LITMIR.BIZ

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      Miss Sawyer shuddered openly at the adjective "lively" as applied to a child; her belief being that though children might be seen, if absolutely necessary, they certainly should never be heard if she could help it. "We're not much used to noise, Jane and me," she remarked acidly.

      Mr. Cobb saw that he had taken the wrong tack, but he was too unused to argument to explain himself readily, so he drove away, trying to think by what safer word than "lively" he might have described his interesting little passenger.

      "I'll take you up and show you your room, Rebecca," Miss Miranda said. "Shut the mosquito nettin' door tight behind you, so 's to keep the flies out; it ain't flytime yet, but I want you to start right; take your passel along with ye and then you won't have to come down for it; always make your head save your heels. Rub your feet on that braided rug; hang your hat and cape in the entry there as you go past."

      "It's my best hat," said Rebecca

      "Take it upstairs then and put it in the clothes-press; but I shouldn't 'a' thought you'd 'a' worn your best hat on the stage."

      "It's my only hat," explained Rebecca. "My every-day hat wasn't good enough to bring. Fanny's going to finish it."

      "Lay your parasol in the entry closet."

      "Do you mind if I keep it in my room, please? It always seems safer."

      "There ain't any thieves hereabouts, and if there was, I guess they wouldn't make for your sunshade, but come along. Remember to always go up the back way; we don't use the front stairs on account o' the carpet; take care o' the turn and don't ketch your foot; look to your right and go in. When you've washed your face and hands and brushed your hair you can come down, and by and by we'll unpack your trunk and get you settled before supper. Ain't you got your dress on hind sid' foremost?"

      Rebecca drew her chin down and looked at the row of smoked pearl buttons running up and down the middle of her flat little chest.

      "Hind side foremost? Oh, I see! No, that's all right. If you have seven children you can't keep buttonin' and unbuttonin' 'em all the time—they have to do themselves. We're always buttoned up in front at our house. Mira's only three, but she's buttoned up in front, too."

      Miranda said nothing as she closed the door, but her looks were at once equivalent to and more eloquent than words.

      Rebecca stood perfectly still in the centre of the floor and looked about her. There was a square of oilcloth in front of each article of furniture and a drawn-in rug beside the single four poster, which was covered with a fringed white dimity counterpane.

      Everything was as neat as wax, but the ceilings were much higher than Rebecca was accustomed to. It was a north room, and the window, which was long and narrow, looked out on the back buildings and the barn.

      It was not the room, which was far more comfortable than Rebecca's own at the farm, nor the lack of view, nor yet the long journey, for she was not conscious of weariness; it was not the fear of a strange place, for she loved new places and courted new sensations; it was because of some curious blending of uncomprehended emotions that Rebecca stood her sunshade in the corner, tore off her best hat, flung it on the bureau with the porcupine quills on the under side, and stripping down the dimity spread, precipitated herself into the middle of the bed and pulled the counterpane over her head.

      In a moment the door opened quietly. Knocking was a refinement quite unknown in Riverboro, and if it had been heard of would never have been wasted on a child.

      Miss Miranda entered, and as her eye wandered about the vacant room, it fell upon a white and tempestuous ocean of counterpane, an ocean breaking into strange movements of wave and crest and billow.

      "REBECCA!"

      The tone in which the word was voiced gave it all the effect of having been shouted from the housetops.

      A dark ruffled head and two frightened eyes appeared above the dimity spread.

      "What are you layin' on your good bed in the daytime for, messin' up the feathers, and dirtyin' the pillers with your dusty boots?"

      Rebecca rose guiltily. There seemed no excuse to make. Her offense was beyond explanation or apology.

      "I'm sorry, aunt Mirandy—something came over me; I don't know what."

      "Well, if it comes over you very soon again we'll have to find out what 't is. Spread your bed up smooth this minute, for 'Bijah Flagg 's bringin' your trunk upstairs, and I wouldn't let him see such a cluttered-up room for anything; he'd tell it all over town."

      When Mr. Cobb had put up his horses that night he carried a kitchen chair to the side of his wife, who was sitting on the back porch.

      "I brought a little Randall girl down on the stage from Maplewood to-day, mother. She's kin to the Sawyer girls an' is goin' to live with 'em," he said, as he sat down and began to whittle. "She's that Aurelia's child, the one that ran away with Susan Randall's son just before we come here to live."

      "How old a child?"

      "'Bout ten, or somewhere along there, an' small for her age; but land! she might be a hundred to hear her talk! She kep' me jumpin' tryin' to answer her! Of all the queer children I ever come across she's the queerest. She ain't no beauty—her face is all eyes; but if she ever grows up to them eyes an' fills out a little she'll make folks stare. Land, mother! I wish 't you could 'a' heard her talk."

      "I don't see what she had to talk about, a child like that, to a stranger," replied Mrs. Cobb.

      "Stranger or no stranger, 't wouldn't make no difference to her. She'd talk to a pump or a grind-stun; she'd talk to herself ruther 'n keep still."

      "What did she talk about?"

      "Blamed if I can repeat any of it. She kep' me so surprised I didn't have my wits about me. She had a little pink sunshade—it kind o' looked like a doll's amberill, 'n' she clung to it like a burr to a woolen stockin'. I advised her to open it up—the sun was so hot; but she said no, 't would fade, an' she tucked it under her dress. 'It's the dearest thing in life to me,' says she, 'but it's a dreadful care.' Them 's the very words, an' it's all the words I remember. 'It's the dearest thing in life to me, but it's an awful care!' "—here Mr. Cobb laughed aloud as he tipped his chair back against the side of the house. "There was another thing, but I can't get it right exactly. She was talkin' 'bout the circus parade an' the snake charmer in a gold chariot, an' says she, 'She was so beautiful beyond compare, Mr. Cobb, that it made you have lumps in your throat to look at her.' She'll be comin' over to see you, mother, an' you can size her up for yourself. I don' know how she'll git on with Mirandy Sawyer—poor little soul!"

      This doubt was more or less openly expressed in Riverboro, which, however, had two opinions on the subject; one that it was a most generous thing in the Sawyer girls to take one of Aurelia's children to educate, the other that the education would be bought at a price wholly out of proportion to its intrinsic value.

      Rebecca's first letters to her mother would seem to indicate that she cordially coincided with the latter view of the situation.

      IV

      REBECCA'S POINT OF VIEW