Susan Warner - Diana

I am thinking of a little brown house, somewhere in the wilds of New England. I wish I could make my readers see it as it was, one June afternoon some years ago. Not for anything very remarkable about it; there are thousands of such houses scattered among our hills and valleys; nevertheless one understands any life story the better for knowing amid what sort of scenes it was unfolded. Moreover, such a place is one of the pleasant things in the world to look at, as I judge. This was a small house, with its gable end to the road, and a lean-to at the back, over which the long roof sloped down picturesquely. It was weather-painted; that was all; of a soft dark grey now, that harmonized well enough with the gayer colours of meadows and trees. And two superb elms, of New England's own, stood beside it and hung over it, enfolding and sheltering the little old house, as it were, with their arms of strength and beauty. Those trees would have dignified anything. One of them, of the more rare weeping variety, drooped over the door of the lean-to, shading it protectingly, and hiding with its long pendant branches the hard and stiff lines of the building. So the green draped the grey; until, in the soft mingling of hues, the light play of sunshine and shadow, it seemed as if the smartness of paint upon the old weather-boarding would have been an intrusion, and not an advantage. In front of the house was a little space given to flowers; at least there were some irregular patches and borders, where balsams and hollyhocks and pinks and marigolds made a spot of light colouring; with one or two luxuriantly-growing blush roses, untrained and wandering, bearing a wealth of sweetness on their long, swaying branches. There was that spot of colour; all around and beyond lay meadows, orchards and cultivated fields; till at no great distance the ground became broken, and rose into a wilderness of hills, mounting higher and higher. In spots these also showed cultivation; for the most part they were covered with green woods in the depth of June foliage. The soft, varied hilly outline filled the whole circuit of the horizon; within the nearer circuit of the hills the little grey house sat alone, with only one single exception. At the edge of the meadow land, half hid behind the spur of a hill, stood another grey farm-house; it might have been half a mile off. People accustomed to a more densely populated country would call the situation lonesome; solitary it was. But Nature had shaken down her hand full of treasures over the place. Art had never so much as looked that way. However, we can do without art on a June afternoon.

The door of the lean-to looked towards the road, and so made a kind of front door to the kitchen which was within. The door-sill was raised a single step above the rough old grey stone which did duty before it; and sitting on the doorstep, in the shadow and sunlight which came through the elm branches and fell over her, this June afternoon, was the person whose life story I am going to try to tell. She sat there as one at home, and in the leisure of one who had done her work; with arms crossed upon her bosom, and an air of almost languid quiet upon her face. The afternoon was quiet-inspiring. Genial warm sunshine filled the fields and grew hazy in the depth of the hills; the long hanging elm branches were still; sunlight and shadow beneath slept in each other's arms; soft breaths of air, too faint to move the elms, came nevertheless with reminders and suggestions of all sorts of sweetness; from the leaf-buds of the woods, from the fresh turf of the meadows, from a thousand hidden flowers and ferns at work in their secret laboratories, distilling a thousand perfumes, mingled and untraceable. Now and then the breath of the roses was quite distinguishable; and from fields further off the delicious scent of new hay. It was just the time of day when the birds do not sing; and the watcher at the door seemed to be in their condition.

She was a young woman, full grown, but young. Her dress was the common print working dress of a farmer's daughter, with a spot or two of wet upon her apron showing that she had been busy, as her dress suggested. Her sleeves were still rolled up above her elbows, leaving the crossed arms full in view. And if there is character in faces, so there is in arms; and everybody knows there is in hands. These arms were after the model of the typical woman's arm; not chubby and round and fat, but moulded with beautiful contour, showing muscular form and power, with the blue veins here and there marking the clear delicate skin. Only look at the arm, without even seeing the face, and you would feel there was nervous energy and power of will; no weak, flabby, undecided action would ever come of it. The wrist was tapering enough, and the hand perfectly shaped, like the arm; not quite so white. The face, – you could not read it at once; possibly not till it had seen a few more years. It was very reposeful this afternoon. Yet the brow and the head bore tokens of the power you would expect; they were very fine; and the eyes under the straight brow were full and beautiful, a deep blue-grey, changing and darkening at times. But the mouth and lower part of the face was as sweet and mobile as three years old; playing as innocently and readily upon every occasion; nothing had fixed those lovely lines. The combination made it a singular face, and of course very handsome. But it looked very unconscious of that fact.

Within the kitchen another woman was stepping about actively, and now and then cast an unsatisfied look at the doorway. Finally came to a stop in the middle of the floor to speak.

"What are you sittin' there for, Diana?"

"Nothing, that I know of."

"If I was sittin' there for nothin', seems to me I'd get up and go somewheres else."

"Where?" said the beauty languidly.

"Anywhere. Goodness! it makes me feel as if nothin' would ever get done, to see you sittin' there so."

"It's all done, mother."

"What?"

"Everything."

"Have you got out the pink china?"

"Yes."

"Is your cake made?"

"Yes, mother; you saw me do it."

"I didn't see you bakin' it, though."

"Well, it is done."

"Did it raise light and puffy?"

"Beautiful."

"And didn't get burned?"

"Only the least bit, in the corner. No harm."

"Have you cut the cheese and shivered the beef?"

"All done."

"Then I think you had better go and dress yourself."

"There's plenty of time. Nobody can be here for two hours yet."

"I wouldn't sit and do nothin', if I was you."

"Why not, mother? when there is really nothing to do."

"I don't believe in no such minutes, for my part. They never come to me. Look at what I've done to-day, now. There was first the lighting the fire and getting breakfast. Then I washed up, and righted the kitchen and set on the dinner. Then I churned and brought the butter and worked that . Then there was the dairy things. Then I've been in the garden and picked four quarts of ifs-and-ons for pickles; got 'em all down in brine, too. Then I made out my bread, and made biscuits for tea, and got dinner, and eat it, and cleared it away, and boiled a ham."

"Not since dinner, mother?"

"Took it out, and that; and got all my pots and kettles put away; and picked over all that lot o' berries, I think I'd make preserves of 'em, Diana; when folks come to sewing meeting for the missionaries they needn't have all creation to eat, seems to me. They don't sew no better for it. I believe in fasting, once in a while."

"What for?"

"What for? Why, to keep down people's stomach; take off a slice of their pride."

"Mother! do you think eating and people's pride have anything to do with each other?"