Child Life In Town And Country Part 3

THEY are sailor boys, regular little sea-dogs. Look at them; they have their caps pulled down over their ears so that the gale blowing in from the sea and bringing the spindrift with it may not deafen them with its dreadful howling. They wear heavy woollen clothes to keep out the cold and wet. Their patched pea-jacket and breeches have been their elders'

before them. Most of their garments have been contrived out of old things of their father's. Their soul is likewise of the same stuff as their father's; it is simple, brave, and long-suffering. At birth they inherited a single-hearted, n.o.ble temper. Who and what gave it them?

After G.o.d and their parents, the Sea. The Sea teaches sailors courage by teaching them to face danger. It is a rough but kindly instructor.

That is why our little sailor-boys, though their hearts are childlike still, have the spirit of gallant veterans. Elbows on the parapet of the sea-wall, they gaze out into the offing. It is more than the blue line marking the faint division between sea and sky that they see. Their eyes care little for the soft, changing colours of the ocean or the vast, contorted ma.s.ses of the clouds. What they see, as they look seawards, is something more moving than the hue of the waves or the shape of the clouds; it is a suggestion of human love. They are spying for the boats that sailed away for the fis.h.i.+ng; presently they will loom again on the horizon, laden with shrimp to the gunwales, and bringing home uncles and big brothers and fathers. The little fleet will soon appear yonder betwixt the ocean and G.o.d's sky with its white or brown sails. To-day the sky is unclouded, the sea calm; the flood tide floats the fishers gently to the sh.o.r.e. But the Ocean is a capricious old fellow, who takes all shapes and sings in many voices. To-day he laughs; to-morrow he will be growling in the night under his beard of foam. He s.h.i.+pwrecks the most handy boats, though they have been blessed by the Priest to the chanting of the _Te Deum_; he drowns the most skilful master mariners, and it is all his fault you see in the village, before the cottage doors where the nets hang to dry beside the fish-creels, so many women wearing black widow's weeds.

GETTING WELL

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GERMAINE is ill. n.o.body knows how it began. The arm which sows fever is invisible like the dustman's hand, the old fellow who comes every night and makes the little ones so sleepy. But Germaine was not ill very long and she was not very bad, and now she is getting well again. This getting well is even pleasanter than being quite well, which comes next.

In the same way hoping and wis.h.i.+ng are better, very often, than anything we wish for or hope for. Germaine lies in bed in her pretty, bright room, and her dreams are as bright-coloured as her room.

She looks, a little languidly still, at her doll, which sleeps beside her own bed. There are sympathies that go deep between little girls and their dolls. Germaine's doll fell ill at the same time as her little mamma, and now she is getting well with her. She will take her first carriage outing sitting by Germaine's side.

She has seen the doctor too. Alfred came to feel the doll's pulse. He is Doctor "As-bad-as-can-be." He talks of nothing but cutting off arms and legs. But Germaine asked him so earnestly that he agreed to cure her dolly without slas.h.i.+ng it to pieces. But he prescribed the nastiest medicines.

Illness has one advantage at any rate; it makes us know our friends.

Germaine is sure now she can count on Alfred's goodness; she is certain Lucie is the best of sisters. All the nine days her illness lasted, Lucie came to learn her lessons and do her sewing in the sick room. She insists on bringing the little patient her herb-tea herself. And it is not a bitter potion, such as Alfred ordered; no, it is balmy with the scent of wild flowers.

When she smells its perfume, Germaine's thoughts fly to the flowery mountain paths, the haunt of children and bees, where she played so often last year. Alfred too remembers the beautiful ways, and the woods, and the springs, and the mules that climbed up and up on the brink of precipices with a sound of tinkling bells.

ACROSS THE MEADOWS

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AFTER breakfast Catherine! started off to the meadows with her little brother Jean. When they set out, the day seemed as young and fresh as they were. The sky was not altogether blue; it was grey rather, but of a tenderer grey than any blue. Catherine's eyes are just the same grey, as if made out of a bit of morning sky.

Catherine and Jean wander all by themselves through the fields.

Their mother is a farmer's wife and is at work at home. They have no nurse-maid to take them, and they don't need one. They know their way, and all the woods and fields and hills. Catherine can tell the time by looking at the sun, and she has guessed all sorts of pretty secrets of Nature that town-bred children have no suspicion of. Little Jean himself understands a great many things about the woods, the pools, and the mountains, for his little soul is a country soul.

Catherine and Jean go roaming through the flowery meadows. As they go, Catherine gathers a nosegay. She picks blue centauries, scarlet poppies, cuckoo-flowers, and b.u.t.tercups, which she also knows as _little chicks_.

She picks those pretty purple blossoms that grow in hedgerows and are called Venus' looking-gla.s.ses. She picks the dark ears of the milkwort, and crane's-bill and lily of the valley, whose tiny white bells shed a delicious perfume at the least puff of wind. Catherine loves flowers because they are beautiful; and she loves them too because they make such pretty ornaments. She is very simply dressed, and her pretty hair is hid under a brown linen cap. She wears a cotton check pinafore over her plain frock, and goes in wooden shoes. She has never seen rich dresses except on the Virgin Mary and the St. Catherine in the parish church. But there are some things little girls know directly they are born. Catherine knows that flowers are becoming to wear, and that pretty ladies who pin nosegays in their bosoms look lovelier than ever. So she has a notion she must be very fine indeed now, carrying a nosegay bigger than her own head. Her thoughts are as bright and fragrant as her flowers. They are thoughts that cannot be put into words; there are no words pretty enough. It wants song tunes for that, the liveliest and softest airs, the sweetest songs. So Catherine sings, as she gathers her nosegay: "Away to the woods alone" and "My heart is for him, my heart is for him."

Little Jean is of another temper. He follows another line of ideas. He is a broth of a boy, he is; Jean is not breeched yet, but his spirit is beyond his years and there's no more rollicking blade than he. While he grips his sister's pinafore with one hand, for fear of tumbling, he shakes his whip in the other like a st.u.r.dy lad. His father's head stableman can hardly crack his any better when he meets his sweetheart, bringing home the horses from watering at the river. Little Jean is lulled by no soft reveries. He never heeds the field flowers. The games he dreams of are stiff jobs of work. His thoughts dwell on wagons stogged in the mire and big carthorses hauling at the collar at his voice and under his lash.

Catherine and Jean have climbed above the meadows, up the hill, to a high ground from which you can make out all the chimneys of the village dotted among the trees and in the far distance the steeples of six parishes. Then you see what a big place the world is. Then Catherine can better understand the stories she has been taught,--the dove from the Ark, the Israelites in the Promised Land, and Jesus going from city to city.

"Let's sit down there," she says.

Down she sits, and, opening her hands, she sheds her flowery harvest all over her. She is all fragrant with blossoms, and in a moment the b.u.t.terflies come fluttering round her. She picks and chooses and matches her flowers; she weaves them into garlands and wreaths, and hangs flower-bells in her ears; she is decked out now like the rustic image of a Holy Virgin the shepherds venerate. Her little brother Jean, who has been busy all this while driving a team of imaginary horses, sees her in all this bravery. Instantly he is filled with admiration. A religious awe penetrates all his childish soul. He stops, and the whip falls from his fingers. He feels that she is beautiful and all smothered in lovely flowers. He tries in vain to say all this in his soft, indistinct speech. But she has guessed. Little Catherine is his big sister, and a big sister is a little mother; she foresees, she guesses; she has the sacred instinct.

"Yes, darling," cries Catherine, "I am going to make you a beautiful wreath, and you will look like a little king."

And so she twines together the white flowers, the yellow flowers, and the red flowers, into a chaplet. She puts it on little Jean's head, and he flushes with pride and pleasure. She kisses her little brother, lifts him in her arms and plants him, all garlanded with blossoms, on a big stone. Then she looks at him admiringly, because he is beautiful and _she_ has made him so.

And standing there on his rustic pedestal, little Jean knows he is beautiful, and the thought fills him with a deep respect for himself. He feels he is something holy. Very upright and still, with round eyes and tight-drawn lips, arms by his side with the palms open and the fingers parted like the spokes of a wheel, he tastes a pious joy to be an idol--he is sure he is an idol now. The sky is overhead, the woods and fields lie at his feet. He is the hub of the universe. He alone is great, he alone is beautiful.

But suddenly Catherine breaks into a laugh. She shouts:

"Oh! how funny you look, little Jean! how funny you do look!"

She runs up and throws her arms round him, she kisses him and shakes him; the heavy wreath of flowers slips down over his nose. And she laughs again:

"Oh! how funny he looks! how very funny!"

But it is no laughing matter for little Jean. He is sad and sorry, wondering why it is all over and he has left off being beautiful. It hurts to come down to earth again!

Now the wreath is unwound and tossed on the gra.s.s, and little Jean is like anybody else once more. Yes, he has left off being beautiful. But he is still a st.u.r.dy young scamp. He soon has his whip in hand again and now he is hauling his team of six, the six big carthorses of his dreams, out of that rut. Catherine is still playing with her flowers. But some of them are dying. Others are closing in sleep. For the flowers go to sleep like the animals, and look! the campanulas, plucked a few hours ago, are shutting their purple bells and sinking asleep in the little hands that have parted them from life.

A light breeze blows by, and Catherine s.h.i.+vers. It is night coming.

"I am hungry," says little Jean.

But Catherine has not a bit of bread to give her little brother. She says:

"Little brother, let 's go back to the house."

And they both think of the cabbage soup steaming in the pot that hangs from the hook right under the great chimney. Catherine gathers her flowers in her arm and taking her little brother by the hand, she leads him homewards.

The sun sank slowly down to the ruddy West. The swallows swooped past the two children, almost touching them with their wings, that hardly seemed to move. It was getting dark. Catherine and Jean pressed closer together.

Catherine dropped her flowers one after the other by the way. They could hear, in the wide silence, the untiring chirp-chirp of the crickets.

They were afraid, both of them, and they were sad; the melancholy of nightfall had entered into their little hearts. All round them was familiar ground, but the things they knew the best looked strange and uncanny. The earth seemed suddenly to have grown too big and too old for them. They were tired, and they began to think they would never reach the house, where mother was making the soup for all the family. Jean's whip hung limp and still, and Catherine let the last of her flowers slip from her tired fingers. She was dragging Jean along by the arm, and neither said a word.

At last they saw a long way off the roof of their house and smoke rising in the darkening sky. Then they stopped running, and clapping their hands together, shouted for joy. Catherine kissed her little brother; then they set off running again as fast as ever their weary legs would carry them. When they reached the village, there were women coming back from the fields who gave them good evening. They breathed again. Their mother was on the door-step, in a white cap, soup-ladle in hand.

"Come along, little ones, come along!" she called to them. And they threw themselves into her arms. When she reached the parlour where the cabbage soup was smoking on the table, Catherine s.h.i.+vered again. She had seen night come down over the earth. Jean, seated on the settle, his chin on a level with the table, was already eating his soup.

THE MARCH PAST

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RENe, Bernard, Roger, Jacques, and Etienne feel sure there is nothing finer in the world than to be a soldier. Francine agrees with them and she would love to be a boy to join the army. They think so because soldiers wear fine uniforms, epaulettes and gold lace, and glittering swords. There is yet another reason for putting the soldier in the front rank of citizens--because he gives his life for his Country. There is no true greatness in this world but that of sacrifice, and to offer one's life is the greatest of all sacrifices, because it includes all others.

That is why the hearts of the crowd beat high when a regiment goes by.

Rene is the General. He wears a c.o.c.ked hat and rides a war-horse. The hat is made of paper and the horse is a chair. His army consists of a drummer and four men--of whom one is a girl! "Shoulder arms! Forward, march!" and the march past begins. Francine and Roger look quite imposing under arms. True, Jacques does not hold his gun very valiantly.

He is a melancholy lad. But we must not blame him for that; dreamers can be just as brave as those who never dream at all. His little brother Etienne, the tiniest mite in the regiment, looks pensive. He is ambitious; he would like to be a general officer right away, and that makes him sad.

"Forward! forward!" Rene shouts the order. "We are to fall on the Chinese, who are in the dining-room." The Chinese are chairs. When you play at fighting, chairs make first-rate Chinese. They fall--and what better can the Chinese do? When all the chairs are feet in air, Rene announces: "Soldiers, now we have beaten the Chinese, we will have our rations." The idea is well received on all hands. Yes, soldiers must eat. This time the Commissariat has furnished the best of victuals--buns, maids of honour, coffee cakes and chocolate cakes, red-currant syrup. The army falls to with a will. Only Etienne will eat nothing. He frowns and looks enviously at the sword and c.o.c.ked hat which the General has left on a chair. He creeps up, s.n.a.t.c.hes them, and slips into the next room. There he stands alone before the gla.s.s; he puts on the c.o.c.ked hat and waves the sword; he is a general, a general without an army, a general all to himself. He tastes the pleasures of ambition--pleasures full of vague forecastings and long, long hopes.