The Song of the Lark by Willa Cather (best reads .TXT) 📕
Description
The Song of the Lark, Willa Cather’s third novel, was written in 1915. It is said to have been inspired by the real-life soprano Olive Fremstad, a celebrated Swedish-American singer who, like the protagonist, was active in New York and Europe during the time period depicted in the novel.
The work explores how an artist’s early life influences their work. In the novel, Thea Kronborg discovers her talent as a singer, and goes on to achieve great fame and success once she leaves her tiny village of Moonstone. Cather eschewed depicting rural life as being idyllic, instead focusing on the conservative, restricted, patriarchal structures that its inhabitants live by. Her work is thus considered to be one of the earliest so-called “Revolt Novels.” She depicts a time at the end of the 19th century when the American West was expanding rapidly and Americans were gaining sophistication in their understanding of culture and artists, particularly compared to Europe. The title of the novel comes from the name of a 1884 painting by Jules Breton, which is described and considered in the book itself.
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- Author: Willa Cather
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His interest in Thea was serious, almost from the first, and so sincere that he felt no distrust of himself. He believed that he knew a great deal more about her possibilities than Bowers knew, and he liked to think that he had given her a stronger hold on life. She had never seen herself or known herself as she did at Mrs. Nathanmeyer’s musical evenings. She had been a different girl ever since. He had not anticipated that she would grow more fond of him than his immediate usefulness warranted. He thought he knew the ways of artists, and, as he said, she must have been “at it from her cradle.” He had imagined, perhaps, but never really believed, that he would find her waiting for him sometime as he found her waiting on the day he reached the Biltmer ranch. Once he found her so—well, he did not pretend to be anything more or less than a reasonably well-intentioned young man. A lovesick girl or a flirtatious woman he could have handled easily enough. But a personality like that, unconsciously revealing itself for the first time under the exaltation of a personal feeling—what could one do but watch it? As he used to say to himself, in reckless moments back there in the canyon, “You can’t put out a sunrise.” He had to watch it, and then he had to share it.
Besides, was he really going to do her any harm? The Lord knew he would marry her if he could! Marriage would be an incident, not an end with her; he was sure of that. If it were not he, it would be someone else; someone who would be a weight about her neck, probably; who would hold her back and beat her down and divert her from the first plunge for which he felt she was gathering all her energies. He meant to help her, and he could not think of another man who would. He went over his unmarried friends, East and West, and he could not think of one who would know what she was driving at—or care. The clever ones were selfish, the kindly ones were stupid.
“Damn it, if she’s going to fall in love with somebody, it had better be me than any of the others—of the sort she’d find. Get her tied up with some conceited ass who’d try to make her over, train her like a puppy! Give one of ’em a big nature like that, and he’d be horrified. He wouldn’t show his face in the clubs until he’d gone after her and combed her down to conform to some fool idea in his own head—put there by some other woman, too, his first sweetheart or his grandmother or a maiden aunt. At least, I understand her. I know what she needs and where she’s bound, and I mean to see that she has a fighting chance.”
His own conduct looked crooked, he admitted; but he asked himself whether, between men and women, all ways were not more or less crooked. He believed those which are called straight were the most dangerous of all. They seemed to him, for the most part, to lie between windowless stone walls, and their rectitude had been achieved at the expense of light and air. In their unquestioned regularity lurked every sort of human cruelty and meanness, and every kind of humiliation and suffering. He would rather have any woman he cared for wounded than crushed. He would deceive her not once, he told himself fiercely, but a hundred times, to keep her free.
When Fred went back to the observation car at one o’clock, after the luncheon call, it was empty, and he found Thea alone on the platform. She put out her hand, and met his eyes.
“It’s as I said. Things have closed behind me. I can’t go back, so I am going on—to Mexico?” She lifted her face with an eager, questioning smile.
Fred met it with a sinking heart. Had he really hoped she would give him another answer? He would have given pretty much anything—But there, that did no good. He could give only what he had. Things were never complete in this world; you had to snatch at them as they came or go without. Nobody could look into her face and draw back, nobody who had any courage. She had courage enough for anything—look at her mouth and chin and eyes! Where did it come from, that light? How could a face, a familiar face, become so the picture of hope, be painted with the very colors of youth’s exaltation? She was right; she was not one of those who draw back. Some people get on by avoiding dangers, others by riding through them.
They stood by the railing looking back at the sand levels, both feeling that the train was steaming ahead very fast. Fred’s mind was a confusion of images and ideas. Only two things were clear to him: the force of her determination, and the belief that, handicapped as he was, he could do better by her than another man would do. He knew he would always remember her, standing
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