Milly: At Love's Extremes; A Romance of the SouthlandThompson, Maurice
Philosophy
Milly: At Love's Extremes; A Romance of the Southland
Thompson, Maurice
Southern States -- Fiction
She looked after him, the smile slowly fading out of her face and
giving place to that half-vacant, mildly hopeless expression which it
usually wore. She put her rather large but finely chiseled hands on
top of her head, with the fingers laced together, and with her elbows
extended gazed listlessly at the sky. She felt a vague sense of
disappointment blended with a delicious happiness. When Reynolds
entered the cabin, White and his wife were leaning over a mere
pretense of fire and smoking their pipes, with such abandonment to
the luxury that they merely glanced at him as he entered; but
mountain politeness overcame the tobacco at last, and they got up,
greeting him warmly. He shook hands with them in turn, asking about
their health, but declined to sit down, preferring after a few
commonplace inquiries, to go into his own room and be alone.
His first sensation on entering his apartment was one of disgust at
its rough and uninviting aspect. Indirectly the question was
assailing him: why had he ever been content in such a place? A query
of this nature may arise in one's mind without any definite form,
impressing itself by a sort of implication and indirect reflection
from a throng of comparisons involuntarily and almost unconsciously
made. Reynolds' nature was intensely virile, his passions powerful
and his imagination tropical. It goes with the saying that his
feelings and tastes were subject to violent and sudden changes. He
usually had, however, perfect self-control and an outward appearance
of calmness under the most trying circumstances. But let the
check-rein once break and his fiery passions get control of the bit,
then nothing that passion demands could escape him. He was aware of
this; he knew the need of self-restraint, for at the bottom his was a
noble soul, full of self-sacrifice and generous, liberal manliness.
On the floor by his easel lay a scrap of white paper with something
scrawled upon it. He picked it up mechanically and saw that Milly
had been trying to copy the dog-sketch that still rested on the
easel. It was a poor, crude scratch, such as a little child might
have accomplished, showing in its stiff, hesitating lines the
limitations of the girl's vague notion of art. He smiled at this
evidence of the first stirrings of culture in a handful of almost
barren soil. Art is forever dropping seeds that germinate under all
the exigencies of weather. Few of the shootlets live to show more
than a tender point above the surface of the ground, but their number
is legion and each spike gives to the air an infinitesimal trace of
fragrance which cheers us as we breathe.
While he stood looking at her work, Milly came into the room through
a doorway that led from the kitchen. He was still smiling when he
looked towards her and said:
"Did you draw this, Milly?"
Public-domain text, read in full here on John Shaqi.
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