The Song Of The Lark - Full Story Text

PART I
FRIENDS OF CHILDHOOD

Chapter XVIII

Mr. Kronborg was too fond of his ease and too sensible to worry his children much about religion. He was more sincere than many preachers, but when he spoke to his family about matters of conduct it was usually with a regard for keeping up appearances.  The church and church work were discussed in the family like the routine of any other business.  Sunday was the hard day of the week with them, just as Saturday was the busy day with the merchants on Main Street.  Revivals were seasons of extra work and pressure, just as threshing-time was on the farms.  Visiting elders had to be lodged and cooked for, the folding-bed in the parlor was let down, and Mrs. Kronborg had to work in the kitchen all day long and attend the night meetings. 

During one of these revivals Thea's sister Anna professed religion with, as Mrs. Kronborg said, "a good deal of fluster."  While Anna was going up to the mourners' bench nightly and asking for the prayers of the congregation, she disseminated general gloom throughout the household, and after she joined the church she took on an air of "set-apartness" that was extremely trying to her brothers and her sister, though they realized that Anna's sanctimoniousness was perhaps a good thing for their father.  A preacher ought to have one child who did more than merely acquiesce in religious observances, and Thea and the boys were glad enough that it was Anna and not one of themselves who assumed this obligation. 

"Anna, she's American," Mrs. Kronborg used to say. The Scandinavian mould of countenance, more or less marked in each of the other children, was scarcely discernible in her, and she looked enough like other Moon    stone girls to be thought pretty.  Anna's nature was conventional, like her face.  Her position as the minister's eldest daughter was important to her, and she tried to live up to it.  She read sentimental religious story-booksand emulated the spiritual struggles and magnanimous behavior of their persecuted heroines.  Everything had to be interpreted for Anna.  Her opinions about the smallest and most commonplace things were gleaned from the Denver papers, the church weeklies, from sermons and Sunday-School addresses.  Scarcely anything was attractive to her in its natural state--indeed, scarcely anything was decent until it was clothed by the opinion of some authority.  Her ideas about habit, character, duty, love, marriage, were grouped under heads, like a book of popular quotations, and were totally unrelated to the emergencies of human living.  She discussed all these subjects with other Methodist girls of her age.  They would spend hours, for instance, in deciding what they would or would not tolerate in a suitor or a husband, and the frailties of masculine nature were too often a subject of discussion among them. In her behavior Anna was a harmless girl, mild except where her prejudices were concerned, neat and industrious, with no graver fault than priggishness; but her mind had really shocking habits of classification.  The wickedness of Denver and of Chicago, and even of Moonstone, occupied her thoughts too much.  She had none of the delicacy that goes with a nature of warm impulses, but the kind of fishy curiosity which justifies itself by an expression of horror. 

Thea, and all Thea's ways and friends, seemed indecorous to Anna.  She not only felt a grave social discrimination against the Mexicans; she could not forget that Spanish Johnny was a drunkard and that "nobody knew what he did when he ran away from home."  Thea pretended, of course, that she liked the Mexicans because they were fond of music; but every one knew that music was nothing very real, and that it did not matter in a girl's re    lations with people.  What was real, then, and what did matter?  Poor Anna! 

Anna approved of Ray Kennedy as a young man of steady habits and blameless life, but she regretted that hewas an atheist, and that he was not a passenger conductor with brass buttons on his coat.  On the whole, she wondered what such an exemplary young man found to like in Thea.  Dr. Archie she treated respectfully because of his position in Moonstone, but she KNEW he had kissed the Mexican barytone's pretty daughter, and she had a whole DOSSIER of evidence about his behavior in his hours of relaxation in Denver.  He was "fast," and it was because he was "fast" that Thea liked him.  Thea always liked that kind of people.  Dr. Archie's whole manner with Thea, Anna often told her mother, was too free.  He was always putting his hand on Thea's head, or holding her hand while he laughed and looked down at her.  The kindlier manifestation of human nature (about which Anna sang and talked, in the interests of which she went to conventions and wore white ribbons) were never realities to her after all.  She did not believe in them.  It was only in attitudes of protest or reproof, clinging to the cross, that human beings could be even temporarily decent. 

Preacher Kronborg's secret convictions were very much like Anna's.  He believed that his wife was absolutely good, but there was not a man or woman in his congregation whom he trusted all the way. 

Mrs. Kronborg, on the other hand, was likely to find something to admire in almost any human conduct that was positive and energetic.  She could always be taken in by the stories of tramps and runaway boys.  She went to the circus and admired the bareback riders, who were "likely good enough women in their way."  She admired Dr. Archie's fine physique and well-cut clothes as much as Thea did, and said she "felt it was a privilege to be handled by such a gentleman when she was sick."     

Soon after Anna became a church member she began to remonstrate with Thea about practicing--playing "secular music"--on Sunday.  One Sunday the dispute in the parlor grew warm and was carried to Mrs. Kronborg inthe kitchen.  She listened judicially and told Anna to read the chapter about how Naaman the leper was permitted to bow down in the house of Rimmon.  Thea went back to the piano, and Anna lingered to say that, since she was in the right, her mother should have supported her. 

"No," said Mrs. Kronborg, rather indifferently, "I can't see it that way, Anna.  I never forced you to practice, and I don't see as I should keep Thea from it.  I like to hear her, and I guess your father does.  You and Thea will likely follow different lines, and I don't see as I'm called upon to bring you up alike." 

Anna looked meek and abused.  "Of course all the church people must hear her.  Ours is the only noisy house on this street.  You hear what she's playing now, don't you?" 

Mrs. Kronborg rose from browning her coffee.  "Yes; it's the Blue Danube waltzes.  I'm familiar with 'em.  If any of the church people come at you, you just send 'em to me.  I ain't afraid to speak out on occasion, and I wouldn't mind one bit telling the Ladies' Aid a few things about standard composers."  Mrs. Kronborg smiled, and added thoughtfully, "No, I wouldn't mind that one bit." 

Anna went about with a reserved and distant air for a week, and Mrs. Kronborg suspected that she held a larger place than usual in her daughter's prayers; but that was another thing she didn't mind.  

Although revivals were merely a part of the year's work, like examination week at school, and although Anna's piety impressed her very little, a time came when Thea was perplexed about religion.  A scourge of typhoid broke out in Moonstone and several of Thea's schoolmates died of it.  She went to their funerals, saw them put into the     ground, and wondered a good deal about them.  But a certain grim incident, which caused the epidemic, troubled her even more than the death of her friends. 

Early in July, soon after Thea's fifteenth birthday, a particularly disgusting sort of tramp came into Moonstonein an empty box car.  Thea was sitting in the hammock in the front yard when he first crawled up to the town from the depot, carrying a bundle wrapped in dirty ticking under one arm, and under the other a wooden box with rusty screening nailed over one end.  He had a thin, hungry face covered with black hair.  It was just before suppertime when he came along, and the street smelled of fried potatoes and fried onions and coffee.  Thea saw him sniffing the air greedily and walking slower and slower.  He looked over the fence.  She hoped he would not stop at their gate, for her mother never turned any one away, and this was the dirtiest and most utterly wretched-looking tramp she had ever seen.  There was a terrible odor about him, too. She caught it even at that distance, and put her handkerchief to her nose.  A moment later she was sorry, for she knew that he had noticed it.  He looked away and shuffled a little faster. 

A few days later Thea heard that the tramp had camped in an empty shack over on the east edge of town, beside the ravine, and was trying to give a miserable sort of show there.  He told the boys who went to see what he was doing, that he had traveled with a circus.  His bundle contained a filthy clown's suit, and his box held half a dozen rattlesnakes. 

Saturday night, when Thea went to the butcher shop to get the chickens for Sunday, she heard the whine of an accordion and saw a crowd before one of the saloons.  There she found the tramp, his bony body grotesquely attired in the clown's suit, his face shaved and painted white,--the sweat trickling through the paint and washing it away,-and his eyes wild and feverish.  Pulling the accordion in     and out seemed to be almost too great an effort for him, and he panted to the tune of "Marching through Georgia." After a considerable crowd had gathered, the tramp exhibited his box of snakes, announced that he would now pass the hat, and that when the onlookers had contributedthe sum of one dollar, he would eat "one of these living reptiles."  The crowd began to cough and murmur, and the saloon keeper rushed off for the marshal, who arrested the wretch for giving a show without a license and hurried him away to the calaboose. 

The calaboose stood in a sunflower patch,--an old hut with a barred window and a padlock on the door.  The tramp was utterly filthy and there was no way to give him a bath.  The law made no provision to grub-stake vagrants, so after the constable had detained the tramp for twentyfour hours, he released him and told him to "get out of town, and get quick."  The fellow's rattlesnakes had been killed by the saloon keeper.  He hid in a box car in the freight yard, probably hoping to get a ride to the next station, but he was found and put out.  After that he was seen no more.  He had disappeared and left no trace except an ugly, stupid word, chalked on the black paint of the seventy-five-foot standpipe which was the reservoir for the Moonstone water-supply; the same word, in another tongue, that the French soldier shouted at Waterloo to the English officer who bade the Old Guard surrender; a comment on life which the defeated, along the hard roads of the world, sometimes bawl at the victorious. 

A week after the tramp excitement had passed over, the city water began to smell and to taste.  The Kronborgs had a well in their back yard and did not use city water, but they heard the complaints of their neighbors. At first people said that the town well was full of rotting cottonwood roots, but the engineer at the pumpingstation convinced the mayor that the water left the well untainted.  Mayors reason slowly, but, the well being     eliminated, the official mind had to travel toward the standpipe--there was no other track for it to go in. The standpipe amply rewarded investigation.  The tramp had got even with Moonstone.  He had climbed the standpipe by the handholds and let himself down intoseventy-five feet of cold water, with his shoes and hat and roll of ticking.  The city council had a mild panic and passed a new ordinance about tramps.  But the fever had already broken out, and several adults and half a dozen children died of it. 

Thea had always found everything that happened in Moonstone exciting, disasters particularly so.  It was gratifying to read sensational Moonstone items in the Denver paper.  But she wished she had not chanced to see the tramp as he came into town that evening, sniffing the supper-laden air.  His face remained unpleasantly clear in her memory, and her mind struggled with the problem of his behavior as if it were a hard page in arithmetic.  Even when she was practicing, the drama of the tramp kept going on in the back of her head, and she was constantly trying to make herself realize what pitch of hatred or despair could drive a man to do such a hideous thing.  She kept seeing him in his bedraggled clown suit, the white paint on his roughly shaven face, playing his accordion before the saloon.  She had noticed his lean body, his high, bald forehead that sloped back like a curved metal lid.  How could people fall so far out of fortune?  She tried to talk to Ray Kennedy about her perplexity, but Ray would not discuss things of that sort with her.  It was in his sentimental conception of women that they should be deeply religious, though men were at liberty to doubt and finally to deny.  A picture called "The Soul Awakened," popular in Moonstone parlors, pretty well interpreted Ray's idea of woman's spiritual nature. 

One evening when she was haunted by the figure of the tramp, Thea went up to Dr. Archie's office.  She found him     sewing up two bad gashes in the face of a little boy who had been kicked by a mule.  After the boy had been bandaged and sent away with his father, Thea helped the doctor wash and put away the surgical instruments.  Then she dropped into her accustomed seat beside his deskand began to talk about the tramp.  Her eyes were hard and green with excitement, the doctor noticed. 

"It seems to me, Dr. Archie, that the whole town's to blame.  I'm to blame, myself.  I know he saw me hold my nose when he went by.  Father's to blame.  If he believes the Bible, he ought to have gone to the calaboose and cleaned that man up and taken care of him.  That's what I can't understand; do people believe the Bible, or don't they?  If the next life is all that matters, and we're put here to get ready for it, then why do we try to make money, or learn things, or have a good time?  There's not one person in Moonstone that really lives the way the New Testament says.  Does it matter, or don't it?" 

Dr. Archie swung round in his chair and looked at her, honestly and leniently.  "Well, Thea, it seems to me like this.  Every people has had its religion.  All religions are good, and all are pretty much alike.  But I don't see how we could live up to them in the sense you mean.  I've thought about it a good deal, and I can't help feeling that while we are in this world we have to live for the best things of this world, and those things are material and positive.  Now, most religions are passive, and they tell us chiefly what we should not do."  The doctor moved restlessly, and his eyes hunted for something along the opposite wall: "See here, my girl, take out the years of early childhood and the time we spend in sleep and dull old age, and we only have about twenty able, waking years.  That's not long enough to get acquainted with half the fine things that have been done in the world, much less to do anything ourselves.  I think we ought to keep the Commandments and help other people all we can; but the main thing is to live those     twenty splendid years; to do all we can and enjoy all we can." 

Dr. Archie met his little friend's searching gaze, the look of acute inquiry which always touched him. 

"But poor fellows like that tramp--" she hesitated andwrinkled her forehead. 

The doctor leaned forward and put his hand protectingly over hers, which lay clenched on the green felt desktop.  "Ugly accidents happen, Thea; always have and always will.  But the failures are swept back into the pile and forgotten.  They don't leave any lasting scar in the world, and they don't affect the future.  The things that last are the good things.  The people who forge ahead and do something, they really count."  He saw tears on her cheeks, and he remembered that he had never seen her cry before, not even when she crushed her finger when she was little.  He rose and walked to the window, came back and sat down on the edge of his chair. 

"Forget the tramp, Thea.  This is a great big world, and I want you to get about and see it all.  You're going to Chicago some day, and do something with that fine voice of yours.  You're going to be a number one musician and make us proud of you.  Take Mary Anderson, now; even the tramps are proud of her.  There isn't a tramp along the `Q' system who hasn't heard of her.  We all like people who do things, even if we only see their faces on a cigar-box lid." 

They had a long talk.  Thea felt that Dr. Archie had never let himself out to her so much before.  It was the most grown-up conversation she had ever had with him. She left his office happy, flattered and stimulated.  She ran for a long while about the white, moonlit streets, looking up at the stars and the bluish night, at the quiet houses sunk in black shade, the glittering sand hills.  She loved the familiar trees, and the people in those little houses, and she loved the unknown world beyond Denver.  She felt as if she were being pulled in two, between the desire to go     away forever and the desire to stay forever.  She had only twenty years--no time to lose. 

Many a night that summer she left Dr. Archie's office with a desire to run and run about those quiet streets until she wore out her shoes, or wore out the streets themselves;when her chest ached and it seemed as if her heart were spreading all over the desert.  When she went home, it was not to go to sleep.  She used to drag her mattress beside her low window and lie awake for a long while, vibrating with excitement, as a machine vibrates from speed.  Life rushed in upon her through that window--or so it seemed. In reality, of course, life rushes from within, not from without.  There is no work of art so big or so beautiful that it was not once all contained in some youthful body, like this one which lay on the floor in the moonlight, pulsing with ardor and anticipation.  It was on such nights that Thea Kronborg learned the thing that old Dumas meant when he told the Romanticists that to make a drama he needed but one passion and four walls.