Short stories, American; United States -- Social life and customs -- 19th century -- Fiction
“‘Dance now?’” he repeated. “Sho! Samantha, you couldn’t dance nowadays
if you was to try.”
“Who says I couldn’t?” asked Samantha, again, with a set look developing
around the corners of her mouth.
“_I_ say you couldn’t,” replied Mr. Pett, obtusely. “’Tain’t in nature.
But there was a time, Samantha, when you was great on fancy steps.”
“Think I’m too old for fancy steps now, do you?” She looked at her
tormentor savagely, out of the corners of her eyes.
“Well, not too old, may be, Samantha,” went on Mr. Pett; “but may be you
ain’t that limber you was. I know how it is. I ain’t smart as I used to
be, myself. Why, do you remember that night down at the Corners, when we
two was the only ones that could jump over Squire Tate’s high andirons
and cut a pigeon-wing before we come down?”
Mr. Pett appeared to be entirely unconscious that Mrs. Spaulding’s bosom
was heaving, that her eyes were snapping angrily, and that her foot was
beating on the floor in that tattoo with which a woman announces that
she is near an end of her patience.
“How high was them andirons?” she asked, breathlessly.
“Oh, I don’t know,” answered Reuben, indifferently. He kept his eyes
fixed on his work; but while he worked his splice closer with his right
hand, with his left he took off his hat and held it out rather more than
two feet above the floor.
“’Bout as high as that, may be,” he said. “Remember the tune we done
that to? Went some sort of way like this, didn’t it?” And with that
remarkable force of talent which is only developed in country solitudes,
Mr. Pett began to whistle an old-time air, a jiggetty, wiggetty
whirl-around strain born of some dead darkey’s sea-sawing fiddle-bow,
with a volume of sustained sound that would have put to shame anything
the saw-mill could have done for itself in its buzzingest days.
“Whee-ee-ee, ee-ee, ee ee ee, whee, ee, ee, ee _ee_!” whistled Mr. Pett;
and then, softly, and as if only the dim stirring of memory moved him,
he began to call the old figures of the old dance.
“Forward all!” he crooned. “Turn partners! Sashay! Alleman’ all!
Whee-ee-ee, ee-ee, ee ee, ee ee ee, whee, ee, ee, ee, ee, ee _ee_!”
And suddenly, like the tiger leaping from her lair, the soft pattering
and shuffling of feet behind him resolved itself into a quick, furious
rhythmic beat, and Samantha Spaulding shot high into the air, holding up
her skirts with both hands, while her neat ankles crossed each other in
a marvelous complication of agility a good twelve inches above his
outstretched hat.
“There!” she cried, as she landed with a flourish that combined skill
and grace; “there’s what I done with you, and much I think of it! If you
want to see dancin’ that is dancin’ look here. Here’s what I did with
Ben Griggs at the shuckin’ that same year; and you wa’n’t there, and
good reason why!”
Public-domain text, read in full here on John Shaqi.
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