"Just so, and—" he looked up at the ceiling, "the port for Boston?"
"I don't believe we've had that," she said firmly. His gaze fastened on her so intently that she blushed into her lap. "Don't believe we've had it," he echoed.
"Why, confound it—" he paused and regarded her with a new doubt.
"Laurel," he demanded, "what is an outport?"
She had a distinct feeling of justifiable injury. A recognized part of the present system of examination was its strict limitation to questions made familiar by constant repetition; and this last was entirely new. She was sure of several kinds of ports—one they had after dinner, another indicated a certain side of a vessel, and still a third was Salem. But an outport—Cronstadt, Cavite, what it really meant, what they were, had escaped her. She decided to risk an opinion.
"An outport," she said slowly, "is a—a part of a ship," that much seemed safe—"I expect it's the place where they throw things like potato peels through."
"You suppose what!" he cried, breathing quite hard. "A place where they—" he broke off. "And you're Jeremy Ammidon's granddaughter! By heaven, it would make a coolie laugh. It's like William, who never would go to sea, to have four daughters in place of a son. I'm done with you; go tinker on the piano." They got down from their chairs and departed with an only half concealed eagerness. "Do you think he means it," Janet asked hopefully, "and he'll never have any geography again?"
"No, I don't," Laurel told her shortly. She was inwardly ruffled, and further annoyed at Janet's placid acceptance of whatever the day brought along. Janet was a stick! She turned away and found herself facing the parlor and the memory of the impending hour of practice. Well, it had to be done before dinner, and she went forward with dragging feet.
Within the formal shaded space of the chamber she stopped to speculate on the varied and colorful pictures of the wall paper reaching from the white paneling above her waist to the deep white carving at the ceiling. The scene which absorbed her most showed, elevated above a smooth stream, a marble pavilion with sweeping steps and a polite company about a reclining gentleman with bare arms and a wreath on his head and a lady in flowing robes playing pipes. To the right, in deep green shadow, a charmer was swinging from ropes of flowers, lovers hid behind a brown mossy trunk; while on the left, against a weeping willow and frowning rock, four serene creatures gathered about a barge with a gilded prow.
Still on her reluctant progress to the piano she stopped to examine the East India money on the lowest shelf of a locked corner cupboard. There was a tiresome string of cash with a rattan twisted through their square holes; silver customs taels, and mace and candareen; Chinese gold leaf and Fukien dollars; coins from Cochin China in the shape of India ink, with raised edges and characters; old Carolus hooked dollars; Sycee silver ingots, smooth and flat above, but roughly oval on the lower surface, not unlike shoes; Japanese obangs, their gold stamped and beaten out almost as broad as a hand's palm; mohurs and pieces from Singapore; Dutch guilders from Java; and the small silver and gold drops of Siam called tical.
She arrived finally at the harplike stool of the piano; but there she had to wait until the clock in the hall above struck some division of the hour for her guidance, and she rattled the brass rings that formed the handles of drawers on either side of the keyboard. Later, her fingers picking a precarious way through bass and treble, she heard Sidsall's voice at the door; the latter was joined by their mother, and they went out to the clatter of hoofs, the thin jingle of harness chains, where the barouche waited for them in the street. Once Camilla obtruded into the room. "I wonder you don't give yourself a headache," she remarked; "I never heard more nerve-racking sounds."