprang between the paving stones of a prison yard. The Count and I were free spirits. From the book I had learned that. He got into political trouble through it, and I had got into mathematical trouble, and we told our troubles. One instant the room was in laughter, the next the boys bowed their heads, and the girls who had forgotten their handkerchiefs cried in their aprons. For almost sixteen big foolscap pages I held them, and I was eager to go on and tell them more about it when I reached the last line. Never again was a subject forced upon me."
After this incident of her schooldays, what had been inclination before was aroused to determination and the child neglected her lessons to write. A volume of crude verse fashioned after the metre of Meredith's "Lucile," a romantic book in rhyme, and two novels were the fruits of this youthful ardour. Through the sickness and death of a sister, the author missed the last three months of school, but, she remarks, "unlike my schoolmates, I studied harder after leaving school than ever before and in a manner that did me real good. The most that can be said of what education I have is that it is the very best kind in the world for me; the only possible kind that would not ruin a person of my inclinations. The others of my family had been to college; I always have been too thankful for words that circumstances intervened which saved my brain from being run through a groove in company with dozens of others of widely different tastes and mentality. What small measure of success I have had has come through preserving my individual point of view, method of expression, and following in after life the Spartan regulations of my girlhood home. Whatever I have been able to do, has been done through the line of education my father saw fit to give me, and through his and my mother's methods of rearing me.
"My mother went out too soon to know, and my father never saw one of the books; but he knew I was boiling and bubbling like a yeast jar in July over some literary work, and if I timidly slipped to him with a composition, or a faulty poem, he saw good in it, and made suggestions for its betterment. When I wanted to express something in colour, he went to an artist, sketched a design for an easel, personally superintended the carpenter who built it, and provided tuition. On that same easel I painted the water colours for 'Moths of the Limberlost,' and one of the most poignant regrets of my life is that he was not there to see them, and to know that the easel which he built through his faith in me was finally used in illustrating a book.
"If I thought it was music through which I could express myself, he paid for lessons and detected hidden ability that should be developed. Through the days of struggle he stood fast; firm in his belief in me. He was half the battle. It was he who demanded a physical standard that developed strength to endure the rigours of scientific field and darkroom work, and the building of ten books in ten years, five of which were on nature subjects, having my own illustrations, and five novels, literally teeming with natural history, true to nature. It was he who demanded of me from birth the finishing of any task I attempted and who taught me to cultivate patience to watch and wait, even years, if necessary, to find and secure material I wanted. It was he who daily lived before me the life of exactly such a man as I portrayed in 'The Harvester,' and who constantly used every atom
