The Maestro seized a cap upon the table, plumped it upon his head, and hop-skipped-jumped down the stairs. "Action, action," his whole being cried. He glanced into the girls' schoolhouse as he passed. The Second Maestra was sitting apathetically in a chair, her baby at her breast, and the little girls, tight up against each other on their high benches, their hands folded upon their bright patadyons, looked like some little strawberry-hued birds that he had seen once in the window of an animal store, a thousand on one perch. The silence, the inaction of the place hurt him to the core, and the remark that suddenly ripped the somnolent atmosphere was so electric that the Maestra sprang to her feet.
"Do you see dde hhett?" she said, lamely, pointing to a pear tree on the chart.
But she might have saved herself the trouble. The head from which had come the remark had disappeared from the door. The Maestro was already fifty yards away, eating up the distance with long, nervous strides. He enfiladed a lane, between fields of high sugar cane, and finally came to the little plaza where throned the Ledesma nipa-mansion. The doors, the shutters were closed tight, as if to shut out the pestilence, and there was no sound, no movement, no sign of life. The Maestro looked about him carefully, then began to walk along the edge of the open space, peering along the vistas between the rows of cane. Soon he came upon the Maestra.
The first glance told him the magnitude of the task ahead; for the little recess in the canes had all the signs of cool and determined occupation. A red-and-white patate was spread upon the ground. On one of the corners were carefully heaped a few of the Señorita's worldly goods—a camphor-wood chest, the size of a doll's trunk; a piña camisa, tied up in a bandana handkerchief; and another handkerchief bulging and running out with a few handfuls of palay. Off the mat, on a little fire of twigs, the breakfast rice was bubbling in a big black pot.
The Maestra was seated in the centre of the mat, her limbs drawn up beneath her bright patadyon in a certain kittenish grace. She was in morning négligé and her loose hair fell down over her shoulders in a glistening black cascade. As the Maestro approached her from behind, he heard a rustling of paper, and, looking down over her head, he saw that she was reading. The Maestro blushed, not at his indiscretion, but at sight of big black lines announcing the name of the publication. The Maestra was reading the Hearth Companion. With remorse, the Maestro remembered how once, in the heat of his proselytism, he had recommended to all his Filipino teachers to subscribe to American periodicals. It was a bitter backward path that his mind was treading as he went further into this affair, tracing back to his well-meant efforts so many unexpected results.
"Good-morning, Miss de la Rama," he said, gravely.
But she read on for several lines, then, seemingly having come to a satisfactory ending of an exciting crisis, she laid the paper down carefully and, looking up with a sweet smile, "Gooda morrneen, Señor Pablo," she answered.
And in her tone, her smile, there was no fear of disapproval, but rather that bubbling satisfaction which hardly can wait to be congratulated.
"Why are you not at school?" asked the Maestro, severely.
"Ah, de school, de school, yes, de school was very nice," she sighed, with the tenderness one uses to speak of the sweet, gone past. But her interest, plainly, was elsewhere.