The Harvester Part 21

"Don't!" said the Harvester. "Not for things that grow in the woods and that I prepare. Don't think of money every minute."

"I must," she said with forced restraint. "It is the price of life.

Without it one suffers----horribly----as I know. What other plants do you gather?"

"Saffron," answered the Harvester. "A beautiful thing! You must see it.

Tall, round stems, lacy, delicate leaves, big heads of bright yellow bloom, touched with colour so dark it appears black--one of the loveliest plants that grows. You should see my big bed of it in a week or two more. It makes a picture."

The words recalled him to the Girl. He turned to study her. He forgot his commission and chafed at conventions that prevented his doing what he saw was required so urgently. Fearing she would notice, he gazed away through the forest and tried to think, to plan.

"You are not making noise enough," she said.

So absorbed was the Harvester he scarcely heard her. In an attempt to obey he began to whistle softly. A tiny goldfinch in a nest of thistle down and plant fibre in the branching of a bush ten feet above him stuck her head over the brim and inquired, "P'tseet?" "Pt'see!" answer the Harvester. That began the duet. Before the question had been asked and answered a half dozen times a catbird intruded its voice and hearing a reply came through the bushes to investigate. A wren followed and became very saucy. From----one could not see where, came a vireo, and almost at the same time a chewink had something to say.

Instantly the Harvester answered. Then a blue jay came chattering to ascertain what all the fuss was about, and the Harvester carried on a conversation that called up the remainder of the feathered tribe. A brilliant cardinal came tearing through the thicket, his beady black eyes snapping, and demanded to know if any one were harming his mate, brooding under a wild grape leaf in a scrub elm on the river embankment.

A brown thrush silently slipped like a snake between shrubs and trees, and catching the universal excitement, began to flirt his tail and utter a weird, whistling cry.

With one eye on the bird, and the other on the Girl sitting in amazed silence, the Harvester began working for effect. He lay quietly, but in turn he answered a dozen birds so accurately they thought their mates were calling, and closer and closer they came. An oriole in orange and black heard his challenge, and flew up the river bank, answering at steady intervals for quite a time before it was visible, and in resorting to the last notes he could think of a quail whistled "Bob White" and a s.h.i.+tepoke, skulking along the river bank, stopped and cried, "Cowk, cowk!"

At his limit of calls the Harvester changed his notes and whistled and cried bits of bird talk in tone with every mellow accent and inflection he could manage. Gradually the excitement subsided, the birds flew and tilted closer, turned their sleek heads, peered with bright eyes, and ventured on and on until the very bravest, the wren and the jay, were almost in touch. Then, tired of hunting, Belshazzar came racing and the little feathered people scattered in precipitate flight.

"How do you like that kind of a noise?" inquired the Harvester.

The Girl drew a deep breath.

"Of course you know that was the most exquisite sight I ever saw," she said. "I never shall forget it. I did not think there were that many different birds in the whole world. Of all the gaudy colours! And they came so close you could have reached out and touched them."

"Yes," said the Harvester calmly. "Birds are never afraid of me. At Medicine Woods, when I call them like that, many, most of them, in fact, eat from my hand. If you ever have looked at me enough to notice bulgy pockets, they are full of wheat. These birds are strangers, but I'll wager you that in a week I can make them take food from me. Of course, my own birds know me, because they are around every day. It is much easier to tame them in winter, when the snow has fallen and food is scarce, but it only takes a little while to win a bird's confidence at any season."

"Birds don't know what there is to be afraid of," she said.

"Your pardon," said the Harvester, "but I am familiar with them, and that is not correct. They have more to fear than human beings. No one is going to kill you merely to see if he can shoot straight enough to hit.

Your life is not in danger because you have magnificent hair that some woman would like for an ornament. You will not be stricken out in a flash because there are a few bits of meat on your frame some one wants to eat. No one will set a seductive trap for you, and, if you are tempted to enter it, shut you from freedom and natural diet, in a cage so small you can't turn around without touching bars. You are in a secure and free position compared with the birds. I also have observed that they know guns, many forms of traps, and all of them decide by the mere manner of a man's pa.s.sing through the woods whether he is a friend or an enemy. Birds know more than many people realize. They do not always correctly estimate gun range, they are foolishly venturesome at times when they want food, but they know many more things than most people give them credit for understanding. The greatest trouble with the birds is they are too willing to trust us and be friendly, so they are often deceived."

"That sounds as if you were right," said the Girl.

"I am of the woods, so I know I am," answered the Harvester.

"Will you look at this now?"

He examined the drawing closely.

"Where did you learn?" he inquired.

"My mother. She was educated to her finger tips. She drew, painted, played beautifully, sang well, and she had read almost all the best books. Besides what I learned at high school she taught me all I know.

Her embroidery always brought higher prices than mine, try as I might. I never saw any one else make such a dainty, accurate little st.i.tch as she could."

"If this is not perfect, I don't know how to criticise it. I can and will use it in my work. But I have one luna coc.o.o.n remaining and I would give ten dollars for such a drawing of the moth before it flies. It may open to-night or not for several days. If your aunt should be worse and you cannot come to-morrow and the moth emerges, is there any way in which I could send it to you?"

"What could I do with it?"

"I thought perhaps you could take a piece of paper and the pencils with you, and secure an outline in your room. It need not be worked up with all the detail in this. Merely a skeleton sketch would do. Could I leave it at the house or send it with some one?"

"No! Oh no!" she cried. "Leave it here. Put it in a box in the bushes where I hid the books. What are you going to do with these things?"

"Hide them in the thicket and scatter leaves over them."

"What if it rains?"

"I have thought of that. I brought a few yards of oilcloth to-day and they will be safe and dry if it pours."

"Good!" she said. "Then if the moth comes out you bring it, and if I am not here, put it under the cloth and I will run up some time in the afternoon. But if I were you, I would not spread the rug until you know if I can remain. I have to steal every minute I am away, and any day uncle takes a notion to stay at home I dare not come."

"Try to come to-morrow. I am going to bring some medicine for your aunt."

"Put it under the cloth if I am not here; but I will come if I can. I must go now; I have been away far too long."

The Harvester picked up one of the drug pamphlets, laid the drawing inside it, and placed it with his other books. Then he drew out his pocket book and laid a five-dollar bill on the table and began folding up the chair and putting away the things. The Girl looked at the money with eager eyes.

"Is that honestly what you would pay at the arts and crafts place?"

"It is the customary price for my patterns."

"And are you sure this is as good?"

"I can bring you some I have paid that for, and let you see for yourself that it is better."

"I wish you would!" she cried eagerly. "I need that money, and I would like to have it dearly, if I really have earned it, but I can't touch it if I have not."

"Won't you accept my word?"

"No. I will see the other drawings first, and if I think mine are as good, I will be glad to take the money to-morrow."

"What if you can't come?"

"Put them under the oilcloth. I watch all the time and I think Uncle Henry has trained even the boys so they don't play in the river on his land. I never see a soul here; the woods, house, and everything is desolate until he comes home and then it is like----" she paused.

"I'll say it for you," said the Harvester promptly. "Then it is like h.e.l.l."

"At its worst," supplemented the Girl. Taking pencils and a sheet of paper she went swiftly through the woods. Before she left the shelter of the trees, the Harvester saw her busy her hands with the front of her dress, and he knew that she was concealing the drawing material. The colour box was left, and he said things as he put it with the chair and table, covered them with the rug and oilcloth, and heaped on a layer of leaves.

Then he drove to the city and Betsy turned at the hospital corner with no interference. He could face his friend that day. Despite all discouragements he felt rea.s.sured. He was progressing. Means of communication had been established. If she did not come, he could leave a note and tell her if the moth had not emerged and how sorry he was to have missed seeing her.

"h.e.l.lo, lover!" cried Doctor Carey as the Harvester entered the office.

"Are you married yet?"

"No. But I'm going to be," said the Harvester with confidence.

"Have you asked her?"