Country life -- England -- Fiction; Pastoral fiction; Villages -- England -- Fiction
But we shall have noise enough presently: May has stopped at Lizzy's
door; and Lizzy, as she sat on the window-sill with her bright rosy
face laughing through the casement, has seen her and disappeared. She
is coming. No! The key is turning in the door, and sounds of evil omen
issue through the keyhole--sturdy 'let me outs,' and 'I will goes,'
mixed with shrill cries on May and on me from Lizzy, piercing through
a low continuous harangue, of which the prominent parts are apologies,
chilblains, sliding, broken bones, lollypops, rods, and gingerbread,
from Lizzy's careful mother. 'Don't scratch the door, May! Don't roar
so, my Lizzy! We'll call for you as we come back.' 'I'll go now! Let
me out! I will go!' are the last words of Miss Lizzy. Mem. Not to spoil
that child--if I can help it. But I do think her mother might have let
the poor little soul walk with us to-day. Nothing worse for children
than coddling. Nothing better for chilblains than exercise. Besides, I
don't believe she has any--and as to breaking her bones in sliding, I
don't suppose there's a slide on the common. These murmuring cogitations
have brought us up the hill, and half-way across the light and airy
common, with its bright expanse of snow and its clusters of cottages,
whose turf fires send such wreaths of smoke sailing up the air, and
diffuse such aromatic fragrance around. And now comes the delightful
sound of childish voices, ringing with glee and merriment almost from
beneath our feet. Ah, Lizzy, your mother was right! They are shouting
from that deep irregular pool, all glass now, where, on two long,
smooth, liny slides, half a dozen ragged urchins are slipping along in
tottering triumph. Half a dozen steps bring us to the bank right above
them. May can hardly resist the temptation of joining her friends, for
most of the varlets are of her acquaintance, especially the rogue who
leads the slide,--he with the brimless hat, whose bronzed complexion and
white flaxen hair, reversing the usual lights and shadows of the human
countenance, give so strange and foreign a look to his flat and comic
features. This hobgoblin, Jack Rapley by name, is May's great crony; and
she stands on the brink of the steep, irregular descent, her black eyes
fixed full upon him, as if she intended him the favour of jumping on his
head. She does: she is down, and upon him; but Jack Rapley is not easily
to be knocked off his feet. He saw her coming, and in the moment of
her leap sprung dexterously off the slide on the rough ice, steadying
himself by the shoulder of the next in the file, which unlucky follower,
thus unexpectedly checked in his career, fell plump backwards, knocking
down the rest of the line like a nest of card-houses. There is no harm
done; but there they lie, roaring, kicking, sprawling, in every attitude
of comic distress, whilst Jack Rapley and Mayflower, sole authors of
this calamity, stand apart from the throng, fondling, and coquetting,
Public-domain text, read in full here on John Shaqi.
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