by Bret Harte –
Francis Brett Hart, known as Bret Harte (August 25, 1836 – May 5, 1902), was an American short story writer and poet, best remembered for his short fiction featuring miners, gamblers, and other romantic figures of the California Gold Rush.
I stood with my shawl and carpetbag in hand, gazing doubtingly on the vehicle. Even in the darkness the red dust of Wingdam was visible on its roof and sides, and the red slime of Slumgullion clung tenaciously to its wheels. I opened the door; the stage creaked easily, and in the gloomy abyss the swaying straps beckoned me, like ghostly hands, to come in now and have my sufferings out at once.
I must not omit to mention the occurrence of a circumstance which struck me as appalling and mysterious. A lounger on the steps of the hotel, who I had reason to suppose was not in any way connected with the stage company, gravely descended, and walking toward the conveyance, tried the handle of the door, opened it, expectorated in the carriage, and returned to the hotel with a serious demeanor. Hardly had he resumed his position when another individual, equally disinterested, impassively walked down the steps, proceeded to the back of the stage, lifted it, expectorated carefully on the axle, and returned slowly and pensively to the hotel. A third spectator wearily disengaged himself from one of the Ionic columns of the portico and walked to the box, remained for a moment in serious and expectorative contemplation of the boot, and then returned to his column. There was something so weird in this baptism that I grew quite nervous.
Perhaps I was out of spirits. A number of infinitesimal annoyances, winding up with the resolute persistency of the clerk at the stage office to enter my name misspelt on the waybill, had not predisposed me to cheerfulness. The inmates of the Eureka House, from a social viewpoint, were not attractive. There was the prevailing opinion–so common to many honest people–that a serious style of deportment and conduct toward a stranger indicates high gentility and elevated station. Obeying this principle, all hilarity ceased on my entrance to supper, and general remark merged into the safer and uncompromising chronicle of several bad cases of diphtheria, then epidemic at Wingdam. When I left the dining-room, with an odd feeling that I had been supping exclusively on mustard and tea leaves, I stopped a moment at the parlor door. A piano, harmoniously related to the dinner bell, tinkled responsive to a diffident and uncertain touch. On the white wall the shadow of an old and sharp profile was bending over several symmetrical and shadowy curls. “I sez to Mariar, Mariar, sez I, ‘Praise to the face is open disgrace.'” I heard no more. Dreading some susceptibility to sincere expression on the subject of female loveliness, I walked away, checking the compliment that otherwise might have risen unbidden to my lips, and have brought shame and sorrow to the household.
It was with the memory of these experiences resting heavily upon me that I stood hesitatingly before the stage door. The driver, about to mount, was for a moment illuminated by the open door of the hotel. He had the wearied look which was the distinguishing expression of Wingdam. Satisfied that I was properly waybilled and receipted for, he took no further notice of me. I looked longingly at the box seat, but he did not respond to the appeal. I flung my carpetbag into the chasm, dived recklessly after it, and–before I was fairly seated–with a great sigh, a creaking of unwilling springs, complaining bolts, and harshly expostulating axle, we moved away. Rather the hotel door slipped behind, the sound of the piano sank to rest, and the night and its shadows moved solemnly upon us.
To say it was dark expressed but faintly the pitchy obscurity that encompassed the vehicle. The roadside trees were scarcely distinguishable as deeper masses of shadow; I knew them only by the peculiar sodden odor that from time to time sluggishly flowed in at the open window as we rolled by. We proceeded slowly; so leisurely that, leaning from the carriage, I more than once detected the fragrant sigh of some astonished cow, whose ruminating repose upon the highway we had ruthlessly disturbed. But in the darkness our progress, more the guidance of some mysterious instinct than any apparent volition of our own, gave an indefinable charm of security to our journey that a moment’s hesitation or indecision on the part of the driver would have destroyed.
I had indulged a hope that in the empty vehicle I might obtain that rest so often denied me in its crowded condition. It was a weak delusion. When I stretched out my limbs it was only to find that the ordinary conveniences for making several people distinctly uncomfortable were distributed throughout my individual frame. At last, resting my arms on the straps, by dint of much gymnastic effort I became sufficiently composed to be aware of a more refined species of torture. The springs of the stage, rising and falling regularly, produced a rhythmical beat which began to absorb my attention painfully. Slowly this thumping merged into a senseless echo of the mysterious female of the hotel parlor, and shaped itself into this awful and benumbing axiom–“Praise-to-the-face-is- open-disgrace. Praise-to-the-face-is-open-disgrace.” Inequalities of the road only quickened its utterance or drawled it to an exasperating length.
It was of no use to consider the statement seriously. It was of no use to except to it indignantly. It was of no use to recall the many instances where praise to the face had redounded to the everlasting honor of praiser and bepraised; of no use to dwell sentimentally on modest genius and courage lifted up and strengthened by open commendation; of no use to except to the mysterious female, to picture her as rearing a thin-blooded generation on selfish and mechanically repeated axioms–all this failed to counteract the monotonous repetition of this sentence. There was nothing to do but to give in–and I was about to accept it weakly, as we too often treat other illusions of darkness and necessity, for the time being, when I became aware of some other annoyance that had been forcing itself upon me for the last few moments. How quiet the driver was!
Was there any driver? Had I any reason to suppose that he was not lying gagged and bound on the roadside, and the highwayman with blackened face who did the thing so quietly driving me–whither? The thing is perfectly feasible. And what is this fancy now being jolted out of me? A story? It’s of no use to keep it back– particularly in this abysmal vehicle, and here it comes: I am a Marquis–a French Marquis; French, because the peerage is not so well known, and the country is better adapted to romantic incident– a Marquis, because the democratic reader delights in the nobility. My name is something LIGNY. I am coming from Paris to my country seat at St. Germain. It is a dark night, and I fall asleep and tell my honest coachman, Andre, not to disturb me, and dream of an angel. The carriage at last stops at the chateau. It is so dark that when I alight I do not recognize the face of the footman who holds the carriage door. But what of that?–PESTE! I am heavy with sleep. The same obscurity also hides the old familiar indecencies of the statues on the terrace; but there is a door, and it opens and shuts behind me smartly. Then I find myself in a trap, in the presence of the brigand who has quietly gagged poor Andre and conducted the carriage thither. There is nothing for me to do, as a gallant French Marquis, but to say, “PARBLEU!” draw my rapier, and die valorously! I am found a week or two after outside a deserted cabaret near the barrier, with a hole through my ruffled linen and my pockets stripped. No; on second thoughts, I am rescued–rescued by the angel I have been dreaming of, who is the assumed daughter of the brigand but the real daughter of an intimate friend.
Looking from the window again, in the vain hope of distinguishing the driver, I found my eyes were growing accustomed to the darkness. I could see the distant horizon, defined by India-inky woods, relieving a lighter sky. A few stars widely spaced in this picture glimmered sadly. I noticed again the infinite depth of patient sorrow in their serene faces; and I hope that the vandal who first applied the flippant “twinkle” to them may not be driven melancholy-mad by their reproachful eyes. I noticed again the mystic charm of space that imparts a sense of individual solitude to each integer of the densest constellation, involving the smallest star with immeasurable loneliness. Something of this calm and solitude crept over me, and I dozed in my gloomy cavern. When I awoke the full moon was rising. Seen from my window, it had an indescribably unreal and theatrical effect. It was the full moon of NORMA–that remarkable celestial phenomenon which rises so palpably to a hushed audience and a sublime andante chorus, until the CASTA DIVA is sung–the “inconstant moon” that then and thereafter remains fixed in the heavens as though it were a part of the solar system inaugurated by Joshua. Again the white-robed Druids filed past me, again I saw that improbable mistletoe cut from that impossible oak, and again cold chills ran down my back with the first strain of the recitative. The thumping springs essayed to beat time, and the private-box-like obscurity of the vehicle lent a cheap enchantment to the view. But it was a vast improvement upon my past experience, and I hugged the fond delusion.
My fears for the driver were dissipated with the rising moon. A familiar sound had assured me of his presence in the full possession of at least one of his most important functions. Frequent and full expectoration convinced me that his lips were as yet not sealed by the gag of highwaymen, and soothed my anxious ear. With this load lifted from my mind, and assisted by the mild presence of Diana, who left, as when she visited Endymion, much of her splendor outside my cavern–I looked around the empty vehicle. On the forward seat lay a woman’s hairpin. I picked it up with an interest that, however, soon abated. There was no scent of the roses to cling to it still, not even of hair oil. No bend or twist in its rigid angles betrayed any trait of its wearer’s character. I tried to think that it might have been “Mariar’s.” I tried to imagine that, confining the symmetrical curls of that girl, it might have heard the soft compliments whispered in her ears which provoked the wrath of the aged female. But in vain. It was reticent and unswerving in its upright fidelity, and at last slipped listlessly through my fingers.
I had dozed repeatedly–waked on the threshold of oblivion by contact with some of the angles of the coach, and feeling that I was unconsciously assuming, in imitation of a humble insect of my childish recollection, that spherical shape which could best resist those impressions, when I perceived that the moon, riding high in the heavens, had begun to separate the formless masses of the shadowy landscape. Trees isolated, in clumps and assemblages, changed places before my window. The sharp outlines of the distant hills came back, as in daylight, but little softened in the dry, cold, dewless air of a California summer night. I was wondering how late it was, and thinking that if the horses of the night traveled as slowly as the team before us, Faustus might have been spared his agonizing prayer, when a sudden spasm of activity attacked my driver. A succession of whip-snappings, like a pack of Chinese crackers, broke from the box before me. The stage leaped forward, and when I could pick myself from under the seat, a long white building had in some mysterious way rolled before my window. It must be Slumgullion! As I descended from the stage I addressed the driver:
“I thought you changed horses on the road?”
“So we did. Two hours ago.”
“That’s odd. I didn’t notice it.”
“Must have been asleep, sir. Hope you had a pleasant nap. Bully place for a nice quiet snooze–empty stage, sir!”