Harbor Tales Down North by Norman Duncan (best books to read for self improvement TXT) 📕

another young one cast away in a mess like that."

Cobden was vaguely concerned. He did not, however, at the moment inquire. It crossed his mind, in a mere flash, that Skipper Tom had spoken with a deal of feeling. What could this trouble have been? Cobden forgot, then, that there had been any trouble at all.

"Well, well," Skipper Tom declared more heartily, "trouble's the foe o' folly."

Cobden laughed pleasantly and turned once more to the picture. He was presently absorbed in a critical ecstasy. Skipper Tom, too, was by this time staring out upon the pictured sea, as though it lay in fearsome truth before him. He was frowning heavily.

* * * * *


It was the picture of a breaker, a savage thing. In the foreground, lifted somewhat from the turmoil, was a black rock. It was a precarious foothold, a place to shrink from in terror. The sea reached for it; the greater waves boiled over and sucked it bare. It was wet, slimy, overhanging death. Beyond the brink was a swirl of broken water--a spent breaker, crashing in, streaked with irresistible current and flecked with hissing fragments.

Adjectives which connote noise are unavoidable. Cobden has said that the picture expressed a sounding confusion. It was true. "You could _hear_ that water," says he, tritely. There was the illusion of noise--of the thud and swish of breaking water and of the gallop of the wind. So complete was the illusion, and so did the spirit of the scene transport the beholder, that Cobden once lifted his voice above the pictured tumult. Terry Lute's art was indeed triumphant!

A foreground, then, of slimy rock, an appalling nearness and an inspiration of terror in the swirling breaker below. But not yet the point of dreadful interest. That lay a little beyond. It was a black ledge and a wave. The ledge still dripped the froth of a deluge which had broken and swept on, and there was now poised above it, black, frothy-crested, mightily descending, another wave of the vast and inimical restlessness of the sea beyond.

There was a cliff in the mist above; it was a mere suggestion, a gray patch, but yet a towering wall, implacably there, its presence disclosed by a shadow where the mist had thinned. Fog had broken over the cliff and was streaming down with the wind. Obscurity was imminent; but light yet came from the west, escaping low and clean. And there was a weltering expanse of sea beyond the immediate turmoil; and far off, a streak of white, was the offshore ice.

It was not a picture done in gigantic terms. It was not a climax. Greater winds have blown; greater seas have come tumbling in on the black rocks of Out-of-the-Way. The point is this, Cobden says, that the wind was rising, the sea working up, the ice running in, the fog spreading, thickening, obscuring the way to harbor. The imagination of the beholder was subtly stimulated to conceive the ultimate worst of that which might impend, which is the climax of fear.

Cobden turned to Skipper Tom.

"What does Terry Lute call it?" he asked.

"Nothin'."

"H-m-m!" Cobden deliberated. "It must bear a name. A great picture done by a great hand. It must bear a name."

"Terry calls it jus' 'My Picture.'"

"Let it be called 'The Fang,'" said Cobden.

"A very good name, ecod!" cried Skipper Tom. "'Tis a picture meant t' scare the beholder."

* * * * *


Terry Lute was not quite shamelessly given to the practice of "wieldin' a pencil" until he discovered that he could make folk laugh. After that he was an abandoned soul, with a naughty strut on the roads. For folk laughed with flattering amazement, and they clapped Terry Lute on his broad little back, and much to his delight they called him a limb o' the devil, and they spread his fame and his sketches from Out-of-the-Way and Twillingate Long Point to Cape Norman and the harbors of the Labrador. Caricatures, of course, engaged him--the parson, the schoolmaster, Bloody Bill Bull, and the crusty old shopkeeper. And had a man an enemy, Terry Lute, at the price of a clap on the back and an admiring wink, would provide him with a sketch which was like an arrow in his hand. The wink of admiration must be above suspicion, however, else Terry's cleverness might take another direction.

By these saucy sketches, Terry Lute was at one period involved in gravest trouble; the schoolmaster, good doctor of the wayward, thrashed him for a rogue; and from a prophetic pulpit the parson, anxious shepherd, came as near to promising him a part in perdition as honest conviction could bring him to speak. Terry Lute was startled. In the weakness of contrition he was moved to promise that he would draw their faces no more, and thereafter he confined his shafts of humor to their backs; but as most men are vulnerable to ridicule from behind, and as the schoolmaster had bandy legs and the parson meek feet and pious shoulders, Terry Lute's pencil was more diligently, and far more successfully, employed than ever. The illicit exercise, the slyer art, and the larger triumph, filled him with chuckles and winks.

"Ecod!" he laughed to his own soul; "you is a sure-enough, clever little marvel, Terry Lute, me b'y!"

What gave Terry Lute's art a profound turn was the sheer indolence of his temperamental breed. He had no liking at all for labor; spreading fish on the flakes, keeping the head of his father's punt up to the sea on the grounds, splitting a turn of birch and drawing a bucket of water from the well by the Needle, discouraged the joy of life. He scolded, he begged, he protested that he was ailing, and so behaved in the cleverest fashion; but nothing availed him until after hours of toil he achieved a woeful picture of a little lad at work on the flake at the close of day. It was Terry Lute himself, no doubt of it at all, but a sad, worn child, with a lame back, eyes of woe, gigantic tears--a tender young spirit oppressed, and, that there might be no mistake about the delicacy of his general health, an angel waiting overhead.

"Thomas," wept Terry Lute's mother, "the wee lad's doomed."

"Hut!" Skipper Tom blurted.

"Shame t' you!" cried Terry's mother, bursting into a new flood of tears.

After that, for a season, Terry Lute ran foot-loose and joyous over the mossy hills of Out-of-the-Way.

"Clever b'y, Terry Lute!" thinks he, without a qualm.

It chanced by and by that Parson Down preached with peculiar power at the winter revival; and upon this preaching old Bill Bull, the atheist of Out-of-the-Way, attended with scoffing regularity, sitting in the seat of the scorner. It was observed presently--no eyes so keen for such weather as the eyes of Out-of-the-Way--that Bill Bull was coming under conviction of his conscience; and when this great news got abroad, Terry Lute, too, attended upon Parson Down's preaching with regularity, due wholly, however, to his interest in watching the tortured countenance of poor Bill Bull. It was his purpose when first he began to draw to caricature the vanquished wretch. In the end he attempted a moving portrayal of "The Atheist's Stricken State," a large conception.

It was a sacred project; it was pursued in religious humility, in a spirit proper to the subject in hand. And there was much opportunity for study. Bill Bull did not easily yield; night after night he continued to shift from heroic resistance to terror and back to heroic resistance again. All this time Terry Lute sat watching. He gave no heed whatsoever to the words of Parson Down, with which, indeed, he had no concern. He heard nothing; he kept watch--close watch to remember. He opened his heart to the terror of poor Bill Bull; he sought to feel, though the effort was not conscious, what the atheist endured in the presence of the wrath to come. He watched; he memorized every phrase of the torture, as it expressed itself in the changing lines of Bill Bull's countenance, that he might himself express it.

Afterward, in the kitchen, he drew pictures. He drew many; he succeeded in none. He worked in a fever, he destroyed in despair, he began anew with his teeth clenched. And then all at once, a windy night, he gave it all up and came wistfully to sit by the kitchen fire.

"Is you quit?" his mother inquired.

"Ay, Mother."

"H-m-m!" says Skipper Tom, puzzled. "I never knowed you t' quit for the night afore I made you."

Terry Lute shot his father a reproachful glance.

"I must take heed t' my soul," said he, darkly, "lest I be damned for my sins."

Next night Terry Lute knelt at the penitent bench with old Bill Bull. It will be recalled now that he had heard never a word of Parson Down's denunciations and appeals, that he had been otherwise and deeply engaged. His response had been altogether a reflection of Bill Bull's feeling, which he had observed, received, and memorized, and so possessed in the end that he had been overmastered by it, though he was ignorant of what had inspired it. And this, Cobden says, is a sufficient indication of that mastery of subject, of understanding and sympathy, which young Terry Lute later developed and commanded as a great master should, at least to the completion of his picture, in the last example of his work, "The Fang."

At any rate, it must be added that after his conversion Terry Lute was a very good boy for a time.

* * * * *


Terry Lute was in his fourteenth year when he worked on "The Fang." Skipper Tom did not observe the damnable disintegration that occurred, nor was Terry Lute himself at all aware of it. But the process went on, and the issue, a sudden disclosure when it came, was inevitable in the case of Terry Lute. When the northeasterly gales came down with fog, Terry Lute sat on the slimy, wave-lapped ledge overhanging the swirl of water, and watched the spent breaker, streaked with current and flecked with fragments; and he watched, too, the cowering ledge beyond, and the great wave from the sea's restlessness as it thundered into froth and swept on, and the cliff in the mist, and the approach of the offshore ice, and the woeful departure of the last light of day. But he took no pencil to the ledge; he memorized in his way. He kept watch; he brooded.

In this way he came to know in deeper truth the menace of the sea; not to perceive and grasp it fleetingly, not to hold it for the uses of the moment, but surely to possess it in his understanding.

His purpose, avowed with a chuckle, was to convey fear to the beholder of his work. It was an impish trick, and it brought him unwittingly into peril of his soul.

"I 'low," says he