The Bride of the Mistletoe

TO ONE WHO KNOWS

Je crois que pour produire il ne faut pas trop raissoner. Mais il faut regarder beaucoup et songer à ce qu’on a vu. Voir: tout est là, et voir juste. J’entends, par voir juste, voir avec ses propres yeux et non avec ceux des maîtres. L’originalité d’un artiste s’indique d’abord dans les petites choses et non dans les grandes.

Il faut trouver aux choses une signification qui n’a pas encore découverte et tâcher de l’exprimer d’une façon personelle.

PREFACE

Any one about to read this work of fiction might properly be apprised beforehand that it is not a novel: it has neither the structure nor the purpose of The Novel.

It is a story. There are two characters—a middle-aged married couple living in a plain farmhouse; one point on the field of human nature is located; at that point one subject is treated; in the treatment one movement is directed toward one climax; no external event whatsoever is introduced; and the time is about forty hours.

A second story of equal length, laid in the same house, is expected to appear within a twelvemonth. The same father and mother are characters, and the family friend the country doctor; but subordinately all. The main story concerns itself with the four children of the two households.

It is an American children’s story:

“A Brood of The Eagle.”

During the year a third work, not fiction, will be published, entitled:

“The Christmas Tree: An Interpretation.”

The three works will serve to complete each other, and they complete a cycle of the theme.

EARTH SHIELD AND EARTH FESTIVAL

A mighty table-land lies southward in a hardy region of our country. It has the form of a colossal Shield, lacking and broken in some of its outlines and rough and rude of make. Nature forged it for some crisis in her long warfare of time and change, made use of it, and so left it lying as one of her ancient battle-pieces—Kentucky.

The great Shield is raised high out of the earth at one end and sunk deep into it at the other. It is tilted away from the dawn toward the sunset. Where the western dip of it reposes on the planet, Nature, cunning artificer, set the stream of ocean flowing past with restless foam—the Father of Waters. Along the edge for a space she bound a bright river to the rim of silver. And where the eastern part rises loftiest on the horizon, turned away from the reddening daybreak, she piled shaggy mountains wooded with trees that loose their leaves ere snowflakes fly and with steadfast evergreens which hold to theirs through the gladdening and the saddening year. Then crosswise over the middle of the Shield, northward and southward upon the breadth of it, covering the life-born rock of many thicknesses, she drew a tough skin of verdure—a broad strip of hide of the ever growing grass. She embossed noble forests on this greensward and under the forests drew clear waters.

This she did in a time of which we know nothing—uncharted ages before man had emerged from the deeps of ocean with eyes to wonder, thoughts to wander, heart to love, and spirit to pray. Many a scene the same power has wrought out upon the surface of the Shield since she brought him forth and set him there: many an old one, many a new. She has made it sometimes a Shield of war, sometimes a Shield of peace. Nor has she yet finished with its destinies as she has not yet finished with anything in the universe. While therefore she continues her will and pleasure elsewhere throughout creation, she does not forget the Shield.

She likes sometimes to set upon it scenes which admonish man how little his lot has changed since Hephaistos wrought like scenes upon the shield of Achilles, and Thetis of the silver feet sprang like a falcon from snowy Olympus bearing the glittering piece of armor to her angered son.

These are some of the scenes that were wrought on the shield of Achilles and that to-day are spread over the Earth Shield Kentucky:

Espousals and marriage feasts and the blaze of lights as they lead the bride from her chamber, flutes and violins sounding merrily. An assembly-place where the people are gathered, a strife having arisen about the blood-price of a man slain; the old lawyers stand up one after another and make their tangled arguments in turn. Soft, freshly ploughed fields where ploughmen drive their teams to and fro, the earth growing dark behind the share. The estate of a landowner where laborers are reaping; some armfuls the binders are binding with twisted bands of straw: among them the farmer is standing in silence, leaning on his staff, rejoicing in his heart. Vineyards with purpling clusters and happy folk gathering these in plaited baskets on sunny afternoons. A herd of cattle with incurved horns hurrying from the stable to the woods where there is running water and where purple-topped weeds bend above the sleek grass. A fair glen with white sheep. A dancing-place under the trees; girls and young men dancing, their fingers on one another’s wrists: a great company stands watching the lovely dance of joy.

Such pageants appeared on the shield of Achilles as art; as pageants of life they appear on the Earth Shield Kentucky. The metal-worker of old wrought them upon the armor of the Greek warrior in tin and silver, bronze and gold. The world-designer sets them to-day on the throbbing land in nerve and blood, toil and delight and passion. But there with the old things she mingles new things, with the never changing the ever changing; for the old that remains always the new and the new that perpetually becomes old—these Nature allots to man as his two portions wherewith he must abide steadfast in what he is and go upward or go downward through all that he is to become.

But of the many scenes which she in our time sets forth upon the stately grassy Shield there is a single spectacle that she spreads over the length and breadth of it once every year now as best liked by the entire people; and this is both old and new.

It is old because it contains man’s faith in his immortality, which was venerable with age before the shield of Achilles ever grew effulgent before the sightless orbs of Homer. It is new because it contains those latest hopes and reasons for this faith, which briefly blossom out upon the primitive stock with the altering years and soon are blown away upon the winds of change. Since this spectacle, this festival, is thus old and is thus new and thus enwraps the deepest thing in the human spirit, it is never forgotten.

When in vernal days any one turns a furrow or sows in the teeth of the wind and glances at the fickle sky; when under the summer shade of a flowering tree any one looks out upon his fatted herds and fattening grain; whether there is autumnal plenty in his barn or autumnal emptiness, autumnal peace in his breast or autumnal strife,—all days of the year, in the assembly-place, in the dancing-place, whatsoever of good or ill befall in mind or hand, never does one forget.

When nights are darkest and days most dark; when the sun seems farthest from the planet and cheers it with lowest heat; when the fields lie shorn between harvest-time and seed-time and man turns wistful eyes back and forth between the mystery of his origin and the mystery of his end,—then comes the great pageant of the winter solstice, then comes Christmas.

So what is Christmas? And what for centuries has it been to differing but always identical mortals?

It was once the old pagan festival of dead Nature. It was once the old pagan festival of the reappearing sun. It was the pagan festival when the hands of labor took their rest and hunger took its fill. It was the pagan festival to honor the descent of the fabled inhabitants of an upper world upon the earth, their commerce with common flesh, and the production of a race of divine-and-human half-breeds. It is now the festival of the Immortal Child appearing in the midst of mortal children. It is now the new festival of man’s remembrance of his errors and his charity toward erring neighbors. It has latterly become the widening festival of universal brotherhood with succor for all need and nighness to all suffering; of good will warring against ill will and of peace warring upon war.

And thus for all who have anywhere come to know it, Christmas is the festival of the better worldly self. But better than worldliness, it is on the Shield to-day what it essentially has been through many an age to many people—the symbolic Earth Festival of the Evergreen; setting forth man’s pathetic love of youth—of his own youth that will not stay with him; and renewing his faith in a destiny that winds its ancient way upward out of dark and damp toward Eternal Light.

This is a story of the Earth Festival on the Earth Shield.

I. THE MAN AND THE SECRET

A man sat writing near a window of an old house out in the country a few years ago; it was afternoon of the twenty-third of December.

One of the volumes of a work on American Forestry lay open on the desk near his right hand; and as he sometimes stopped in his writing and turned the leaves, the illustrations showed that the long road of his mental travels—for such he followed—was now passing through the evergreens.

Many notes were printed at the bottoms of the pages. They burned there like short tapers in dim places, often lighting up obscure faiths and customs of our puzzled human race. His eyes roved from taper to taper, as gathering knowledge ray by ray. A small book lay near the large one. It dealt with primitive nature-worship; and it belonged in the class of those that are kept under lock and key by the libraries which possess them as unsafe reading for unsafe minds.

Sheets of paper covered with the man’s clear, deliberate handwriting lay thickly on the desk. A table in the centre of the room was strewn with volumes, some of a secret character, opened for reference. On the tops of two bookcases and on the mantelpiece were prints representing scenes from the oldest known art of the East. These and other prints hanging about the walls, however remote from each other in the times and places where they had been gathered, brought together in this room of a quiet Kentucky farmhouse evidence bearing upon the same object: the subject related in general to trees and in especial evergreens.

While the man was immersed in his work, he appeared not to be submerged. His left hand was always going out to one or the other of three picture-frames on the desk and his fingers bent caressingly.

Two of these frames held photographs of four young children—a boy and a girl comprising each group. The children had the air of being well enough bred to be well behaved before the camera, but of being unruly and disorderly out of sheer health and a wild naturalness. All of them looked straight at you; all had eyes wide open with American frankness and good humor; all had mouths shut tight with American energy and determination. Apparently they already believed that the New World was behind them, that the nation backed them up. In a way you believed it. You accepted them on the spot as embodying that marvellous precocity in American children, through which they early in life become conscious of the country and claim it their country and believe that it claims them. Thus they took on the distinction of being a squad detached only photographically from the rank and file of the white armies of the young in the New World, millions and millions strong, as they march, clear-eyed, clear-headed, joyous, magnificent, toward new times and new destinies for the nation and for humanity—a kinder knowledge of man and a kinder ignorance of God.

The third frame held the picture of a woman probably thirty years of age. Her features were without noticeable American characteristics. What human traits you saw depended upon what human traits you saw with.

The hair was dark and abundant, the brows dark and strong. And the lashes were dark and strong; and the eyes themselves, so thornily hedged about, somehow brought up before you a picture of autumn thistles—thistles that look out from the shadow of a rock. They had a veritable thistle quality and suggestiveness: gray and of the fields, sure of their experience in nature, freighted with silence.

Despite grayness and thorniness, however, you saw that they were in the summer of their life-bloom; and singularly above even their beauty of blooming they held what is rare in the eyes of either men or women—they held a look of being just.

The whole face was an oval, long, regular, high-bred. If the lower part had been hidden behind a white veil of the Orient (by that little bank of snow which is guardedly built in front of the overflowing desires of the mouth), the upper part would have given the impression of reserve, coldness, possibly of severity; yet ruled by that one look—the garnered wisdom, the tempering justice, of the eyes. The whole face being seen, the lower features altered the impression made by the upper ones; reserve became bettered into strength, coldness bettered into dignity, severity of intellect transfused into glowing nobleness of character. The look of virgin justice in her was perhaps what had survived from that white light of life which falls upon young children as from a receding sun and touches lingeringly their smiles and glances; but her mouth had gathered its shadowy tenderness as she walked the furrows of the years, watching their changeful harvests, eating their passing bread.

A handful of some of the green things of winter lay before her picture: holly boughs with their bold, upright red berries; a spray of the cedar of the Kentucky yards with its rosary of piteous blue. When he had come in from out of doors to go on with his work, he had put them there—perhaps as some tribute. After all his years with her, many and strong, he must have acquired various tributes and interpretations; but to-day, during his walk in the woods, it had befallen him to think of her as holly which ripens amid snows and retains its brave freshness on a landscape of departed things. As cedar also which everywhere on the Shield is the best loved of forest-growths to be the companion of household walls; so that even the poorest of the people, if it does not grow near the spot they build in, hunt for it and bring it home: everywhere wife and cedar, wife and cedar, wife and cedar.

The photographs of the children grouped on each side of hers with heads a little lower down called up memories of Old World pictures in which cherubs smile about the cloud-borne feet of the heavenly Hebrew maid. Glowing young American mother with four healthy children as her gifts to the nation—this was the practical thought of her that riveted and held.

As has been said, they were in two groups, the children; a boy and girl in each. The four were of nearly the same age; but the faces of two were on a dimmer card in an older frame. You glanced at her again and persuaded yourself that the expression of motherhood which characterized her separated into two expressions (as behind a thin white cloud it is possible to watch another cloud of darker hue). Nearer in time was the countenance of a mother happy with happy offspring; further away the same countenance withdrawn a little into shadow—the face of the mother bereaved—mute and changeless.

The man, the worker, whom this little flock of wife and two surviving children now followed through the world as their leader, sat with his face toward his desk In a corner of the room; solidly squared before his undertaking, liking it, mastering it; seldom changing his position as the minutes passed, never nervously; with a quietude in him that was oftener in Southern gentlemen in quieter, more gentlemanly times. A low powerful figure with a pair of thick shoulders and tremendous limbs; filling the room with his vitality as a heavy passionate animal lying in a corner of a cage fills the space of the cage, so that you wait for it to roll over or get up on its feet and walk about that you may study its markings and get an inkling of its conquering nature.

Meantime there were hints of him. When he had come in, he had thrown his overcoat on a chair that stood near the table in the centre of the room and had dropped his hat upon his coat. It had slipped to the floor and now lay there—a low, soft black hat of a kind formerly much worn by young Southerners of the countryside,—especially on occasions when there was a spur of heat in their mood and going,—much the same kind that one sees on the heads of students in Rome in winter; light, warm, shaping itself readily to breezes from any quarter, to be doffed or donned as comfortable and negligible. It suggested that he had been a country boy in the land, still belonged to the land, and as a man kept to its out-of-door habits and fashions. His shoes, one of which you saw at each side of his chair, were especially well made for rough-going feet to tramp in during all weathers.

A sack suit of dark blue serge somehow helped to withdraw your interpretation of him from farm life to the arts or the professions. The scrupulous air of his shirt collar, showing against the clear-hued flesh at the back of his neck, and the Van Dyck-like edge of the shirt cuff, defining his powerful wrist and hand, strengthened the notion that he belonged to the arts or to the professions. He might have been sitting before a canvas instead of a desk and holding a brush instead of a pen: the picture would have been true to life. Or truer yet, he might have taken his place with the grave group of students in the Lesson in Anatomy left by Rembrandt.

Once he put down his pen, wheeled his chair about, and began to read the page he had just finished: then you saw him. He had a big, masculine, solid-cut, self-respecting, normal-looking, executive head—covered with thick yellowish hair clipped short; so that while everything else in his appearance indicated that he was in the prime of manhood, the clipped hair caused him to appear still more youthful; and it invested him with a rustic atmosphere which went along very naturally with the sentimental country hat and the all-weather shoes. He seemed at first impression a magnificent animal frankly loved of the sun—perhaps too warmly. The sun itself seemed to have colored for him his beard and mustache—a characteristic hue of men’s hair and beard in this land peopled from Old English stock. The beard, like the hair, was cut short, as though his idea might have been to get both hair and beard out of life’s daily way; but his mustache curled thickly down over his mouth, hiding it. In the whole effect there was a suggestion of the Continent, perhaps of a former student career in Germany, memories of which may still have lasted with him and the marks of which may have purposely been kept up in his appearance.

But such a fashion of beard, while covering a man’s face, does much to uncover the man. As he sat amid his papers and books, your thought surely led again to old pictures where earnest heads bend together over some point on the human road, at which knowledge widens and suffering begins to be made more bearable and death more kind. Perforce now you interpreted him and fixed his general working category: that he was absorbed in work meant to be serviceable to humanity. His house, the members of his family, the people of his neighborhood, were meantime forgotten: he was not a mere dweller on his farm; he was a discoverer on the wide commons where the race forever camps at large with its problems, joys, and sorrows.

He read his page, his hand dropped to his knee, his mind dropped its responsibility; one of those intervals followed when the brain rests. The look of the student left his face; over it began to play the soft lights of the domestic affections. He had forgotten the world for his own place in the world; the student had become the husband and house-father. A few moments only; then he wheeled gravely to his work again, his right hand took up the pen, his left hand went back to the pictures.

The silence of the room seemed a guarded silence, as though he were being watched over by a love which would not let him be disturbed. (He had the reposeful self-assurance of a man who is conscious that he is idolized.)

Matching the silence within was the stillness out of doors. An immense oak tree stood just outside the windows. It was a perpetual reminder of vanished woods; and when a windstorm tossed and twisted it, the straining and grinding of the fibres were like struggles and outcries for the wild life of old. This afternoon it brooded motionless, an image of forest reflection. Once a small black-and-white sapsucker, circling the trunk and peering into the crevices of the bark on a level with the windows, uttered minute notes which penetrated into the room like steel darts of sound. A snowbird alighted on the window-sill, glanced familiarly in at the man, and shot up its crest; but disappointed perhaps that it was not noticed, quoted its resigned gray phrase—a phrase it had made for itself to accompany the score of gray whiter—and flitted on billowy wings to a juniper at the corner of the house, its turret against the long javelins of the North.

Amid the stillness of Nature outside and the house-silence of a love guarding him within, the man worked on.

A little clock ticked independently on the old-fashioned Parian marble mantelpiece. Prints were propped against its sides and face, illustrating the use of trees about ancient tombs and temples. Out of this photographic grove of dead things the uncaring clock threw out upon the air a living three—the fateful three that had been measured for each tomb and temple in its own land and time.

A knock, regretful but positive, was heard, and the door opening into the hall was quietly pushed open. A glow lit up the student’s face though he did not stop writing; and his voice, while it gave a welcome, unconsciously expressed regret at being disturbed:

“Come in.”

“I am in!”

He lifted his heavy figure with instant courtesy—rather obsolete now—and bowing to one side, sat down again.

“So I see,” he said, dipping his pen into his ink.

“Since you did not turn around, you would better have said ‘So I hear.’ It is three o’clock.”

“So I hear.”

“You said you would be ready.”

“I am ready.”

“You said you would be done.”

“I am done—nearly done.”

“How nearly?”

“By to-morrow—to-morrow afternoon before dark. I have reached the end, but now it is hard to stop, hard to let go.”

His tone gave first place, primary consideration, to his work. The silence in the room suddenly became charged. When the voice was heard again, there was constraint in it:

“There is something to be done this afternoon before dark, something I have a share in. Having a share, I am interested. Being interested, I am prompt. Being prompt, I am here.”

He waved his hand over the written sheets before him—those cold Alps of learning; and asked reproachfully:

“Are you not interested in all this, O you of little faith?”

“How can I say, O me of little knowledge!”

As the words impulsively escaped, he heard a quick movement behind him. He widened out his heavy arms upon his manuscript and looked back over his shoulder at her and laughed. And still smiling and holding his pen between his fingers, he turned and faced her. She had advanced into the middle of the room and had stopped at the chair on which he had thrown his overcoat and hat. She had picked up the hat and stood turning it and pushing its soft material back into shape for his head—without looking at him.

The northern light of the winter afternoon, entering through the looped crimson-damask curtains, fell sidewise upon the woman of the picture.

Years had passed since the picture had been made. There were changes in her; she looked younger. She had effaced the ravages of a sadder period of her life as human voyagers upon reaching quiet port repair the damages of wandering and storm. Even the look of motherhood, of the two motherhoods, which so characterized her in the photograph, had disappeared for the present. Seeing her now for the first time, one would have said that her whole mood and bearing made a single declaration: she was neither wife nor mother; she was a woman in love with life’s youth—with youth—youth; in love with the things that youth alone could ever secure to her.