The Mystery of Witch-Face Mountain, and Other StoriesCraddock, Charles Egbert
General
The Mystery of Witch-Face Mountain, and Other Stories
Craddock, Charles Egbert
Cumberland Mountains -- Fiction; Mountain life -- Fiction; Tennessee -- Social life and customs -- Fiction
A warm sun shone; a brisk autumnal breeze waved the flag flying from
the judges' stand; a brass band in the upper story of that structure
thrilled the air with the vibrations of popular waltzes and marches,
somewhat marred now and then by mysteriously discordant bass tones;
the judges, portly, red-faced, middle-aged gentlemen, sat below in
cane-bottom chairs critically a-tilt on the hind legs. The rough
wooden amphitheatre, a bold satire on the stately Roman edifice, was
filled with the denizens of Colbury and the rosy rural faces of the
country people of Kildeer County; and within the charmed arena the
competitors for the blue ribbon and the saddle and bridle to be
awarded to the best rider were just now entering, ready mounted, from
a door beneath the tiers of seats, and were slowly making the tour of
the circle around the judges' stand. One by one they came, with a
certain nonchalant pride of demeanor, conscious of an effort to
display themselves and their horses to the greatest advantage, and yet
a little ashamed of the consciousness. For the most part they were
young men, prosperous looking, and clad according to the requirements
of fashion which prevailed in this little town. Shut in though it was
from the pomps and vanities of the world by the encircling chains of
blue ranges and the bending sky which rested upon their summits, the
frivolity of the mode, though somewhat belated, found its way and
ruled with imperative rigor. Good riders they were undoubtedly,
accustomed to the saddle almost from infancy, and well mounted. A
certain air of gallantry, always characteristic of an athletic
horseman, commended these equestrian figures to the eye as they slowly
circled about. Still they came--eight--nine--ten--the eleventh, the
long, lank frame of Jenkins Hollis mounted on Squire Goodlet's "John
Barleycorn."
The horsemen received this ungainly addition to their party with
polite composure, and the genteel element of the spectators remained
silent too from the force of good breeding and good feeling; but the
"roughs," always critically a-loose in a crowd, shouted and screamed
with derisive hilarity. What they were laughing at Jenks Hollis never
knew. Grave and stolid, but as complacent as the best, he too made the
usual circuit with his ill-fitting jeans suit, his slouching old wool
hat, and his long, gaunt figure. But he sat the spirited "John
Barleycorn" as if he were a part of the steed, and held up his head
with unwonted dignity, inspired perhaps by the stately attitudes of
the horse, which were the result of no training nor compelling reins,
but the instinct transmitted through a long line of high-headed
ancestry. Of a fine old family was "John Barleycorn."
Public-domain text, read in full here on John Shaqi.
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