THE PRAIREE TRILOGY: O, Pioneers!, The Song of the Lark & My Ántonia. Willa Cather

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СКАЧАТЬ tune he was whistling. He wore a flannel cap and duck trousers, and the sleeves of his white flannel shirt were rolled back to the elbow. When he was satisfied with the edge of his blade, he slipped the whetstone into his hip pocket and began to swing his scythe, still whistling, but softly, out of respect to the quiet folk about him. Unconscious respect, probably, for he seemed intent upon his own thoughts, and, like the Gladiator’s, they were far away. He was a splendid figure of a boy, tall and straight as a young pine tree, with a handsome head, and stormy gray eyes, deeply set under a serious brow. The space between his two front teeth, which were unusually far apart, gave him the proficiency in whistling for which he was distinguished at college. (He also played the cornet in the University band.)

      When the grass required his close attention, or when he had to stoop to cut about a head-stone, he paused in his lively air, — the “Jewel” song, — taking it up where he had left it when his scythe swung free again. He was not thinking about the tired pioneers over whom his blade glittered. The old wild country, the struggle in which his sister was destined to succeed while so many men broke their hearts and died, he can scarcely remember. That is all among the dim things of childhood and has been forgotten in the brighter pattern life weaves today, in the bright facts of being captain of the track team, and holding the interstate record for the high jump, in the all-suffusing brightness of being twenty-one. Yet sometimes, in the pauses of his work, the young man frowned and looked at the ground with an intentness which suggested that even twenty-one might have its problems.

      When he had been mowing the better part of an hour, he heard the rattle of a light cart on the road behind him. Supposing that it was his sister coming back from one of her farms, he kept on with his work. The cart stopped at the gate and a merry contralto voice called, “Almost through, Emil?” He dropped his scythe and went toward the fence, wiping his face and neck with his handkerchief. In the cart sat a young woman who wore driving gauntlets and a wide shade hat, trimmed with red poppies. Her face, too, was rather like a poppy, round and brown, with rich color in her cheeks and lips, and her dancing yellow-brown eyes bubbled with gayety. The wind was flapping her big hat and teasing a curl of her chestnut-colored hair. She shook her head at the tall youth.

      “What time did you get over here? That’s not much of a job for an athlete. Here I’ve been to town and back. Alexandra lets you sleep late. Oh, I know! Lou’s wife was telling me about the way she spoils you. I was going to give you a lift, if you were done.” She gathered up her reins.

      “But I will be, in a minute. Please wait for me, Marie,” Emil coaxed. “Alexandra sent me to mow our lot, but I’ve done half a dozen others, you see. Just wait till I finish off the Kourdnas’. By the way, they were Bohemians. Why aren’t they up in the Catholic graveyard?”

      “Free-thinkers,” replied the young woman laconically.

      “Lots of the Bohemian boys at the University are,” said Emil, taking up his scythe again. “What did you ever burn John Huss for, anyway? It’s made an awful row. They still jaw about it in history classes.”

      “We’d do it right over again, most of us,” said the young woman hotly. “Don’t they ever teach you in your history classes that you’d all be heathen Turks if it hadn’t been for the Bohemians?”

      Emil had fallen to mowing. “Oh, there’s no denying you’re a spunky little bunch, you Czechs,” he called back over his shoulder.

      Marie Shabata settled herself in her seat and watched the rhythmical movement of the young man’s long arms, swinging her foot as if in time to some air that was going through her mind. The minutes passed. Emil mowed vigorously and Marie sat sunning herself and watching the long grass fall. She sat with the ease that belongs to persons of an essentially happy nature, who can find a comfortable spot almost anywhere; who are supple, and quick in adapting themselves to circumstances. After a final swish, Emil snapped the gate and sprang into the cart, holding his scythe well out over the wheel. “There,” he sighed. “I gave old man Lee a cut or so, too. Lou’s wife needn’t talk. I never see Lou’s scythe over here.”

      Marie clucked to her horse. “Oh, you know Annie!” She looked at the young man’s bare arms. “How brown you’ve got since you came home. I wish I had an athlete to mow my orchard. I get wet to my knees when I go down to pick cherries.”

      “You can have one, any time you want him. Better wait until after it rains.” Emil squinted off at the horizon as if he were looking for clouds.

      “Will you? Oh, there’s a good boy!” She turned her head to him with a quick, bright smile. He felt it rather than saw it. Indeed, he had looked away with the purpose of not seeing it. “I’ve been up looking at Angelique’s wedding clothes,” Marie went on, “and I’m so excited I can hardly wait until Sunday. Amedee will be a handsome bridegroom. Is anybody but you going to stand up with him? Well, then it will be a handsome wedding party.” She made a droll face at Emil, who flushed. “Frank,” Marie continued, flicking her horse, “is cranky at me because I loaned his saddle to Jan Smirka, and I’m terribly afraid he won’t take me to the dance in the evening. Maybe the supper will tempt him. All Angelique’s folks are baking for it, and all Amedee’s twenty cousins. There will be barrels of beer. If once I get Frank to the supper, I’ll see that I stay for the dance. And by the way, Emil, you mustn’t dance with me but once or twice. You must dance with all the French girls. It hurts their feelings if you don’t. They think you’re proud because you’ve been away to school or something.”

      Emil sniffed. “How do you know they think that?”

      “Well, you didn’t dance with them much at Raoul Marcel’s party, and I could tell how they took it by the way they looked at you — and at me.”

      “All right,” said Emil shortly, studying the glittering blade of his scythe.

      They drove westward toward Norway Creek, and toward a big white house that stood on a hill, several miles across the fields. There were so many sheds and outbuildings grouped about it that the place looked not unlike a tiny village. A stranger, approaching it, could not help noticing the beauty and fruitfulness of the outlying fields. There was something individual about the great farm, a most unusual trimness and care for detail. On either side of the road, for a mile before you reached the foot of the hill, stood tall osage orange hedges, their glossy green marking off the yellow fields. South of the hill, in a low, sheltered swale, surrounded by a mulberry hedge, was the orchard, its fruit trees knee-deep in timothy grass. Any one thereabouts would have told you that this was one of the richest farms on the Divide, and that the farmer was a woman, Alexandra Bergson.

      If you go up the hill and enter Alexandra’s big house, you will find that it is curiously unfinished and uneven in comfort. One room is papered, carpeted, over-furnished; the next is almost bare. The pleasantest rooms in the house are the kitchen — where Alexandra’s three young Swedish girls chatter and cook and pickle and preserve all summer long — and the sitting-room, in which Alexandra has brought together the old homely furniture that the Bergsons used in their first log house, the family portraits, and the few things her mother brought from Sweden.

      When you go out of the house into the flower garden, there you feel again the order and fine arrangement manifest all over the great farm; in the fencing and hedging, in the windbreaks and sheds, in the symmetrical pasture ponds, planted with scrub willows to give shade to the cattle in fly-time. There is even a white row of beehives in the orchard, under the walnut trees. You feel that, properly, Alexandra’s house is the big out-of-doors, and that it is in the soil that she expresses herself best.

      II

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