With his father's death Samson's schooling had ended. His
responsibility now was farm work and the roughly tender solicitude of a
young stoic for his mother. His evenings before the broad fireplace he
gave up to a devouring sort of study, but his books were few.
When, two years later, he laid the body of the Widow South beside that
of his father in the ragged hillside burying-ground, he turned his
nag's head away from the cabin where he had been born, and rode over to
make his home at his Uncle Spicer's place. He had, in mountain
parlance, "heired" a farm of four hundred acres, but a boy of twelve
can hardly operate a farm, even if he be so stalwart a boy as Samson.
His Uncle Spicer wanted him, and he went, and the head of the family
took charge of his property as guardian; placed a kinsman there to till
it, on shares, and faithfully set aside for the boy what revenue came
from the stony acres. He knew that they would be rich acres when men
began to dig deeper than the hoe could scratch, and opened the veins
where the coal slept its unstirring sleep. The old man had not set such
store by learning as had Samson's father, and the little shaver's
education ended, except for what he could wrest from stinted sources
and without aid. His mission of "killing Hollmans" was not forgotten.
There had years ago been one general battle at a primary, when the two
factions fought for the control that would insure the victors safety
against "law trouble," and put into their hands the weapons of the
courts.
Samson was far too young to vote, but he was old enough to fight, and
the account he had given of himself, with the inherited rifle smoking,
gave augury of fighting effectiveness. So sanguinary had been this
fight, and so dangerously had it focused upon the warring clans the
attention of the outside world, that after its indecisive termination,
they made the compact of the present truce. By its terms, the Hollmans
held their civil authority, and the Souths were to be undisturbed
dictators beyond Misery. For some years now, the peace had been
unbroken save by sporadic assassinations, none of which could be
specifically enough charged to the feud account to warrant either side
in regarding the contract as broken. Samson, being a child, had been
forced to accept the terms of this peace bondage. The day would come
when the Souths could agree to no truce without his consent. Such was,
in brief, the story that the artist heard while he painted and rested
that day on the rock. Had he heard it in New York, he would have
discounted it as improbable and melodramatic. Now, he knew that it was
only one of many such chapters in the history of the Cumberlands. The
native point of view even became in a degree acceptable. In a system of
trial by juries from the vicinage, fair and bold prosecutions for crime
were impossible, and such as pretended to be so were bitterly tragic
farces. He understood why the families of murdered fathers and brothers
preferred to leave the punishment to their kinsmen in the laurel,
rather than to their enemies in the jury-box.
The day of painting was followed by others like it. The disabling of
Lescott's left hand made the constant companionship of the boy a matter
that needed no explanation or apology, though not a matter of approval
to his uncle.
Another week had passed without the reappearance of Tamarack Spicer.
One afternoon, Lescott and Samson were alone on a cliff-protected
shelf, and the painter had just blocked in with umber and neutral tint
the crude sketch of his next picture. In the foreground was a steep
wall, rising palisade-like from the water below. A kingly spruce-pine
gave the near note for a perspective which went away across a valley of
cornfields to heaping and distant mountains. Beyond that range, in a
slender ribbon of pale purple, one saw the ridge of a more remote and
mightier chain.
The two men had lost an hour huddled under a canopy beneath the
cannonading of a sudden storm. They had silently watched titanic
battallions of thunder-clouds riding the skies in gusty puffs of gale,
and raking the earth with lightning and hail and water. The crags had
roared back echoing defiance, and the great trees had lashed and bent
and tossed like weeds in the buffeting. Every gully had become a
stream, and every gulch-rock a waterfall. Here and there had been a
crashing of spent timber, and now the sun had burst through a rift in
the west, and flooded a segment of the horizon with a strange, luminous
field of lesson. About this zone of clarity were heaped masses of gold-
rimmed and rose-edged clouds, still inky at their centers.
"My God!" exclaimed the mountain boy abruptly. "I'd give 'most
anything ef I could paint that."
Lescott rose smilingly from his seat before the easel, and surrendered
his palette and sheaf of brushes.
"Try it," he invited.
For a moment, Samson stood hesitant and overcome with diffidence;
then, with set lips, he took his place, and experimentally fitted his
fingers about a brush, as he had seen Lescott do. He asked no advice.
He merely gazed for awhile, and then, dipping a brush and experimenting
for his color, went to sweeping in his primary tones.
The painter stood at his back, still smiling. Of course, the brush-
stroke was that of the novice. Of course, the work was clumsy and
heavy. But what Lescott noticed was not so much the things that went on
canvas as the mixing of colors on the palette, for he knew that the
palette is the painter's heart, and its colors are the elements of his
soul. What a man paints on canvas is the sum of his acquirement; but
the colors he mixes are the declarations of what his soul can see, and
no man can paint whose eyes are not touched with the sublime. At that
moment, Lescott knew that Samson had such eyes.
The splashes of lemon yellow that the boy daubed above the hills might
have been painted with a brush dipped in the sunset. The heavy clouds
with their gossamer edgings had truth of tone and color. Then the
experimenter came to the purple rim of mountain tops.
There was no color for that on the palette, and he turned to the paint-
box.
"Here," suggested Lescott, handing him a tube of Payne's Gray: "is
that what you're looking for?"
Samson read the label, and decisively shook his head.
"I'm a-goin' atter them hills," he declared. "There hain't no gray in
them thar mountings."
"Squeeze some out, anyway." The artist suited the action to the word,
and soon Samson was experimenting with a mixture.
"Why, that hain't no gray," he announced, with enthusiasm; "that
thar's sort of ashy purple." Still, he was not satisfied. His first
brush-stroke showed a trifle dead and heavy. It lacked the soft lucid
quality that the hills held, though it was close enough to truth to
have satisfied any eye save one of uncompromising sincerity. Samson,
even though he was hopelessly daubing, and knew it, was sincere, and
the painter at his elbow caught his breath, and looked on with the
absorption of a prophet, who, listening to childish prattle, yet
recognizes the gift of prophecy. The boy dabbled for a perplexed moment
among the pigments, then lightened up his color with a trace of
ultramarine. Unconsciously, the master heaved a sigh of satisfaction.
The boy "laid in" his far hills, and turned.
"Thet's the way hit looks ter me," he said, simply.
"That's the way it is," commended his critic.
For a while more, Samson worked at the nearer hills, then he rose.
"I'm done," he said. "I hain't a-goin' ter fool with them thar trees
an' things. I don't know nothing erbout thet. I can't paint leaves an'
twigs an' birdsnests. What I likes is mountings, an' skies, an' sech-
like things."
Lescott looked at the daub before him. A less-trained eye would have
seen only the daub, just as a poor judge of horse-flesh might see only
awkward joints and long legs in a weanling colt, though it be bred in
the purple.
"Samson," he said, earnestly, "that's all there is to art. It's the
power to feel the poetry of color. The rest can be taught. The genius
must work, of course--work, work, work, and still work, but the Gift is
the power of seeing true--and, by God, boy, you have it."
His words rang exultantly.
"Anybody with eyes kin see," deprecated Samson, wiping his fingers on
his jeans trousers.
"You think so? To the seer who reads the passing shapes in a globe of
crystal, it's plain enough. To any other eye, there is nothing there
but transparency." Lescott halted, conscious that he was falling into
metaphor which his companion could not understand, then more quietly he
went on: "I don't know how you would progress, Samson, in detail and
technique, but I know you've got what many men have struggled a
lifetime for, and failed. I'd like to have you study with me. I'd like
to be your discoverer. Look here."
The painter sat down, and speedily went to work. He painted out
nothing. He simply toned, and, with precisely the right touch here and
there, softened the crudeness, laid stress on the contrast, melted the
harshness, and, when he rose, he had built, upon the rough cornerstone
of Samson's laying, a picture.
"That proves it," he said. "I had only to finish. I didn't have to
undo. Boy, you're wasting yourself. Come with me, and let me make you.
We all pretend there is no such thing, in these days, as sheer genius;
but, deep down, we know that, unless there is, there can be no such
thing as true art. There is genius and you have it." Enthusiasm was
again sweeping him into an unintended outburst.
The boy stood silent. Across his countenance swept a conflict of
emotions. He looked away, as if taking counsel with the hills.
"It's what I'm a-honin' fer," he admitted at last. "Hit's what I'd
give half my life fer.... I mout sell my land, an' raise the money....
I reckon hit would take passels of money, wouldn't hit?" He paused, and
his eyes fell on the rifle leaning against the tree. His lips tightened
in sudden remembrance. He went over and picked up the gun, and, as he
did so, he shook his head.
"No," he stolidly declared; "every man to his own tools. This here's
mine."
Yet, when they were again out sketching, the temptation to play with
brushes once more seized him, and he took his place before the easel.
Neither he nor Lescott noticed a man who crept down through the timber,
and for a time watched them. The man's face wore a surly, contemptuous
grin, and shortly it withdrew.
But, an hour later, while the boy was still working industriously and
the artist was lying on his back, with a pipe between his teeth, and his
half-closed eyes gazing up contentedly through the green of overhead
branches, their peace was broken by a guffaw of derisive laughter. They
looked up, to find at their backs a semi-circle of scoffing humanity.
Lescott's impulse was to laugh, for only the comedy of the situation at
the moment struck him. A stage director, setting a comedy scene with
that most ancient of jests, the gawking of boobs at some new sight,
could hardly have improved on this tableau. At the front stood Tamarack
Spicer, the returned wanderer. His lean wrist was stretched out of a
ragged sleeve all too short, and his tattered "jimmy" was shoved back
over a face all a-grin. His eyes were blood-shot with recent drinking,
but his manner was in exaggerated and cumbersome imitation of a rural
master of ceremonies. At his back were the raw-boned men and women and
children of the hills, to the number of a dozen. To the front shuffled
an old, half-witted hag, with thin gray hair and pendulous lower lip.
Her dress was patched and colorless. Her back was bent with age and
rheumatism. Her feet were incased in a pair of man's brogans. She stared
and snickered, and several children, taking the cue, giggled, but the
men, save Tamarack himself, wore troubled faces, as though recognizing
that their future chieftain had been discovered in some secret shame.
They were looking on their idol's feet of clay.
"Ladies and gentle-_men_," announced Tamarack Spicer, in a
hiccoughy voice, "swing yo' partners an' sashay forward. See the only
son of the late Henry South engaged in his mar-ve-lous an' heretofore
undiscovered occupation of doin' fancy work. Ladies and gentle-_men_,
after this here show is conclooded, keep your seats for the concert
in the main tent. This here famous performer will favor ye with a little
exhibition of plain an' fancy sock-darnin'."
The children snickered again. The old woman shuffled forward.
"Samson," she quavered, "I didn't never low ter see ye doin' no sich
woman's work as thet."
After the first surprise, Samson had turned his back on the group. He
was mixing paint at the time and he proceeded to experiment with a
fleeting cloud effect, which would not outlast the moment. He finished
that, and, reaching for the palette-knife, scraped his fingers and
wiped them on his trousers' legs. Then, he deliberately rose.
Without a word he turned. Tamarack had begun his harangue afresh. The
boy tossed back the long lock from his forehead, and then, with an
unexpectedly swift movement, crouched and leaped. His right fist shot
forward to Tamarack Spicer's chattering lips, and they abruptly ceased
to chatter as the teeth were driven into their flesh. Spicer's head
snapped back, and he staggered against the onlookers, where he stood
rocking on his unsteady legs. His hand swept instinctively to the shirt
-concealed holster, but, before it had connected, both of Samson's fists
were playing a terrific tattoo on his face. The inglorious master of
the show dropped, and lay groggily trying to rise.
The laughter died as suddenly as Tamarack's speech. Samson stepped
back again, and searched the faces of the group for any lingering sign
of mirth or criticism. There was none. Every countenance was sober and
expressionless, but the boy felt a weight of unuttered disapproval, and
he glared defiance. One of the older onlookers spoke up reproachfully.
"Samson, ye hadn't hardly ought ter a-done that. He was jest a funnin'
with ye."
"Git him up on his feet. I've got somethin' ter say ter him." The
boy's voice was dangerously quiet. It was his first word. They lifted
the fallen cousin, whose entertainment had gone astray, and led him
forward grumbling, threatening and sputtering, but evincing no
immediate desire to renew hostilities.
"Whar hev ye been?" demanded Samson.
"Thet's my business," came the familiar mountain phrase.
"Why wasn't yer hyar when them dawgs come by? Why was ye the only
South thet runned away, when they was smellin' round fer Jesse Purvy's
assassin?"
"I didn't run away." Tamarack's blood-shot eyes flared wickedly. "I
knowed thet ef I stayed 'round hyar with them damned Hollmans stickin'
their noses inter our business, I'd hurt somebody. So, I went over
inter the next county fer a spell. You fellers mout be able to take
things offen the Hollmans, but I hain't."
"Thet's a damned lie," said Samson, quietly. "Ye runned away, an' ye
runned in the water so them dawgs couldn't trail ye--ye done hit
because ye shot them shoots at Jesse Purvy from the laurel--because
ye're a truce-bustin', murderin' bully thet shoots off his face, an' is
skeered to fight." Samson paused for breath, and went on with regained
calmness. "I've knowed all along ye was the man, an' I've kept quiet
because ye're 'my kin. If ye've got anything else ter say, say hit.
But, ef I ever ketches yer talkin' about me, or talkin' ter Sally, I'm
a-goin' ter take ye by the scruff of the neck, an' drag ye plumb inter
Hixon, an' stick ye in the jail-house. An' I'm a-goin' ter tell the
High Sheriff that the Souths spits ye outen their mouths. Take him
away." The crowd turned and left the place. When they were gone, Samson
seated himself at his easel again, and picked up his palette.