The Wild Huntress: Love in the Wilderness. Майн Рид

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СКАЧАТЬ by which the hunter has come in, is a fallen tree. Its branches and bark have long since disappeared, and the trunk is bleached to a brilliant white. In the phraseology of the backwoods, it is no longer a tree, but a “log.” Towards this the hunter advances. On arriving at the log he seats himself upon it, in the attitude of one who does not anticipate being for long alone.

      There is a path that runs across the glade, bisecting it into two nearly equal parts. It is a tiny track, evidently not much used. It conducts from the stream on which stands the cabin of the squatter Holt, to another “fork” of the same river—the Obion—where clearings are numerous, and where there is also a large settlement bearing the dignified title of “town.” It is the town of Swampville—a name perhaps more appropriate than euphonious. Upon this path, where it debouches from the forest, the eye of Frank Wingrove becomes fixed—not in the direction of Swampville, but towards the clearing of the squatter. From this, it would appear probable that he expects some one; and that the person expected should come from that side. A good while passes, and yet no one answers his inquiring glance. He begins to manifest signs of impatience. As if to kill time, he repeatedly rises, and again reseats himself. With his eye he measures the altitude of the sun—the watch of the backwoodsman—and as the bright orb rises higher in the heavens, his spirits appear to sink in proportion. His look is no longer cheerful. He has long since finished his song; and his voice is now heard again, only when he utters an ejaculation of impatience. All at once the joyous expression is restored. There is a noise in the woods, and it proceeds from the right direction—a rustling of dead leaves that litter the path, and occasionally the “swish” of recoiling branches. Some one approaches the glade. The young hunter springs to his feet, and stands listening.

      Presently, he hears voices; but he hears them rather with surprise than pleasure—as is indicated by another quick change passing over his countenance. The cheerful aspect has again given place to a look of disappointment—this time approaching to chagrin. “Thar’s talk goin’ on;” mutters he to himself. “Then she’s not alone! Thar’s someb’dy along wi’ her. Who the darnation can it be?”

      After this characteristic soliloquy, he remains silent listening far more eagerly than before. The noises become more distinct, and the voices louder. More than one can be distinguished mingling in the conversation.

      For some seconds, the hunter maintains his attentive attitude—his eye sternly fixed upon the embouchure of the path. His suspense is of short duration. Hearing the voices more plainly, he recognises their tones; and the recognition appears to give another sudden turn to his thoughts. The expression of chagrin gives place to one of simple disappointment. “Bah!” exclaims he, throwing himself back upon the dead-wood. “It ain’t her, after all! It’s only a gang o’ them rovin’ red-skins. What, in Old Nick’s name, fetches ’em this way, an’ jest at the time when they ain’t wanted?”

      After a moment’s reflection, he starts up from the log, continuing to mutter: “I must hide, or they’ll be for havin’ a parley. That ’ud never do, for I guess she can’t be far off by this. Hang the crooked luck!”

      With this elegant finish, the speaker glides rapidly round the end of the fallen tree, and makes for the nearest underwood—evidently with the design of screening himself from sight. He is too late—as the “Ugh” uttered on the opposite side of the glade convinces him—and changing his intention, he fronts round, and quietly returns to his former position upon the log.

      The hunter’s conjecture has proved correct. Bronzed faces show themselves over the tops of the bushes on the opposite edge of the glade; and, the moment after, three Indians emerge into the open ground. That they are Indians, their tatterdemalion dress of coloured blankets, leggings, and mocassins would indicate; but their race is even recognisable in their mode of march. Though there are but three of them, and the path runs no longer among trees, they follow one another in single file, and in the true typical “trot” of the red aboriginal.

      The presence of Indians in these woods requires explanation—for their tribe has long before this time been transported to their new lands west of the Mississippi. It only needs to be said that a few families have preferred to remain—some from attachment to the scenes of their youth, not to be severed by the prospect of a far happier home; some from associations formed with the whites; and some from more trivial causes—perhaps from being the degraded outcasts of their tribes. Throughout the whole region of the backwoods, there still exists a sparse population of the indigenous race: dwelling, as their ancestors did, under tents or in the open air; trafficking in small articles of their own manufacture; in short, performing very much the same métier as the Gitanos in Europe. There are other points of resemblance between these two races—amounting almost to family likeness—and which fairly entitles the Indians to an appellation sometimes bestowed upon them—the Gipsies of the New World.

      The three Indians who have entered the glade are manifestly what is termed an “Indian family” or part of one. They are father, and mother, and daughter—the last a girl just grown to womanhood. The man is in the lead, the woman follows, and the young girl brings up the rear. They are bent upon a journey, and its object is also manifest. The pannier borne upon the back of the woman, containing fox and coon-skins, with little baskets of stained wicker—and the bead-embroidered mocassins and wampum belts that appear in the hands of the girl—bespeak a purposed visit to the settlement of Swampville.

      True to the custom “of his fathers,” the Indian himself carries nothing—if we except a long rusty gun over his shoulder, and a small hatchet in his belt: rendering him rather a formidable-looking fellow on his way to a market.

Chapter Four.

       Table of Contents

      The Catastrophe of a Kiss.

      The log on which the young hunter had seated himself is some paces distant from the path. He has a slight knowledge of this Indian family, and simply nods to them as they pass. He does not speak, lest a word should bring on a conversation—for the avoidance of which he has a powerful motive.

      The Indian makes no halt, but strides silently onward, followed by his pannier-laden squaw. The girl, however, pauses in her steps—as if struck by some sudden thought. The action quickly follows the thought; and, turning out of the path, she approaches the spot where the hunter is seated.

      What wants she with him? Can this be the she he has been expecting with such impatience? Surely not! And yet the maiden is by no means ill-looking. In her gleaming oblique eyes there is a certain sweetness of expression; and a tinge of purple-red, bursting through the bronze of her cheeks, lends to her countenance a peculiar charm. Add to this, luxuriant black hair, with a bosom of bold outlines—which the sparse savage costume but half conceals—and you have a portrait something more than pretty. Many a time and oft, in the history of backwoods life, has the heart of the proud pale-face offered sacrifice at such a shrine. Is this, then, the expected one? No. Her actions answer the question; and his too. He does not even rise to receive her, but keeps his seat upon the log—regarding her approach with a glance of indifference, not unmingled with a slight expression of displeasure.

      Her object is presently apparent. A bullet-pouch of white buckskin, richly worked with porcupine quills, is hanging over her arm. On arriving before the hunter she holds it out, as if about to present it to him. One might fancy that such is her intention; and that the pouch is designed as a gage d’amour; but the word “dollar,” which accompanies the offer, precludes the possibility of such a supposition. It is not thus that an Indian girl makes love. She is simply soliciting the pale-face to purchase. In this design she is almost certain to be successful. The pouch proclaims its value, and promises СКАЧАТЬ