seats itself there, and looks down upon its impotent pursuer with a nonchalant defiance—at intervals more emphatically expressing the sentiment by a saucy jerk of its tail. But this false security proves the squirrel’s ruin. Deceived by it, the silly animal makes no effort to conceal its body behind the branch; but, sitting upright in a fork, presents a fair mark to the rifle. The girl raises the piece to her shoulder, takes aim, and fires.
The shot tells; and the tiny victim, hurled from its high perch—after making several somersaults in the air—falls right into the jaws of that hungry savage at the bottom of the tree. Wolf makes his breakfast upon the squirrel.
This young Diana of the backwoods appears in no way astonished at the feat she has performed; nor yet Lilian. Doubtless, it is an everyday deed.
“You must learn to shoot, Lil.”
“O sister, for what purpose? You know I have neither the taste for it, nor the skill that you have.”
“The skill you will acquire by practice. It worth knowing how, I can assure you. Besides it is an accomplishment one might stand in need of some day. Why, do you know, sister, in the times of the Indians, every girl understood how to handle a rifle—so father says. True, the fighting Indians are gone away from here; but what if you were to meet a great hear in the woods?”
“Surely I should run away from him.”
“And surely I shouldn’t, Lil. I have never met a bear, but I’d just like to try one.”
“Dear sister, you frighten me. Oh, do not think of such a thing! Indeed, Marian, I am never happy when you are away in the woods. I am always afraid of your meeting with some great wild beast, which may devour you. Tell me, why do you go? I am sure I cannot see what pleasure you can have in wandering through the woods alone.”
“Alone! Perhaps I am not always alone.”
These words are uttered in a low voice—not loud enough for Lilian to hear, though she observes the smile that accompanies them.
“You see, sister Lil,” continues Marian in a louder tone our tastes differ. You are young, and like better to read the story-books your mother left you, and look at the pictures in them. My mother left me no story-books, nor pictures. She had none; and did not care for them, I fancy. She was half-Indian, you know; and I suppose I am like her: for I too, prefer realities to pictures. I love to roam about the woods; and as for the danger—pooh, pooh—I have no fear of that. I fear neither bear nor panther, nor any other quadruped. Ha! I have more fear of a two-legged creature I know of; and I should be in greater danger of meeting with that dreaded biped by staying at home?
The speech appears to give rise to a train of reflections in which there is bitterness. The heroine of the rifle remains silent while in the act of reloading; and the tinge of melancholy that pervades her countenance tells that her thoughts are abstracted. While priming the piece, she is even maladroit enough to spill a quantity of the powder—though evidently not from any lack of practice or dexterity.
Lilian has heard the concluding words of her sister’s speech with some surprise, and also noticed the abstracted air. She is about to ask for an explanation, when the dialogue is interrupted. Wolf rushes past with a fierce growl: some one approaches the clearing.
A horseman—a man of about thirty years of age, of spare form and somewhat sinister aspect—a face to be hated on sight. And at sight of it the shadow deepens on the brow of Marian. Her sister exhibits no particular emotion. The new-comer is no stranger: it is only Josh Stebbins, the schoolmaster of Swampville. He is their father’s friend, and comes often to visit them: moreover, he is that day expected, as Lilian knows. Only in one way does she show any interest in his arrival; and that is, on observing that he is better dressed than usual. The cut of his dress too, is different.
“See, sister Marian!” cries she in a tone of raillery, “how fine Mister Josh is! black coat and waistcoat: a standing collar too! Why, he is exactly like the Methody minister of Swampville! Perhaps he has turned one. I shouldn’t wonder: for they say he is very learnt. Oh, if that be, we may hear him preach at the next camp-meeting. How I should like to hear him hold forth!—ha, ha, ha!”
The young creature laughs heartily at her own fantastic conceits; and her clear silvery voice for a moment silences the birds—as if they paused to listen to a music more melodious than their own. The mock-bird echoes back the laugh: but not so Marian. She has observed the novelty as well as her sister; but it appears to impress her in a very different manner. She does not even smile at the approach of the stranger; but, on the contrary, the cloud upon her brow becomes a shade darker.
Marian is some years older than her sister—old enough to know that there is evil in the world: for neither is the “backwoods” the home of an Arcadian innocence. She knows the schoolmaster sufficiently to dislike him; and, judging by his appearance, one might give her credit for having formed a correct estimate of his character. She suspects the object of his visit; more than that, she knows it: she is herself its object. With indifferent grace, therefore, does she receive him: scarcely concealing her aversion as she bids him the customary welcome. Without being gifted with any very acute perception, the new-comer might observe this dégout on the part of the young girl. He takes no notice of it however—either by word, or the movement of a feature. On the contrary, he appears perfectly indifferent to the character of the reception given him. Not that his manner betrays anything like swagger—for he is evidently not one of the swaggering sort. Rather is his behaviour characterised by a cool, quiet effrontery—a sort of sarcastic assurance—ten times more irritating. This is displayed in the laconic style of his salutation: “Morning girls! father at home?”—in the fact of his dismounting without waiting to be invited—in sharply scolding the dog out of his way as he leads his horse to the shed; and, finally, in his throwing the saddle-bags over his arm, and stepping inside the cabin-door, with the air of one who is not only master of the house, but of the “situation.”
Inside the door he is received by the squatter himself; and in the exchange of salutations, even a casual observer might note a remarkable difference in the manner of the two men; the guest cool, cynical, confident—the host agitated, with eye unsteady, and heart evidently ill at ease. There is a strange significance in the salutation, as also in the little incident that follows. Before a dozen words have passed between the two men, the schoolmaster turns quietly upon his heel, and closes the door behind him—the squatter making no objection to the act, either by word or gesture! The incident may appear of trifling importance; but not so to Marian, who stands near, watching every movement, and listening to every word. Why is the door closed, and by Josh Stebbins?—that rude door, that, throughout the long summer-day, is accustomed to hang open on its raw-hide hinges? All day, and often all night—except during the cold wintry winds, or when rain-storms blow from the west? Why is it now closed, and thus unceremoniously? No wonder that Marian attaches a significance to the act.
Neither has she failed to note the agitated mien of her father while receiving his visitor—that father, at all other times, and in the presence of all other people, so bold, fierce, and impassible! She observes all this with a feeling of pain. For such strange conduct there must be a cause, and a serious one: that is her reflection.
The young girl stands for some moments in the attitude she has assumed. Her sister has gone aside to pluck some flowers growing by the bank of the stream, and Marian is now alone. Her eye is bent upon the door; and she appears to hesitate between two thoughts. Shall she approach and listen? She knows a little—she desires to know more.
She has not merely conjectured the object of the schoolmaster’s visit; she is certain it concerns herself. It is not simply that which troubles her spirits.
