down the
hidden "siding", and the low sound of men's voices,
blurred and
speaking in monosyllables and at intervals it seemed,
and in hushed, awed tones, as though they carried a corpse.
To practical eyes, grown used to such a darkness, and at the nearest point,
the passing blurrs would have suggested two riders on bush hacks
leading a third with an empty
saddle on its back -- a lady's or "side-
saddle",
if one could have
distinguished the horns. They may have struck
a soft track or level, or rounded the buttress of the hill higher up,
but before they had time to reach or round the foot of the spur,
blurs, whispers,
stumble and
clatter of hoofs,
jingle of
bridle rings,
and the
occasional clank together of
stirrup irons, seemed shut off
as suddenly and completely as though a great sound-proof door
had swung to behind them.
It was dark enough on the glaringest of days down in the
lonely hollow
or "pocket", between two spurs, at the head of a blind gully
behind Mount Buckaroo, where there was a more or less dusty patch,
barely defined even in broad
daylight by a spidery dog-legged fence
on three sides, and a thin "two-rail" (dignified with
the
adjective "split-rail" -- though rails and posts were
mostly of saplings
split in halves)
running along the frontage. In about the middle of it
a little slab hut, overshadowed by a big stringy-bark shed,
was
pointed out as Johnny Mears's Farm.
"Black as -- as charcoal," said Johnny Mears. He had never
seen coal, and was a
cautious man, whose ideas came slowly.
He stooped, close by the fence, with his hands on his knees,
to "sky" the loom of his big shed and so get his bearings.
He had been to have a look at the penned
calves, and see that all slip-rails
were up and pegged, for the words of John Mears junior,
especially when delivered rapidly and
shrilly and in injured tones,
were not to be relied upon in these matters.
"It's hot enough to melt the belly out of my
fiddle," said Johnny Mears
to his wife, who sat on a three-legged stool by the rough table
in the little whitewashed "end-room", putting a patch of patches
over the seat of a pair of moleskin knickerbockers. He lit his pipe,
moved a stool to the side of the great empty
fireplace, where it looked cooler
-- might have been cooler on
account of a possible draught
suggested by the presence of the chimney, and where, therefore,
he felt a
breath cooler. He took his
fiddle from a
convenient shelf,
tuned it slowly and carefully,
holding his pipe (in his mouth) well up
and to one side, as if the
fiddle were an
inquisitive and
restless baby.
He played "Little Drops o' Brandy" three times, right through,
without variations, blinking
solemnly the while; then he put the violin
carefully back in its box, and started to cut up another pipeful.
"You should have gone, Johnny," said the
haggard little woman.
"Rackin' the horse out a night like this," retorted Johnny,
"and startin' ploughin' to-morrow. It ain't worth while.
Let them come for me if they want me. Dance on a night like this!
Why! they'll dance in ----"
"But you promised. It won't do you no good, Johnny."
"It won't do me no harm."
The little woman went on stitching.
"It's smotherin' hot," said Johnny, with an
impatient oath.
"I don't know whether I'll turn in, or turn out, under the shed to-night.
It's too d----d hot to roost indoors."
She bent her head lower over the patch. One smoked and the other stitched
in silence for twenty minutes or so, during which time
Johnny might be
supposed to have been deliberating listlessly
as to whether he'd camp out on
account of the heat, or turn in.
But he broke the silence with a clout at a
mosquito on the nape of his neck,
and a bad word.
"I wish you wouldn't swear so much, Johnny," she said
wearily --
"at least not to-night."
He looked at her blankly.
"Why -- why to-night? What's the matter with you to-night, Mary?
What's to-night more than any other night to you? I see no harm --
can't a man swear when a
mosquito sticks him?"
"I -- I was only thinking of the boys, Johnny."