The Cup of Trembling, and Other StoriesFoote, Mary Hallock
General
The Cup of Trembling, and Other Stories
Foote, Mary Hallock
United States -- Social life and customs -- 19th century -- Fiction
I suppose I must have had some influence over her, for she allowed me to
help her to arrange her forlorn disguise, and put her on her horse,
which was more than could have been expected from the way she had
received me. And so, about four o'clock, we started back.
There was a scene when we headed the horses to the west; she protesting
with wild sobs that she would not, could not, go home, that she would
rather die, that we should never get her back alive, and so on. Maverick
stood aside bitterly, and left her to me, and I was aware of a grotesque
touch of jealousy--which, after all, was perhaps natural--in his dour
face whenever he looked back at us. He kept some distance ahead, and
waited for us when we fell too far in the rear.
This would happen when from time to time her situation seemed to
overpower her, and she would stop in the road, and wring her hands, and
try to throw herself out of the saddle, and pray me to let her go.
"Go where?" I would ask. "Where do you wish to go? Have you any plan, or
suggestion, that I could help you to carry out?" But I said it only to
show her how hopeless her resistance was. This she would own piteously,
and say: "Nobody can help me. There ain't nowhere for me to go. But I
can't go back. You won't let him make me, will you?"
"Why cannot you go back to your father and your brothers?"
This would usually silence her, and, setting her teeth upon her trouble,
she would ride on, while I reproached myself, I knew not why.
After one of these struggles--when she had given in to the force of
circumstances, but still unconsenting and rebellious--Maverick fell
back, and ranged his horse by her other side.
"I know partly what's troubling you, and I'd rid you of that part quick
enough," he said, with a kind of dogged patience in his hard voice;
"but you can't get on there without me. You know that, don't you? You
don't blame me for staying?"
"I don't blame you for anything but what you've done to-day. You've
broke my heart, and ruined me, and took away my last chance, and I don't
care what becomes of me, so I don't have to go back."
"You don't have to any more than you have to live. Dyin' is a good deal
easier, but we can't always die when we want to. Suppose I found a
little lost child on the road, and it cried to go home, and I didn't
know where 'home' was, would I leave it there just because it cried and
hung back? I'd take you to a better home if I knew of one; but I don't.
And there's the old man. I suppose we could get some doctor to certify
that he's out of his mind, and get him sent up to Blackfoot; but I guess
we'd have to buy the doctor first."
"Oh, hush, do, and leave me alone," she said.
Maverick dug his spurs into his horse, and plunged ahead.
"There," she cried, "now you know part of it; but it's the least
part--the least, the least! Poor father, he's awful queer. He don't more
than half the time know who I am," she whispered. "But it ain't him I'm
running away from. It's myself--my own life."
Public-domain text, read in full here on John Shaqi.
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