Hard-Pan: A Story of Bonanza FortunesBonner, Geraldine
General
Hard-Pan: A Story of Bonanza Fortunes
Bonner, Geraldine
Gold miners -- Fiction; San Francisco (Calif.) -- Social life and customs -- Fiction
He had walked some distance when, rounding a corner, a sharp gust
seized him. In its fierce exultation it threw a whirlwind of dust into
his eyes, so that, for a moment, he did not see that she was coming
toward him. Then he caught a glimpse of the approaching figure and
recognized it. She did not see him, but was engaged in her customary
amusement of looking into the gardens. There was an air of unmistakable
alertness and gaiety about her. Her hand tapped the tops of the
fence-rails as she came, and she looked at the floral display behind
them with happy eyes. Her scanty black skirt was sometimes whirled
round her feet, showing her small ankles and narrow russet shoes. Once
she had to put up her hand to her hat,--a white sailor bound with a
dark ribbon,--and the frolicsome wind swept all the loosened ends of
her hair forward and lashed her skirts out on either side. She had a
basket on one arm, and holding this firmly, leaned back almost on the
wind, laughing to herself.
At the same moment she caught sight of him. The wind dropped suddenly,
as if conscious that she should not be presented in such boisterous
guise to a lover's eye, and her figure seemed to fall back into lines
of decorous demureness; only the color and laughter of her recent
buffeting still remained in her face.
"Is it you?" she cried. "Did you see me in the wind? Isn't it fun?"
They met, and he took her hand. She was all blown about, but fresh
as a flower that has shaken off the dew. The contrast between them,
between what might be called their different ranks in society, was much
more clearly marked in the open light of the street than in the ragged
homeliness of her own parlor.
While he was essentially the man of luxurious environment and assured
position, she presented the appearance of a working-girl. Even the
delicacy and refinement of her face could not counteract the suggestion
of her dress. Beauty when unadorned may adorn the most, but it cannot
give to ill-made old clothes the effect of garments made by a French
modiste. John Gault was used to women who wore this kind of clothes--so
used, in fact, that he hardly knew what made Viola appear so different
from the other girls of his acquaintance. The contrast in their looks
seemed to mark more clearly the contrast in their positions, seemed to
purposely accentuate that wide gulf set between them.
Gault took her basket from her and dropped into place at her side. The
high rows of houses protected them from the wind, and only as they
crossed the open spaces at the intersection of streets did it catch
them, and, for a moment, play boisterously with them.
Public-domain text, read in full here on John Shaqi.
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