: You Never Know Your Luck; being the story of a matrimonial deserter. Volume 2. by Parker Gilbert - Canadian fiction 20th century

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Edition: 10

YOU NEVER KNOW YOUR LUCK

Volume 2.

"HERE ENDETH THE FIRST LESSON"

The stillness of a summer's day in Prairie Land has all the characteristics of music. That is not so paradoxical as it seems. The effect of some music is to produce a divine quiescence of the senses, a suspension of motion and aggressive life; to reduce existence to mere pulsation. It was this kind of feeling which pervaded that region of sentient being when Shiel Crozier told his story. The sounds that sprinkled the general stillness were in themselves sleepy notes of the pervasive music of somnolent nature--the sough of the pine at the door, the murmur of insect life, the low, thudding beat of the steam-thresher out of sight hard by, the purring of the cat in the arms of Kitty Tynan as, with fascinated eyes, she listened to a man tell the tale of a life as distant from that which she lived as she was from Eve.

She felt more awed than curious as the tale went on; it even seemed to her she was listening to a theme beyond her sphere, like some shameless eavesdropper at the curtains of a secret ceremonial. Once or twice she looked at her mother and at the Young Doctor, as though to reassure herself that she was not a vulgar intruder. It was far more impressive to her, and to the Young Doctor too, than the scene at the Logan Trial when a man was sentenced to death. It was strangely magnetic, this tale of a man's existence; and the clock which sounded so loud on the mantelpiece, as it mechanically ticked off the time, seemed only part of some mysterious machinery of life. Once a dove swept down upon the window-sill, and, peering in, filled one of the pauses in the recital with its deep contralto note, and then fled like a small blue cloud into the wide and--as it seemed--everlasting peace beyond the doorway.

There was nothing at all between themselves and the far sky-line save little clumps of trees here and there, little clusters of buildings and houses--no visible animal life. Everything conspired to give a dignity in keeping with the drama of failure being unfolded in the commonplace home of the widow Tynan. Yet the home too had its dignity. The engineer father had had tastes, and he had insisted on plain, unfigured curtains and wallpaper and carpets, when carpets were used; and though his wife had at first protested against the unfigured carpets as more difficult to keep clean and as showing the dirt too easily, she had come to like the one-colour scheme, and in that respect her home had an individuality rare in her surroundings.

That was why Kitty Tynan had always a good background; for what her bright colouring would have been in the midst of gaudy, cheap chintzes and "Axminsters," such as abounded in Askatoon, is better left to the imagination. It was not, therefore, in sordid, mean, or incongruous surroundings that Crozier told his tale; as would no doubt have been arranged by a dramatist, if he had had the making and the setting of the story; and if it were not a true tale told just as it happened.

Perhaps the tale was the more impressive because of Crozier's deep baritone voice, capable, as it was, of much modulation, yet, except when. he was excited, having a slight monotone like the note of a violin with the mute upon the strings.

This was his tale:

"Well, to begin with, I was born at Castlegarry, in Kerry--you know the main facts from what I said in court. As a boy I wasn't so bad a sort. I had one peculiarity. I always wanted 'to have something on,' as John Sibley would say. No matter what it was, I must have something on it. And I was very lucky--worse luck!"

They all laughed at the bull. "I feel at home at once," murmured the Young Doctor, for he had come from near Enniskillen years agone, and there is not so much difference between Enniskillen and Kerry when it comes to Irish bulls.

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