"Well, marriage ain't all promisin'," observed Sarah, "thar's a deal to it besides, an' they're both likely to find it out befo' they're much older."
Old Adam, who never contradicted a woman unless he was married to her, agreed to this with some unintelligible mutters through his toothless gums, while Mrs. Hatch remarked with effusive amiability that "it's a sad sight to see a daughter go, even though she's a stepchild. It's a comfort to think," she added immediately, "that Judy's got a God-fearin', pious husband an' one with no nonsense about him for all his good looks."
"I ain't so sure about the nonsense," retorted Sarah, "Abel's got to be managed like all men folk, an' he ain't so different from the rest of 'em, unless it is that he's mo' set."
She harboured a carefully concealed opinion that Abel was "stooping" to marry Judy, for the Hatches were particularly thriftless and had never succeeded in paying a long standing mortgage. Besides, they were in the habit of using their parlour commonly on week days, and Mrs. Hatch had once been seen at church in a calico dress—though, it was true, she had slipped out of the side door before the service was over. Added to these things, Sarah had observed of late that Judy showed an inclination to shirk her duties, and had a dangerous habit of "mooning" while she was at the wash tub.
"Well, I like a man that's set, myself," rejoined Mrs. Hatch, as effusive as ever. "I used to say thar never was anybody so set as my first husband till I got my second."
"I ain't had so wide an experience as you," replied Sarah, as if she were condescending to an acknowledged lapse in virtue. "Thar's a difference between marryin' for the sake of matrimony, which is right an' proper accordin' to Scripture, an' marryin' for the sake of a man, which is a sign of weakness in a woman."
"You ain't a friend to the feelin's of natur, ma'am," remarked old Adam, with respect.
"No, thar never was much natur in me," responded Sarah, lifting her bombazine skirt with both hands as she stepped over a puddle. Her floating crape veil, bought ten years after her husband's death, with the money made from her turkeys, represented the single extravagance as well as the solitary ambition of her life. Even as a child she had longed ardently to wear crape, and this secret aspiration, which had smouldered in the early poverty-stricken years of her marriage, had burst suddenly into flame when she found herself a widow. During the burial service over her husband, while she had sat bowed in musty black cotton, which had been loaned her by a neighbour, she had vowed earnestly that she would wear weeds yet for Abner before she died. Ten years of scraping and saving were devoted to this sacred resolve, and now, twenty years after the death of Abner Revercomb, she was wearing a crape veil for him to his son's wedding. As she walked, so strong a smell of camphor floated from her garments, that old Adam sneezed twice, and then muttered hurriedly that "'twas the very season for chills." Something of her secret pride in her garb of mourning had entered into him while he limped beside her on his rheumatic old legs.
Instead of stopping with the others for the wedding feast at the Solomon's cottage, Sarah pleaded a sudden palpitation of the heart, and hurried home to put the house in order before the arrival of the bride. Already she had prepared the best chamber and set the supper table with her blue and white china, but as she walked quietly home from church at the side of old Adam, she had remembered, with a sensation of panic, that she had forgotten to make up the the feather bed, which she rolled over for an airing. Not a speck of dust was left on the floor or windows, and a little later, while she began spreading the sheets, without waiting to remove her bonnet, she thought proudly that Judy probably never stayed in so entirely respectable a chamber in her life. Even the pitcher and basin were elaborately ornamented with peonies, the colour of the sampler in crewel work over the washstand; and on the bureau, between two crocheted mats of an intricate pattern, there was a pincushion in the shape of a monstrous tomato.
Yes, it was all ready for them, she reflected, while she stood in the doorway and surveyed the results of her handiwork. "Thar's something wantin'," she observed presently to herself. "I never could feel that a weddin' or a funeral was finished without a calla lily somewhere around." Going downstairs to the kitchen, she clipped the last forced blossoms of an unusual size from her "prize" plant, and brought them back in a small glass vase to decorate Judy's bureau. "Now it's just like it was when I was married," she thought, "an' it's just as it will be when Abel's sons are bringin' home their brides." There was no sentiment in her thoughts, for she regarded sentiment as a mere morbid stimulant to the kind of emotion she considered both dangerous and useless. Even the look on Abel's face, which she had been forced to recognize as that of despair, seemed to her, on the whole, a safer expression than one of a too-exultant joy. She was not afraid of despair—its manifestations were familiar to her, and she had usually found them amenable to the laws of propriety. But she felt vaguely that happiness in some mysterious way was related to sin, and the shameless ecstasy with which Abel had announced his engagement to Molly had branded his emotion as positively immoral in her sight. "No decent feelin' is goin' to make anybody's face shine like a brass plate," she had said to herself.