American prose literature; English prose literature; Narration (Rhetoric)
“There, there, Annie, dear, don’t take on so,” he quavered timidly,
putting out a shaking hand and awkwardly patting her elbow. She
turned and sank upon his shoulder with such violence that he tottered
a little. He did not even glance toward the coffin, but continued
to look at her with a dull, frightened, appealing expression, as a
spaniel looks at the whip. His sunken cheeks slowly reddened and
burned with miserable shame. When his wife rushed from the room, her
daughter strode after her with set lips. The servant stole up to
the coffin, bent over it for a moment, and then slipped away to the
kitchen, leaving Steavens, the lawyer, and the father to themselves.
The old man stood looking down at his dead son’s face. The sculptor’s
splendid head seemed even more noble in its rigid stillness than in
life. The dark hair had crept down upon the wide forehead; the face
seemed strangely long, but in it there was not that repose we expect
to find in the faces of the dead. The brows were so drawn that there
were two deep lines above the beaked nose, and the chin was thrust
forward defiantly. It was as though the strain of life had been so
sharp and bitter that death could not at once relax the tension and
smooth the countenance into perfect peace--as though he were still
guarding something precious, which might even yet be wrested from him.
The old man’s lips were working under his stained beard. He turned to
the lawyer with timid deference: “Phelps and the rest are comin’ back
to set up with Harve, ain’t they?” he asked. “Thank ’ee, Jim, thank
’ee.” He brushed the hair back gently from his son’s forehead. “He
was a good boy, Jim; always a good boy. He was ez gentle ez a child
and the kindest of ’em all--only we didn’t none of us ever onderstand
him.” The tears trickled slowly down his beard and dropped upon the
sculptor’s coat.
“Martin, Martin! Oh, Martin! come here,” his wife wailed from the
top of the stairs. The old man started timorously: “Yes, Annie, I’m
coming.” He turned away, hesitated, stood for a moment in miserable
indecision; then reached back and patted the dead man’s hair softly,
and stumbled from the room.
“Poor old man, I didn’t think he had any tears left. Seems as if
his eyes would have gone dry long ago. At his age nothing cuts very
deep,” remarked the lawyer.
Something in his tone made Steavens glance up. While the mother had
been in the room, the young man had scarcely seen any one else; but
now, from the moment he first glanced into Jim Laird’s florid face
and blood-shot eyes, he knew that he had found what he had been
heartsick at not finding before--the feeling, the understanding, that
must exist in some one, even here.
Public-domain text, read in full here on John Shaqi.
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