The Fortunes of Oliver Horn Part 24

They had been there since sunset. They had known all day what was in each other's mind, but they had avoided discussing it. Now they must face it.

"You go to-morrow, Madge?" Oliver asked. He knew she did. He spoke as if announcing a fact.

"Yes."

The shrill cry of a loon, like the cry of a child in pain, sifted down the ravine from the lake above and died away among the pines soughing in the night-wind. Oliver paused for a moment to listen, and went on:

"I don't want you to go. I don't know what I am going to do without you, Madge," he said with a long indrawn sigh.

"You are coming to us at Brookfield, you know, on your way back to New York. That is some thing." She glanced at him with a slightly anxious look in her eyes, as if waiting for his answer to rea.s.sure her.

He rose from his seat and began pacing the gravel. Now and then he would stop, flick a pebble from its bed with his foot, and walk on. She heard the sound of his steps, but she did not look at him, even when he stopped abruptly in front of her.

"Yes, I know, but--that will only make it worse." He was leaning over her now, one foot on the steps. "It tears me all to pieces when I think this is our last night. We've had such a good time all summer. You don't want to go home, do you?"

"No--I'd rather stay." The words came slowly, as if it gave her pain to utter them.

"Well--stay, then," he answered with some animation. "What difference does a few days makes? Let us have another week. We haven't been over to Bog Eddy yet; please stay, Madge."

"No, I must go, Ollie."

"But we'll be so happy, little girl."

"Life is not only being happy, Ollie. It's very real sometimes. It is to me--" and a faint sigh escaped her.

"Well, but why make it real to-morrow? Let us make it real next week, not now."

"It would be just as hard for you next week. Why postpone it?" She was looking at him now, watching his face closely.

Her answer seemed to hurt him. With an impatient gesture he straightened himself, turned as if to resume his walk, and then, pus.h.i.+ng away the end of her skirt, sat down beside her.

"I don't understand your theories, Madge, and I'm not going to discuss them. I don't want to talk of any such things; I'm too unhappy to-night. When I look ahead and think that if the Academy should not open, you wouldn't come back at all, and that I might not see you for months, I'm all broken up. What am I going to do without you, Madge?"

His voice was quivering, and a note of pain ran through it.

"Oh, you will have your work--you'll do just what you did before I came up." She was holding herself in by main strength; why, she could not tell--fighting an almost irresistible impulse to hide her face on his breast and cry.

"What good will that do me when you are gone?" he burst out, with a quick toss of his head and a certain bitterness in his tone.

"Well, but you were very happy before you saw me."

Again the cry of the loon came down the ravine. He turned and with one of his quick, impatient gestures that she knew so well, put his hand on her shoulder.

"Stop, Madge, stop! Don't talk that way. I can't stand it. Look at me!"

The pain had become unbearable now. "You've got to listen. I can't keep it back, and I won't. I never met anybody that I loved as I do you. I didn't think so at first. I never thought I could think so, but it's true. You are not my sweetheart nor my friend, nor my companion, nor anything else that ever came into my life. You are my very breath, my soul, my being. I never want you to leave me. I should never have another happy day if I thought this was to end our life. I laid awake half the night trying to straighten it out, and I can't, and there's no straightening it out and never will be unless you love me. Oh, Madge!

Madge! Don't turn away from me. Let me be part of you--part of everything you do--and are--and will be."

He caught her hand in his warm palm and laid his cheek upon it. Still holding it fast he raised his head, laid his other hand upon her hair, smoothing it softly, and looked long and earnestly into her eyes as if searching for something hidden in their depths. Then, in a voice of infinite tenderness, he said:

"Madge, darling! Tell me true--could you ever love me?"

She sat still, her eyes fixed on his, her hand nestling in his grasp.

Then slowly and carefully, one at a time, she loosened with her other hand the fingers that lay upon her hair, held them for an instant in her own, bent her head and touched them with her lips.

CHAPTER XVI

SOME DAYS AT BROOKFIELD FARM

Brookfield village lay in a great wide meadow through which strayed one of Moose Hillock's lost brooks--a brook tired out with leaping from bowlder to bowlder and taking headers into deep pools, and plunging down between narrow walls of rock. Here in the meadow it caught its breath and rested, idling along, stopping to bathe a clump of willows; whispering to the shallows; laughing gently with another brook that had locked arms with it, the two gossiping together under their breath as they floated on through the tall gra.s.ses fringing the banks, or circled about the lily-pads growing in the eddies. In the middle of the meadow, just where two white ribbons of roads crossed, was a clump of trees pierced by a church-spire. Outside of this bower of green--a darker green than the velvet meadow-gra.s.s about it--glistened the roofs and windows of the village houses.

All this Oliver saw, at a distance, from the top of the stage.

As he drew nearer and entered the main street, the clump of trees became giant elms, their interlaced branches making shaded cloisters of the village streets. The buildings now became more distinct; first a tavern with a swinging sign, and across the open common a quaint church with a white tower.

At the end of the avenue of trees, under the biggest of the elms, stood an old-fas.h.i.+oned farmhouse, its garden-gate opening on the highway, and its broad acres--one hundred or more--reaching to the line of the vagabond brook.

This was Margaret's home.

The stage stopped; the hair-trunk and sketch-trap were hauled out of the dust-begrimed boot and deposited on the sidewalk at the foot of the giant elm. Oliver swung back the gate and walked up the path in the direction of the low-roofed porch, upon which lay a dog, which raised its head and at the first click of the latch came bounding toward him, barking with every leap.

"Needn't be afraid, she won't hurt you!" shouted a gray-haired man in his s.h.i.+rt-sleeves, who had risen from his seat on the porch and who was now walking down the garden-path. "Get out, Juno! I guess you're the young man that's been painting with our Margaret up in the Gorge. She's been expecting you all morning. Little dusty, warn't it?"

Oliver's face brightened up. This must be Margaret's father!

"Mr. Grant, I suppose?"

"Yes, that's what they call me--Silas Grant. Let me take your bag. My son John will be here in a minute, and will help you in with your trunk. Needn't worry, it's all right where it is. Folks are middling honest about here," he added, with a dry laugh, and his hand closed on his guest's--a cold limp, dead-fish sort of a hand, Oliver thought.

Oliver said he was sure of it, and that he hoped Miss Margaret was well, and the old man said she was, "Thank you," and Oliver surrendered the bag--it was his sketch-trap--and the two walked toward the house.

During the mutual greetings the dog sniffed at Oliver's knees and looked up into his face.

"And I suppose this is Juno," our hero said, stopping to pat her head.

"Good dog--you don't remember me?" It seemed easier somehow to converse with Juno than with her master. The dog wagged her tail, but gave no indications of uncontrollable joy at meeting her rescuer again.

"Oh, you've seen her? She's Margaret's dog, you know."

"Yes, I know, but she's forgotten me. I saw her before I ever knew--your daughter." It was a narrow escape, but he saved himself in time. "Blessed old dog," he said to himself, and patted her again.

By the time he had reached the porch-steps he had made, unconsciously to himself, a mental inventory of his host's special features: tall, spa.r.s.ely built, with stooping shoulders and long arms, the big hands full of cold knuckles with rough finger-tips (Oliver found that out when his own warm fingers closed over them); thin face, with high cheek-bones showing above his closely-cropped beard and whiskers; gray eyes--steady, steel-gray eyes, hooded by white eyebrows stuck on like two tufts of cotton-wool; nose big and strong; square jaw hanging on a hinge that opened and shut with each sentence, the upper part of the face remaining motionless as a mask. Oliver remembered having once seen a toy ogre with a jaw and face that worked in the same way. He had caught, too, the bend of his thin legs, the hump of the high shoulders, and saw the brown skin of the neck showing through the close-cut white hair. Suddenly a feeling of repugnance amounting almost to a shrinking dislike of the man took possession of him--it is just such trifles that turn the scales of likes and dislikes for all of us. "Could this really be Margaret's father?" he said to himself. Through whose veins, then, had all her charm and loveliness come? Certainly not from this cold man without grace of speech or polish of manner.

This feeling of repugnance had come with a flash, and in a flash it was gone. On the top step of the low piazza stood a young girl in white, a rose in her hair, her arm around a silver-haired old lady in gray silk, With a broad white handkerchief crossed over her bosom.

Oliver's hat was off in an instant.

Margaret came down one step to greet him and held out both her hands.