No More Learning

This he sat listening to till she gave judgment.
"On father's side, it seems, we're--let me see----"
"Don't be too technical. --You have three cards. "
"Four cards, one yours, three mine, one for each branch
Of the Stark family I'm a member of. "
"D'you know a person so related to herself
Is supposed to be mad. "
"I may be mad. "
"You look so, sitting out here in the rain
Studying genealogy with me
You never saw before. What will we come to
With all this pride of ancestry, we Yankees?
I think we're all mad. Tell me why we're here
Drawn into town about this cellar hole
Like wild geese on a lake before a storm?
What do we see in such a hole, I wonder. "
"The Indians had a myth of Chicamoztoc,
Which means The Seven Caves that We Came out of.
This is the pit from which we Starks were digged. "
"You must be learned. That's what you see in it? "
"And what do you see? "
"Yes, what do I see?
First let me look. I see raspberry vines----"
"Oh, if you're going to use your eyes, just hear
What I see. It's a little, little boy,
As pale and dim as a match flame in the sun;
He's groping in the cellar after jam,
He thinks it's dark and it's flooded with daylight. "
"He's nothing. Listen. When I lean like this
I can make out old Grandsir Stark distinctly,--
With his pipe in his mouth and his brown jug--
Bless you, it isn't Grandsir Stark, it's Granny,
But the pipe's there and smoking and the jug.
She's after cider, the old girl, she's thirsty;
Here's hoping she gets her drink and gets out safely. "
"Tell me about her. Does she look like me? "
"She should, shouldn't she, you're so many times
Over descended from her. I believe
She does look like you. Stay the way you are.
The nose is just the same, and so's the chin--
Making allowance, making due allowance. "
"You poor, dear, great, great, great, great Granny! "
"See that you get her greatness right. Don't stint her. "
"Yes, it's important, though you think it isn't.
I won't be teased. But see how wet I am. "
"Yes, you must go; we can't stay here for ever.
But wait until I give you a hand up.
A bead of silver water more or less
Strung on your hair won't hurt your summer looks.
I wanted to try something with the noise
That the brook raises in the empty valley.
We have seen visions--now consult the voices.
Something I must have learned riding in trains
When I was young. I used the roar
To set the voices speaking out of it,
Speaking or singing, and the band-music playing.
Perhaps you have the art of what I mean.
I've never listened in among the sounds
That a brook makes in such a wild descent.
It ought to give a purer oracle. "
"It's as you throw a picture on a screen:
The meaning of it all is out of you;
The voices give you what you wish to hear. "
"Strangely, it's anything they wish to give. "
"Then I don't know. It must be strange enough.
I wonder if it's not your make-believe.
What do you think you're like to hear to-day? "
"From the sense of our having been together--
But why take time for what I'm like to hear?
I'll tell you what the voices really say.
You will do very well right where you are
A little longer. I mustn't feel too hurried,
Or I can't give myself to hear the voices. "
"Is this some trance you are withdrawing into? "
"You must be very still; you mustn't talk. "
"I'll hardly breathe. "
"The voices seem to say----"
"I'm waiting. "
"Don't! The voices seem to say:
Call her Nausicaa, the unafraid
Of an acquaintance made adventurously. "
"I let you say that--on consideration. "
"I don't see very well how you can help it.
You want the truth. I speak but by the voices.
You see they know I haven't had your name,
Though what a name should matter between us----"
"I shall suspect----"
"Be good. The voices say:
Call her Nausicaa, and take a timber
That you shall find lies in the cellar charred
Among the raspberries, and hew and shape it
For a door-sill or other corner piece
In a new cottage on the ancient spot.
The life is not yet all gone out of it.
And come and make your summer dwelling here,
And perhaps she will come, still unafraid,
And sit before you in the open door
With flowers in her lap until they fade,
But not come in across the sacred sill----"
"I wonder where your oracle is tending.
You can see that there's something wrong with it,
Or it would speak in dialect. Whose voice
Does it purport to speak in? Not old Grandsir's
Nor Granny's, surely. Call up one of them.
They have best right to be heard in this place. "
"You seem so partial to our great-grandmother
(Nine times removed. Correct me if I err. )
You will be likely to regard as sacred
Anything she may say. But let me warn you,
Folks in her day were given to plain speaking.
You think you'd best tempt her at such a time? "
"It rests with us always to cut her off. "
"Well then, it's Granny speaking: 'I dunnow!
Mebbe I'm wrong to take it as I do.
There ain't no names quite like the old ones though,
Nor never will be to my way of thinking.
One mustn't bear too hard on the new comers,
But there's a dite too many of them for comfort.
I should feel easier if I could see
More of the salt wherewith they're to be salted.
Son, you do as you're told! You take the timber--
It's as sound as the day when it was cut--
And begin over----' There, she'd better stop.
You can see what is troubling Granny, though.
But don't you think we sometimes make too much
Of the old stock? What counts is the ideals,
And those will bear some keeping still about. "
"I can see we are going to be good friends. "
"I like your 'going to be. ' You said just now
It's going to rain. "
"I know, and it was raining.
I let you say all that. But I must go now. "
"You let me say it? on consideration?
How shall we say good-bye in such a case? "
"How shall we? "
"Will you leave the way to me? "
"No, I don't trust your eyes. You've said enough.
Now give me your hand up. --Pick me that flower. "
"Where shall we meet again? "
"Nowhere but here
Once more before we meet elsewhere. "
"In rain? "
"It ought to be in rain. Sometime in rain.
In rain to-morrow, shall we, if it rains?
But if we must, in sunshine. " So she went.




The Housekeeper

I LET myself in at the kitchen door.
"It's you," she said. "I can't get up. Forgive me
Not answering your knock. I can no more
Let people in than I can keep them out.
I'm getting too old for my size, I tell them.
My fingers are about all I've the use of
So's to take any comfort. I can sew:
I help out with this beadwork what I can. "
"That's a smart pair of pumps you're beading there.
Who are they for? "
"You mean? --oh, for some miss.
I can't keep track of other people's daughters.
Lord, if I were to dream of everyone
Whose shoes I primped to dance in! "
"And where's John? "
"Haven't you seen him? Strange what set you off
To come to his house when he's gone to yours.
You can't have passed each other. I know what:
He must have changed his mind and gone to Garlands.
He won't be long in that case. You can wait.
Though what good you can be, or anyone--
It's gone so far. You've heard? Estelle's run off. "
"Yes, what's it all about? When did she go? "
"Two weeks since. "
"She's in earnest, it appears. "
"I'm sure she won't come back. She's hiding somewhere.
I don't know where myself. John thinks I do.
He thinks I only have to say the word,
And she'll come back. But, bless you, I'm her mother--
I can't talk to her, and, Lord, if I could! "
"It will go hard with John. What will he do?
He can't find anyone to take her place. "
"Oh, if you ask me that, what will he do?
He gets some sort of bakeshop meals together,
With me to sit and tell him everything,
What's wanted and how much and where it is.
But when I'm gone--of course I can't stay here:
Estelle's to take me when she's settled down.
He and I only hinder one another.
I tell them they can't get me through the door, though:
I've been built in here like a big church organ.
We've been here fifteen years. "
"That's a long time
To live together and then pull apart.
How do you see him living when you're gone?
Two of you out will leave an empty house. "
"I don't just see him living many years,
Left here with nothing but the furniture.
I hate to think of the old place when we're gone,
With the brook going by below the yard,
And no one here but hens blowing about.
If he could sell the place, but then, he can't:
No one will ever live on it again.
It's too run down. This is the last of it.
What I think he will do, is let things smash.
He'll sort of swear the time away. He's awful!
I never saw a man let family troubles
Make so much difference in his man's affairs.
He's just dropped everything. He's like a child.
I blame his being brought up by his mother.
He's got hay down that's been rained on three times.
He hoed a little yesterday for me:
I thought the growing things would do him good.
Something went wrong. I saw him throw the hoe
Sky-high with both hands. I can see it now--
Come here--I'll show you--in that apple tree.
That's no way for a man to do at his age:
He's fifty-five, you know, if he's a day. "
"Aren't you afraid of him? What's that gun for? "
"Oh, that's been there for hawks since chicken-time.
John Hall touch me! Not if he knows his friends.
I'll say that for him, John's no threatener
Like some men folk. No one's afraid of him;
All is, he's made up his mind not to stand
What he has got to stand. "
"Where is Estelle?
Couldn't one talk to her? What does she say?
You say you don't know where she is. "
"Nor want to!
She thinks if it was bad to live with him,
It must be right to leave him. "
"Which is wrong! "
"Yes, but he should have married her. "
"I know. "
"The strain's been too much for her all these years:
I can't explain it any other way.
It's different with a man, at least with John:
He knows he's kinder than the run of men.
Better than married ought to be as good
As married--that's what he has always said.
I know the way he's felt--but all the same! "
"I wonder why he doesn't marry her
And end it. "
"Too late now: she wouldn't have him.
He's given her time to think of something else.
That's his mistake. The dear knows my interest
Has been to keep the thing from breaking up.
This is a good home: I don't ask for better.
But when I've said, 'Why shouldn't they be married,'
He'd say, 'Why should they? ' no more words than that. "
"And after all why should they? John's been fair
I take it. What was his was always hers.
There was no quarrel about property. "
"Reason enough, there was no property.
A friend or two as good as own the farm,
Such as it is. It isn't worth the mortgage. "
"I mean Estelle has always held the purse. "
"The rights of that are harder to get at.
I guess Estelle and I have filled the purse.
'Twas we let him have money, not he us.
John's a bad farmer. I'm not blaming him.
Take it year in, year out, he doesn't make much.
We came here for a home for me, you know,
Estelle to do the housework for the board
Of both of us. But look how it turns out:
She seems to have the housework, and besides,
Half of the outdoor work, though as for that,
He'd say she does it more because she likes it.
You see our pretty things are all outdoors.
Our hens and cows and pigs are always better
Than folks like us have any business with.
Farmers around twice as well off as we
Haven't as good. They don't go with the farm.
One thing you can't help liking about John,
He's fond of nice things--too fond, some would say.
But Estelle don't complain: she's like him there.
She wants our hens to be the best there are.
You never saw this room before a show,
Full of lank, shivery, half-drowned birds
In separate coops, having their plumage done.
The smell of the wet feathers in the heat!
You spoke of John's not being safe to stay with.
You don't know what a gentle lot we are:
We wouldn't hurt a hen! You ought to see us
Moving a flock of hens from place to place.
We're not allowed to take them upside down,
All we can hold together by the legs.
Two at a time's the rule, one on each arm,
No matter how far and how many times
We have to go. "
"You mean that's John's idea. "
"And we live up to it; or I don't know
What childishness he wouldn't give way to.
He manages to keep the upper hand
On his own farm. He's boss. But as to hens:
We fence our flowers in and the hens range.
Nothing's too good for them. We say it pays.
John likes to tell the offers he has had,
Twenty for this cock, twenty-five for that.
He never takes the money. If they're worth
That much to sell, they're worth as much to keep.
Bless you, it's all expense, though. Reach me down
The little tin box on the cupboard shelf,
The upper shelf, the tin box. That's the one.
I'll show you. Here you are. "
"What's this? "
"A bill--
For fifty dollars for one Langshang cock--
Receipted. And the cock is in the yard. "
"Not in a glass case, then? "
"He'd need a tall one:
He can eat off a barrel from the ground.
He's been in a glass case, as you may say,
The Crystal Palace, London. He's imported.
John bought him, and we paid the bill with beads--
Wampum, I call it. Mind, we don't complain.
But you see, don't you, we take care of him. "
"And like it, too. It makes it all the worse. "
"It seems as if. And that's not all: he's helpless
In ways that I can hardly tell you of.
Sometimes he gets possessed to keep accounts
To see where all the money goes so fast.
You know how men will be ridiculous.
But it's just fun the way he gets bedeviled--
If he's untidy now, what will he be----?
"It makes it all the worse. You must be blind. "
"Estelle's the one. You needn't talk to me. "
"Can't you and I get to the root of it?
What's the real trouble? What will satisfy her? "
"It's as I say: she's turned from him, that's all. "
"But why, when she's well off? Is it the neighbours,
Being cut off from friends? "
"We have our friends.
That isn't it. Folks aren't afraid of us. "
"She's let it worry her. You stood the strain,
And you're her mother. "
"But I didn't always.
I didn't relish it along at first.
But I got wonted to it. And besides--
John said I was too old to have grandchildren.
But what's the use of talking when it's done?
She won't come back--it's worse than that--she can't. "
"Why do you speak like that? What do you know?
What do you mean? --she's done harm to herself? "
"I mean she's married--married someone else. "
"Oho, oho! "
"You don't believe me. "
"Yes, I do,
Only too well. I knew there must be something!
So that was what was back. She's bad, that's all! "
"Bad to get married when she had the chance? "
"Nonsense! See what's she done! But who, who----"
"Who'd marry her straight out of such a mess?
Say it right out--no matter for her mother.
The man was found. I'd better name no names.
John himself won't imagine who he is. "
"Then it's all up. I think I'll get away.
You'll be expecting John. I pity Estelle;
I suppose she deserves some pity, too.
You ought to have the kitchen to yourself
To break it to him. You may have the job. "
"You needn't think you're going to get away.
John's almost here. I've had my eye on someone
Coming down Ryan's Hill. I thought 'twas him.
Here he is now. This box! Put it away.
And this bill. "
"What's the hurry? He'll unhitch. "
"No, he won't, either. He'll just drop the reins
And turn Doll out to pasture, rig and all.
She won't get far before the wheels hang up
On something--there's no harm. See, there he is!
My, but he looks as if he must have heard! "
John threw the door wide but he didn't enter.
"How are you, neighbour? Just the man I'm after.
Isn't it Hell," he said. "I want to know.
Come out here if you want to hear me talk.
I'll talk to you, old woman, afterward.
I've got some news that maybe isn't news.
What are they trying to do to me, these two? "
"Do go along with him and stop his shouting. "
She raised her voice against the closing door:
"Who wants to hear your news, you--dreadful fool? "




The Fear

A LANTERN light from deeper in the barn
Shone on a man and woman in the door
And threw their lurching shadows on a house
Near by, all dark in every glossy window.
A horse's hoof pawed once the hollow floor,
And the back of the gig they stood beside
Moved in a little. The man grasped a wheel,
The woman spoke out sharply, "Whoa, stand still! "
"I saw it just as plain as a white plate,"
She said, "as the light on the dashboard ran
Along the bushes at the roadside--a man's face.
You must have seen it too. "
"I didn't see it.
Are you sure----"
"Yes, I'm sure! "
"--it was a face? "
"Joel, I'll have to look. I can't go in,
I can't, and leave a thing like that unsettled.
Doors locked and curtains drawn will make no difference.
I always have felt strange when we came home
To the dark house after so long an absence,
And the key rattled loudly into place
Seemed to warn someone to be getting out
At one door as we entered at another.
What if I'm right, and someone all the time--
Don't hold my arm! "
"I say it's someone passing. "
"You speak as if this were a travelled road.
You forget where we are. What is beyond
That he'd be going to or coming from
At such an hour of night, and on foot too.
What was he standing still for in the bushes? "
"It's not so very late--it's only dark.
There's more in it than you're inclined to say.
Did he look like----? "
"He looked like anyone.
I'll never rest to-night unless I know.
Give me the lantern. "
"You don't want the lantern. "
She pushed past him and got it for herself.
"You're not to come," she said. "This is my business.
If the time's come to face it, I'm the one
To put it the right way. He'd never dare--
Listen! He kicked a stone. Hear that, hear that!
He's coming towards us. Joel, go in--please.
Hark! --I don't hear him now. But please go in. "
"In the first place you can't make me believe it's----"
"It is--or someone else he's sent to watch.
And now's the time to have it out with him
While we know definitely where he is.
Let him get off and he'll be everywhere
Around us, looking out of trees and bushes
Till I sha'n't dare to set a foot outdoors.
And I can't stand it. Joel, let me go! "
"But it's nonsense to think he'd care enough. "
"You mean you couldn't understand his caring.
Oh, but you see he hadn't had enough--
Joel, I won't--I won't--I promise you.
We mustn't say hard things. You mustn't either. "
"I'll be the one, if anybody goes!
But you give him the advantage with this light.
What couldn't he do to us standing here!
And if to see was what he wanted, why
He has seen all there was to see and gone. "
He appeared to forget to keep his hold,
But advanced with her as she crossed the grass.
"What do you want? " she cried to all the dark.
She stretched up tall to overlook the light
That hung in both hands hot against her skirt.
"There's no one; so you're wrong," he said.
"There is. --
What do you want? " she cried, and then herself
Was startled when an answer really came.
"Nothing. " It came from well along the road.