The Major

CHAPTER I. The Coward

THE COWARD

Spring had come. Despite the many wet and gusty days which April had thrust in rude challenge upon reluctant May, in the glory of the triumphant sun which flooded the concave blue of heaven and the myriad shaded green of earth, the whole world knew to-day, the whole world proclaimed that spring had come. The yearly miracle had been performed. The leaves of the maple trees lining the village street unbound from their winter casings, the violets that lifted brave blue eyes from the vivid grass carpeting the roadside banks, the cherry and plum blossoms in the orchards decking the still leafless trees with their pink and white favours, the timid grain tingeing with green the brown fields that ran up to the village street on every side--all shouted in chorus that spring had come. And all the things with new blood running wild in their veins, the lambs of a few days still wobbly on ridiculous legs skipping over and upon the huge boulders in farmer Martin's meadow, the birds thronging the orchard trees, the humming insects rioting in the genial sun, all of them gave token of strange new impulses calling for something more than mere living because spring had come.

Upon the topmost tip of the taller of the twin poplars that flanked the picket gate opening upon the Gwynnes' little garden sat a robin, his head thrown back to give full throat to the song that was like to burst his heart, monotonous, unceasing, rapturous. On the door step of the Gwynnes' house, arrested on the threshold by the robin's song, stood the Gwynne boy of ten years, his eager face uplifted, himself poised like a bird for flight.

“Law-r-ence,” clear as a bird call came the voice from within.

“Mo-th-er,” rang the boy's voice in reply, high, joyous and shrill.

“Ear-ly! Remember!”

“Ri-ght a-way af-ter school. Good-bye, mo-ther, dear,” called the boy.

“W-a-i-t,” came the clear, birdlike call again, and in a moment the mother came running, stood beside the boy, and followed his eye to the robin on the poplar tree. “A brave little bird,” she said. “That is the way to meet the day, with a brave heart and a bright song. Goodbye, boy.” She kissed him as she spoke, giving him a slight pat on the shoulder. “Away you go.”

But the boy stood fascinated by the bird so gallantly facing his day. His mother's words awoke in him a strange feeling. “A brave heart and a bright song”--so the knights in the brave days of old, according to his Stories of the Round Table, were wont to go forth. In imitation of the bird, the boy threw back his head, and with another cheery good-bye to his mother, sprang clear of the steps and ran down the grass edged path, through the gate and out onto the village street. There he stood first looking up the country road which in the village became a street. There was nothing to be seen except that in the Martin orchard “Ol' Martin” was working with his team under the trees which came in rows down to the road. Finding nothing to interest him there, he turned toward the village and his eyes searched the street. Opposite the Gwynnes' gate, Dr. Bush's house stood back among the trees, but there was no sign of life about it. Further down on the same side of the street, the Widow Martin's cottage, with porch vine covered and windows bright with flowers, hid itself under a great spreading maple. In front of the cottage the Widow Martin herself was busy in the garden. He liked the Widow Martin but found her not sufficiently exciting to hold him this spring morning. A vacant lot or two and still on the same side came the blacksmith's shop just at the crossroads, and across the street from it his father's store. But neither at the blacksmith's shop nor at the store across from it was there anything to awaken even a passing interest. Some farmers' teams and dogs, Pat Larkin's milk wagon with its load of great cans on its way to the cheese factory and some stray villagers here and there upon the street intent upon their business. Up the street his eye travelled beyond the crossroads where stood on the left Cheatley's butcher shop and on the right McKenny's hotel with attached sheds and outhouses. Over the bridge and up the hill the street went straight away, past the stone built Episcopal Church whose spire lifted itself above the maple trees, past the Rectory, solid, square and built of stone, past the mill standing on the right back from the street beside the dam, over the hill, and so disappeared. The whole village seemed asleep and dreaming among its maple trees in the bright sunlight.

Throwing another glance at the robin still singing on the treetop overhead, the boy took from his pocket a mouth-organ, threw back his head, squared his elbows out from his sides to give him the lung room he needed, and in obedience to a sharp word of command after a preliminary tum, tum, tum, struck up the ancient triumph hymn in memory of that hero of the underground railroad by which so many slaves of the South in bygone days made their escape “up No'th” to Canada and to freedom.

“Glory, glory, hallelujah, his soul goes marching on.” By means of “double-tongueing,” a recently acquired accomplishment, he was able to give a full brass band effect to his hymn of freedom. Many villagers from door or window cast a kindly and admiring eye upon the gallant little figure stepping to his own music down the street. He was brass band, conductor, brigadier general all in one, and behind him marched an army of heroes off for war and deathless glory, invisible and invincible. To the Widow Martin as he swung past the leader flung a wave of his hand. With a tender light in her old eyes the Widow Martin waved back at him. “God bless his bright face,” she murmured, pausing in her work to watch the upright little figure as he passed along. At the blacksmith's shop the band paused.

Tink, tink, tink, tink, Tink, tink-a-tink-tink-tink. Tink tink, tink, tink, Tink, tink-a-tink-tink-tink.

The conductor graduated the tempo so as to include the rhythmic beat of the hammer with the other instruments in his band. The blacksmith looked, smiled and let his hammer fall in consonance with the beat of the boy's hand, and for some moments there was glorious harmony between anvil and mouth organ and the band invisible. At the store door across the street the band paused long enough simply to give and receive an answering salute from the storekeeper, who smiled upon his boy as he marched past. At the crossroads the band paused, marking time. There was evidently a momentary uncertainty in the leader's mind as to direction. The road to the right led straight, direct, but treeless, dusty, uninviting, to the school. It held no lure for the leader and his knightly following. Further on a path led in a curve under shady trees and away from the street. It made the way to school longer, but the lure of the curving, shady path was irresistible. Still stepping bravely to the old abolitionist hymn, the procession moved along, swung into the path under the trees and suddenly came to a halt. With a magnificent flourish the band concluded its triumphant hymn and with the conductor and brigadier the whole brigade stood rigidly at attention. The cause of this sudden halt was to be seen at the foot of a maple tree in the person of a fat lump of good natured boy flesh supine upon the ground.

“Hello, Joe; coming to school?”

“Ugh,” grunted Joe, from the repose of limitless calm.

“Come on, then, quick, march.” Once more the band struck up its hymn.

“Hol' on, Larry, it's plenty tam again,” said Joe. The band came to a stop. “I don' lak dat school me,” he continued, still immersed in calm.

Joe's struggles with an English education were indeed tragically pathetic. His attempts with aspirates were a continual humiliation to himself and a joy to the whole school. No wonder he “no lak dat school.” Besides, Joe was a creature of the open fields. His French Canadian father, Joe Gagneau, “Ol' Joe,” was a survival of a bygone age, the glorious golden age of the river and the bush, of the shanty and the raft, of the axe and the gun, the age of Canadian romance, of daring deed, of wild adventure.

“An' it ees half-hour too queek,” persisted Joe. “Come on hup to de dam.” A little worn path invited their feet from the curving road, and following their feet, they found themselves upon a steep embankment which dammed the waters into a pond that formed the driving power for the grist mill standing near. At the farther end of the pond a cedar bush interposed a barrier to the sight and suggested mysterious things beyond. Back of the cedar barrier a woods of great trees, spruce, balsam, with tall elms and maples on the higher ground beyond, offered deeper mysteries and delights unutterable. They knew well the cedar swamp and the woods beyond. Partridges drummed there, rabbits darted along their beaten runways, and Joe had seen a woodcock, that shyest of all shy birds, disappear in glancing, shadowy flight, a ghostly, silent denizen of the ghostly, silent spaces of the forest. Even as they gazed upon that inviting line of woods, the boys could see and hear the bluejays flash in swift flight from tree to tree and scream their joy of rage and love. From the farther side of the pond two boys put out in a flat-bottomed boat.

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