trying in vain to find out a deficiency; and, of course, close to Mrs. Poyser stood Hetty, and Adam was again beguiled from calculations and contrivances into dreams and hopes. Yes, he would go and see her this evening—it was so long since he had been at the Hall Farm. He would have liked to go to the night-school, to see why Bartle Massey had not been at church yesterday, for he feared his old friend was ill; but, unless he could manage both visits, this last must be put off till to-morrow—the desire to be near Hetty and to speak to her again was too strong.
As he made up his mind to this, he was coming very near to the end of his walk, within the sound of the hammers at work on the refitting of the old house. The sound of tools to a clever workman who loves his work is like the tentative sounds of the orchestra to the violinist who has to bear his part in the overture: the strong fibres begin their accustomed thrill, and what was a moment before joy, vexation, or ambition, begins its change into energy. All passion becomes strength when it has an outlet from the narrow limits of our personal lot in the labour of our right arm, the cunning of our right hand, or the still, creative activity of our thought. Look at Adam through the rest of the day, as he stands on the scaffolding with the two-feet ruler in his hand, whistling low while he considers how a difficulty about a floor-joist or a window-frame is to be overcome; or as he pushes one of the younger workmen aside and takes his place in upheaving a weight of timber, saying, “Let alone, lad! Thee’st got too much gristle i’ thy bones yet”; or as he fixes his keen black eyes on the motions of a workman on the other side of the room and warns him that his distances are not right. Look at this broad-shouldered man with the bare muscular arms, and the thick, firm, black hair tossed about like trodden meadow-grass whenever he takes off his paper cap, and with the strong barytone voice bursting every now and then into loud and solemn psalm-tunes, as if seeking an outlet for superfluous strength, yet presently checking himself, apparently crossed by some thought which jars with the singing. Perhaps, if you had not been already in the secret, you might not have guessed what sad memories what warm affection, what tender fluttering hopes, had their home in this athletic body with the broken finger-nails—in this rough man, who knew no better lyrics than he could find in the Old and New Version and an occasional hymn; who knew the smallest possible amount of profane history; and for whom the motion and shape of the earth, the course of the sun, and the changes of the seasons lay in the region of mystery just made visible by fragmentary knowledge. It had cost Adam a great deal of trouble and work in overhours to know what he knew over and above the secrets of his handicraft, and that acquaintance with mechanics and figures, and the nature of the materials he worked with, which was made easy to him by inborn inherited faculty—to get the mastery of his pen, and write a plain hand, to spell without any other mistakes than must in fairness be attributed to the unreasonable character of orthography rather than to any deficiency in the speller, and, moreover, to learn his musical notes and part-singing. Besides all this, he had read his Bible, including the apocryphal books; Poor Richard’s Almanac, Taylor’s Holy Living and Dying, The Pilgrim’s Progress, with Bunyan’s Life and Holy War, a great deal of Bailey’s Dictionary, Valentine and Orson, and part of a History of Babylon, which Bartle Massey had lent him. He might have had many more books from Bartle Massey, but he had no time for reading “the commin print,” as Lisbeth called it, so busy as he was with figures in all the leisure moments which he did not fill up with extra carpentry.
Adam, you perceive, was by no means a marvellous man, nor, properly speaking, a genius, yet I will not pretend that his was an ordinary character among workmen; and it would not be at all a safe conclusion that the next best man you may happen to see with a basket of tools over his shoulder and a paper cap on his head has the strong conscience and the strong sense, the blended susceptibility and self-command, of our friend Adam. He was not an average man. Yet such men as he are reared here and there in every generation of our peasant artisans—with an inheritance of affections nurtured by a simple family life of common need and common industry, and an inheritance of faculties trained in skilful courageous labour: they make their way upwards, rarely as geniuses, most commonly as painstaking honest men, with the skill and conscience to do well the tasks that lie before them. Their lives have no discernible echo beyond the neighbourhood where they dwelt, but you are almost sure to find there some good piece of road, some building, some application of mineral produce, some improvement in farming practice, some reform of parish abuses, with which their names are associated by one or two generations after them. Their employers were the richer for them, the work of their hands has worn well, and the work of their brains has guided well the hands of other men. They went about in their youth in flannel or paper caps, in coats black with coal-dust or streaked with lime and red paint; in old age their white hairs are seen in a place of honour at church and at market, and they tell their well-dressed sons and daughters, seated round the bright hearth on winter evenings, how pleased they were when they first earned their twopence a-day. Others there are who die poor and never put off the workman’s coal on weekdays. They have not had the art of getting rich, but they are men of trust, and when they die before the work is all out of them, it is as if some main screw had got loose in a machine; the master who employed them says, “Where shall I find their like?”
Chapter IV.
Adam Visits the Hall Farm.
Adam came back from his work in the empty waggon—that was why he had changed his clothes—and was ready to set out to the Hall Farm when it still wanted a quarter to seven.
“What’s thee got thy Sunday cloose on for?” said Lisbeth complainingly, as he came downstairs. “Thee artna goin’ to th’ school i’ thy best coat?”
“No, Mother,” said Adam, quietly. “I’m going to the Hall Farm, but mayhap I may go to the school after, so thee mustna wonder if I’m a bit late. Seth ’ull be at home in half an hour—he’s only gone to the village; so thee wutna mind.”
“Eh, an’ what’s thee got thy best cloose on for to go to th’ Hall Farm? The Poyser folks see’d thee in ’em yesterday, I warrand. What dost mean by turnin’ worki’day into Sunday a-that’n? It’s poor keepin’ company wi’ folks as donna like to see thee i’ thy workin’ jacket.”
“Good-bye, mother, I can’t stay,” said Adam, putting on his hat and going out.
But he had no sooner gone a few paces beyond the door than Lisbeth became uneasy at the thought that she had vexed him. Of course, the secret of her objection to the best clothes was her suspicion that they were put on for Hetty’s sake; but deeper than all her peevishness lay the need that her son should love her. She hurried after him, and laid hold of his arm before he had got half-way down to the brook, and said, “Nay, my lad, thee wutna go away angered wi’ thy mother, an’ her got nought to do but to sit by hersen an’ think on thee?”
“Nay, nay, Mother,” said Adam, gravely, and standing still while he put his arm on her shoulder, “I’m not angered. But I wish, for thy own sake, thee’dst be more contented to let me do what I’ve made up my mind to do. I’ll never be no other than a good son to thee as long as we live. But a man has other feelings besides what he owes to’s father and mother, and thee oughtna to want to rule over me body and soul. And thee must make up thy mind as I’ll not give way to thee where I’ve a right to do what I like. So let us have no more words about it.”
“Eh,” said Lisbeth, not willing to show that she felt the real bearing of Adam’s words, “and’ who likes to see thee i’ thy best cloose better nor thy mother? An’ when thee’st got thy face washed as clean as the smooth white pibble, an’ thy hair combed so nice, and thy eyes a-sparklin’—what else is there as thy old mother should like to look at half so well? An’ thee sha’t put on thy Sunday cloose when thee lik’st for me—I’ll ne’er plague thee no moor about’n.”
“Well, well; good-bye, mother,” said Adam, kissing her and hurrying away. He saw there was no other means of putting an end to the dialogue. Lisbeth stood still on the spot, shading her eyes and looking after him till he was quite out of sight. She felt to the full all the meaning that had lain in Adam’s words, and, as she lost sight of him and turned