"Tom," said the Major, "I have a desperate piece of news, and I wish I could break it to you gently, but there is no way to lead up to it. Your sister has married Carl Pennington." "Yes, so Jim Taylor told me. Met him in the road a while ago. I didn't know that there was anything of the sort on hand. Must have kept it mighty quiet. I suppose----" "What, you suppose! What the deuce can you suppose! Stand there supposing when I tell you that she has married a dying man." The old gentleman flounced in his chair. "She has thrown herself away and I tell you of it and you want to suppose. What's the matter with you? Have you lost all your pride and your sense? She has married a dying man, I tell you." The young fellow began awkwardly to twist himself about. He looked at his mother, standing in the door with the light pouring about her, but her eyes were turned from him, gazing far away into the deepening night. "I know they might think he's dying," he said, "but they might be mistaken. Sometimes they believe a man's dying and he keeps on living. Wash Sanders----" "Go back to your banjo, you idiot!" the Major shouted. "I'll swear this beats any family on the face of the earth." He got up, knocking over his chair. "Go on. Don't stand there trying to splutter an explanation of your lack of sense! No wonder you have always failed to pass an examination. Not a word, Margaret. I know what you are going to say: Beats any family on the face of the earth." CHAPTER VIII. On the morrow there was a song and a chant in the cotton fields. Aged fingers and youthful hands were eager with grabbing the cool, dew-dampened fleece of the fields. The women wore bandana handkerchiefs, and picturesquely down the rows their red heads were bobbing. Whence came their tunes, so quaintly weird, so boisterous and yet so full of melancholy? The composer has sought to catch them, has touched them with his refining art and has spoiled them. The playwright has striven to transfer from the field to the stage a cotton-picking scene and has made a travesty of it. To transfer the passions of man and to music-riddle them is an art with stiff-jointed rules, but the charm of a cotton-picking scene is an essence, and is breathed but cannot be caught. Here seems to lie a sentiment that no other labor invites, and though old with a thousand endearments, it is ever an opera rehearsed for the first time. But this is the view that may be taken only by the sentimentalist, the poet loitering along the lane. To him it is a picture painted to delight the eye, to soothe the nerves, to inspire a pastoral ode. There is, however, another side. At the edge of the field where the cotton is weighed, stands the planter watching the scales. His commercial instincts might have been put to dreamy sleep by the appearance of the purple bloom, but it is keenly aroused by the opening boll. He is influenced by no song, by no color fantastically bobbing between the rows.