The Call of the Cumberlands by Charles Neville Buck

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Days passed uneventfully after that. The kinsmen dispersed to their
scattered coves and cabins. Now and again came a rumor that Jesse Purvy
was dying, but always hard on its heels came another to the effect that
the obdurate fighter had rallied, though the doctors held out small
encouragement of recovery.

One day Lescott, whose bandaged arm gave him much pain, but who was
able to get about, was strolling not far from the house with Samson.
They were following a narrow trail along the mountainside, and, at a
sound no louder than the falling of a walnut, the boy halted and laid a
silencing hand on the painter's shoulder. Then followed an unspoken
command in his companion's eyes. Lescott sank down behind a rock,
cloaked with glistening rhododendron leafage, where Samson had already
crouched, and become immovable and noiseless. They had been there only
a short time when they saw another figure slipping quietly from tree to
tree below them.

For a time, the mountain boy watched the figure, and the painter saw
his lips draw into a straight line, and his eyes narrow with a glint of
tense hate. Yet, a moment later, with a nod to follow, the boy
unexpectedly rose into view, and his features were absolutely
expressionless.

"Mornin', Jim," he called.

The slinking stranger whirled with a start, and an instinctive motion
as though to bring his rifle to his shoulder. But, seeing Samson's
peaceable manner, he smiled, and his own demeanor became friendly.

"Mornin', Samson."

"Kinder stranger in this country, hain't ye, Jim?" drawled the boy who
lived there, and the question brought a sullen flush to the other's
cheekbones.

"Jest a-passin' through," he vouchsafed.

"I reckon ye'd find the wagon road more handy," suggested Samson.
"Some folks might 'spicion ye fer stealin' long through the timber."

The skulking traveler decided to lie plausibly. He laughed
mendaciously. "That's the reason, Samson. I was kinder skeered ter go
through this country in the open."

Samson met his eye steadily, and said slowly:

"I reckon, Jim, hit moughtn't be half es risky fer ye ter walk
upstandin' along Misery, es ter go a-crouchin'. Ye thinks ye've been a
shadderin' me. I knows jest whar ye've been all the time. Ye lies when
ye talks 'bout passin' through. Ye've done been spyin' hyar, ever since
Jesse Purvy got shot, an' all thet time ye've done been watched yeself.
I reckon hit'll be healthier fer ye ter do yore spyin' from t'other
side of the ridge. I reckon yer allowin' ter git me ef Purvy dies, but
we're watchin' ye."

Jim Asberry's face darkened, but he said nothing. There was nothing to
say. He was discovered in the enemy's country, and must accept the
enemy's terms.

"This hyar time, I lets ye go back," said Samson, "fer the reason thet
I'm tryin' like all hell ter keep this truce. But ye must stay on yore
side, or else ride the roads open. How is Purvy terday?"

"He's mighty porely," replied the other, in a sullen voice.

"All right. Thet's another reason why hit hain't healthy fer ye over
hyar."

The spy turned, and made his way over the mountain.

"Damn him!" muttered Samson, his face twitching, as the other was lost
in the undergrowth. "Some day I'm a-goin' ter git him."

Tamarack Spicer did not at once reappear, and, when one of the Souths
met another in the road, the customary dialogue would be: "Heered
anything of Tamarack?" ... "No, hev you?" ... "No, nary a word."

As Lescott wandered through the hills, his unhurt right hand began
crying out for action and a brush to nurse. As he watched, day after
day, the unveiling of the monumental hills, and the transitions from
hazy wraith-like whispers of hues, to strong, flaring riot of color,
this fret of restlessness became actual pain. He was wasting wonderful
opportunity and the creative instinct in him was clamoring.

One morning, when he came out just after sunrise to the tin wash basin
at the well, the desire to paint was on him with compelling force. The
hills ended near their bases like things bitten off. Beyond lay
limitless streamers of mist, but, while he stood at gaze, the filmy
veil began to lift and float higher. Trees and mountains grew taller.
The sun, which showed first as a ghost-like disc of polished aluminum,
struggled through orange and vermilion into a sphere of living flame.
It was as though the Creator were breathing on a formless void to
kindle it into a vital and splendid cosmos, and between the dawn's fog
and the radiance of full day lay a dozen miracles. Through rifts in the
streamers, patches of hillside and sky showed for an ethereal moment or
two in tender and transparent coloration, like spirit-reflections of
emerald and sapphire.... Lescott heard a voice at his side.

"When does ye 'low ter commence paintin'?"

It was Samson. For answer, the artist, with his unhurt hand,
impatiently tapped his bandaged wrist.

"Ye still got yore right hand, hain't ye?" demanded the boy. The other
laughed. It was a typical question. So long as one had the trigger
finger left, one should not admit disqualification.

"You see, Samson," he explained, "this isn't precisely like handling a
gun. One must hold the palette; mix the colors; wipe the brushes and do
half a dozen equally necessary things. It requires at least two
perfectly good hands. Many people don't find two enough."

"But hit only takes one ter do the paintin', don't hit?"

"Yes."

"Well"--the boy spoke diffidently but with enthusiasm--"between the
two of us, we've got three hands. I reckon ye kin larn me how ter do
them other things fer ye."

Lescott's surprise showed in his face, and the lad swept eagerly on.

"Mebby hit hain't none of my business, but, all day yestiddy an' the
day befo', I was a-studyin' 'bout this here thing, an' I hustled up an'
got thet corn weeded, an' now I'm through. Ef I kin help ye out, I
thought mebby--" He paused, and looked appealingly at the artist.

Lescott whistled, and then his face lighted into contentment.

"To-day, Samson," he announced, "Lescott, South and Company get busy."

It was the first time he had seen Samson smile, and, although the
expression was one of sheer delight, inherent somberness loaned it a
touch of the wistful.

When, an hour later, the two set out, the mountain boy carried the
paraphernalia, and the old man standing at the door watched them off
with a half-quizzical, half-disapproving glance. To interfere with any
act of courtesy to a guest was not to be thought of, but already the
influence on Samson of this man from the other world was disquieting
his uncle's thoughts. With his mother's milk, the boy had fed on hatred
of his enemies. With his training, he had been reared to feudal
animosities. Disaffection might ruin his usefulness. Besides the
sketching outfit, Samson carried his rifle. He led the painter by slow
stages, since the climb proved hard for a man still somewhat enfeebled,
to the high rock which Sally visited each morning.

As the boy, with remarkable aptitude, learned how to adjust the easel
and arrange the paraphernalia, Lescott sat drinking in through thirsty
eyes the stretch of landscape he had determined to paint.

It was his custom to look long and studiously through closed lashes
before he took up his brush. After that he began laying in his key
tones and his fundamental sketching with an incredible swiftness,
having already solved his problems of composition and analysis.

Then, while he painted, the boy held the palette, his eyes riveted on
the canvas, which was growing from a blank to a mirror of vistas--and
the boy's pupils became deeply hungry. He was not only looking. He was
seeing. His gaze took in the way the fingers held the brushes; the
manner of mixing the pigments, the detail of method. Sometimes, when he
saw a brush dab into a color whose use he did not at once understand,
he would catch his breath anxiously, then nod silently to himself as
the blending vindicated the choice. He did not know it, but his eye for
color was as instinctively true as that of the master.

As the day wore on, they fell to talking, and the boy again found
himself speaking of his fettered restiveness in the confinement of his
life; of the wanderlust which stirred him, and of which he had been
taught to feel ashamed.

During one of their periods of rest, there was a rustle in the
branches of a hickory, and a gray shape flirted a bushy tail. Samson's
hand slipped silently out, and the rifle came to his shoulder. In a
moment it snapped, and a squirrel dropped through the leaves.

"Jove!" exclaimed Lescott, admiringly. "That was neat work. He was
partly behind the limb--at a hundred yards."

"Hit warn't nothin'," said Samson, modestly. "Hit's a good gun." He
brought back his quarry, and affectionately picked up the rifle. It was
a repeating Winchester, carrying a long steel-jacketed bullet of
special caliber, but it was of a pattern fifteen years old, and fitted
with target sights.

"That gun," Samson explained, in a lowered and reverent voice, "was my
pap's. I reckon there hain't enough money in the world ter buy hit off
en me."

Slowly, in a matter-of-fact tone, he began a story without decoration
of verbiage--straightforward and tense in its simplicity. As the
painter listened, he began to understand; the gall that had crept into
this lad's blood before his weaning became comprehensible.... Killing
Hollmans was not murder.... It was duty. He seemed to see the smoke-
blackened cabin and the mother of the boy sitting, with drawn face, in
dread of the hours. He felt the racking nerve-tension of a life in
which the father went forth each day leaving his family in fear that he
would not return. Then, under the spell of the unvarnished recital, he
seemed to witness the crisis when the man, who had dared repudiate the
lawless law of individual reprisal, paid the price of his insurgency.

A solitary friend had come in advance to break the news. His face,
when he awkwardly commenced to speak, made it unnecessary to put the
story into words. Samson told how his mother had turned pallid, and
stretched out her arm gropingly for support against the door-jamb. Then
the man had found his voice with clumsy directness.

"They've got him."

The small boy had reached her in time to break her fall as she
fainted, but, later, when they brought in the limp, unconscious man,
she was awaiting them with regained composure. An expression came to
her face at that moment, said the lad, which had never left it during
the remaining two years of her life. For some hours, "old" Henry South,
who in a less-wasting life would hardly have been middle-aged, had
lingered. They were hours of conscious suffering, with no power to
speak, but before he died he had beckoned his ten-year-old son to his
bedside, and laid a hand on the dark, rumpled hair. The boy bent
forward, his eyes tortured and tearless, and his little lips tight
pressed. The old man patted the head, and made a feeble gesture toward
the mother who was to be widowed. Samson had nodded.

"I'll take keer of her, pap," he had fervently sworn.

Then, Henry South had lifted a tremulous finger, and pointed to the
wall above the hearth. There, upon a set of buck-antlers, hung the
Winchester rifle. And, again, Samson had nodded, but this time he did
not speak. That moment was to his mind the most sacred of his life; it
had been a dedication to a purpose. The arms of the father had then and
there been bequeathed to the son, and with the arms a mission for their
use. After a brief pause, Samson told of the funeral. He had a
remarkable way of visualizing in rough speech the desolate picture; the
wailing mourners on the bleak hillside, with the November clouds
hanging low and trailing their wet streamers. A "jolt-wagon" had
carried the coffin in lieu of a hearse. Saddled mules stood tethered
against the picket fence. The dogs that had followed their masters
started a rabbit close by the open grave, and split the silence with
their yelps as the first clod fell. He recalled, too, the bitter voice
with which his mother had spoken to a kinsman as she turned from the
ragged burying ground, where only the forlorn cedars were green. She
was leaning on the boy's thin shoulders at the moment. He had felt her
arm stiffen with her words, and, as her arm stiffened, his own positive
nature stiffened with it.

"Henry believed in law and order. I did, too. But they wouldn't let us
have it that way. From this day on, I'm a-goin' to raise my boy to kill
Hollmans."

CHAPTER VIII

With his father's death Samson's schooling had ended. His
responsibility now was farm work and the roughly tender solicitude of a
young stoic for his mother. His evenings before the broad fireplace he
gave up to a devouring sort of study, but his books were few.

When, two years later, he laid the body of the Widow South beside that
of his father in the ragged hillside burying-ground, he turned his
nag's head away from the cabin where he had been born, and rode over to
make his home at his Uncle Spicer's place. He had, in mountain
parlance, "heired" a farm of four hundred acres, but a boy of twelve
can hardly operate a farm, even if he be so stalwart a boy as Samson.
His Uncle Spicer wanted him, and he went, and the head of the family
took charge of his property as guardian; placed a kinsman there to till
it, on shares, and faithfully set aside for the boy what revenue came
from the stony acres. He knew that they would be rich acres when men
began to dig deeper than the hoe could scratch, and opened the veins
where the coal slept its unstirring sleep. The old man had not set such
store by learning as had Samson's father, and the little shaver's
education ended, except for what he could wrest from stinted sources
and without aid. His mission of "killing Hollmans" was not forgotten.
There had years ago been one general battle at a primary, when the two
factions fought for the control that would insure the victors safety
against "law trouble," and put into their hands the weapons of the
courts.

Samson was far too young to vote, but he was old enough to fight, and
the account he had given of himself, with the inherited rifle smoking,
gave augury of fighting effectiveness. So sanguinary had been this
fight, and so dangerously had it focused upon the warring clans the
attention of the outside world, that after its indecisive termination,
they made the compact of the present truce. By its terms, the Hollmans
held their civil authority, and the Souths were to be undisturbed
dictators beyond Misery. For some years now, the peace had been
unbroken save by sporadic assassinations, none of which could be
specifically enough charged to the feud account to warrant either side
in regarding the contract as broken. Samson, being a child, had been
forced to accept the terms of this peace bondage. The day would come
when the Souths could agree to no truce without his consent. Such was,
in brief, the story that the artist heard while he painted and rested
that day on the rock. Had he heard it in New York, he would have
discounted it as improbable and melodramatic. Now, he knew that it was
only one of many such chapters in the history of the Cumberlands. The
native point of view even became in a degree acceptable. In a system of
trial by juries from the vicinage, fair and bold prosecutions for crime
were impossible, and such as pretended to be so were bitterly tragic
farces. He understood why the families of murdered fathers and brothers
preferred to leave the punishment to their kinsmen in the laurel,
rather than to their enemies in the jury-box.

The day of painting was followed by others like it. The disabling of
Lescott's left hand made the constant companionship of the boy a matter
that needed no explanation or apology, though not a matter of approval
to his uncle.

Another week had passed without the reappearance of Tamarack Spicer.

One afternoon, Lescott and Samson were alone on a cliff-protected
shelf, and the painter had just blocked in with umber and neutral tint
the crude sketch of his next picture. In the foreground was a steep
wall, rising palisade-like from the water below. A kingly spruce-pine
gave the near note for a perspective which went away across a valley of
cornfields to heaping and distant mountains. Beyond that range, in a
slender ribbon of pale purple, one saw the ridge of a more remote and
mightier chain.

The two men had lost an hour huddled under a canopy beneath the
cannonading of a sudden storm. They had silently watched titanic
battallions of thunder-clouds riding the skies in gusty puffs of gale,
and raking the earth with lightning and hail and water. The crags had
roared back echoing defiance, and the great trees had lashed and bent
and tossed like weeds in the buffeting. Every gully had become a
stream, and every gulch-rock a waterfall. Here and there had been a
crashing of spent timber, and now the sun had burst through a rift in
the west, and flooded a segment of the horizon with a strange, luminous
field of lesson. About this zone of clarity were heaped masses of gold-
rimmed and rose-edged clouds, still inky at their centers.

"My God!" exclaimed the mountain boy abruptly. "I'd give 'most
anything ef I could paint that."

Lescott rose smilingly from his seat before the easel, and surrendered
his palette and sheaf of brushes.

"Try it," he invited.

For a moment, Samson stood hesitant and overcome with diffidence;
then, with set lips, he took his place, and experimentally fitted his
fingers about a brush, as he had seen Lescott do. He asked no advice.
He merely gazed for awhile, and then, dipping a brush and experimenting
for his color, went to sweeping in his primary tones.

The painter stood at his back, still smiling. Of course, the brush-
stroke was that of the novice. Of course, the work was clumsy and
heavy. But what Lescott noticed was not so much the things that went on
canvas as the mixing of colors on the palette, for he knew that the
palette is the painter's heart, and its colors are the elements of his
soul. What a man paints on canvas is the sum of his acquirement; but
the colors he mixes are the declarations of what his soul can see, and
no man can paint whose eyes are not touched with the sublime. At that
moment, Lescott knew that Samson had such eyes.

The splashes of lemon yellow that the boy daubed above the hills might
have been painted with a brush dipped in the sunset. The heavy clouds
with their gossamer edgings had truth of tone and color. Then the
experimenter came to the purple rim of mountain tops.

There was no color for that on the palette, and he turned to the paint-
box.

"Here," suggested Lescott, handing him a tube of Payne's Gray: "is
that what you're looking for?"

Samson read the label, and decisively shook his head.

"I'm a-goin' atter them hills," he declared. "There hain't no gray in
them thar mountings."

"Squeeze some out, anyway." The artist suited the action to the word,
and soon Samson was experimenting with a mixture.

"Why, that hain't no gray," he announced, with enthusiasm; "that
thar's sort of ashy purple." Still, he was not satisfied. His first
brush-stroke showed a trifle dead and heavy. It lacked the soft lucid
quality that the hills held, though it was close enough to truth to
have satisfied any eye save one of uncompromising sincerity. Samson,
even though he was hopelessly daubing, and knew it, was sincere, and
the painter at his elbow caught his breath, and looked on with the
absorption of a prophet, who, listening to childish prattle, yet
recognizes the gift of prophecy. The boy dabbled for a perplexed moment
among the pigments, then lightened up his color with a trace of
ultramarine. Unconsciously, the master heaved a sigh of satisfaction.
The boy "laid in" his far hills, and turned.

"Thet's the way hit looks ter me," he said, simply.

"That's the way it is," commended his critic.

For a while more, Samson worked at the nearer hills, then he rose.

"I'm done," he said. "I hain't a-goin' ter fool with them thar trees
an' things. I don't know nothing erbout thet. I can't paint leaves an'
twigs an' birdsnests. What I likes is mountings, an' skies, an' sech-
like things."

Lescott looked at the daub before him. A less-trained eye would have
seen only the daub, just as a poor judge of horse-flesh might see only
awkward joints and long legs in a weanling colt, though it be bred in
the purple.

"Samson," he said, earnestly, "that's all there is to art. It's the
power to feel the poetry of color. The rest can be taught. The genius
must work, of course--work, work, work, and still work, but the Gift is
the power of seeing true--and, by God, boy, you have it."

His words rang exultantly.

"Anybody with eyes kin see," deprecated Samson, wiping his fingers on
his jeans trousers.

"You think so? To the seer who reads the passing shapes in a globe of
crystal, it's plain enough. To any other eye, there is nothing there
but transparency." Lescott halted, conscious that he was falling into
metaphor which his companion could not understand, then more quietly he
went on: "I don't know how you would progress, Samson, in detail and
technique, but I know you've got what many men have struggled a
lifetime for, and failed. I'd like to have you study with me. I'd like
to be your discoverer. Look here."

The painter sat down, and speedily went to work. He painted out
nothing. He simply toned, and, with precisely the right touch here and
there, softened the crudeness, laid stress on the contrast, melted the
harshness, and, when he rose, he had built, upon the rough cornerstone
of Samson's laying, a picture.

"That proves it," he said. "I had only to finish. I didn't have to
undo. Boy, you're wasting yourself. Come with me, and let me make you.
We all pretend there is no such thing, in these days, as sheer genius;
but, deep down, we know that, unless there is, there can be no such
thing as true art. There is genius and you have it." Enthusiasm was
again sweeping him into an unintended outburst.

The boy stood silent. Across his countenance swept a conflict of
emotions. He looked away, as if taking counsel with the hills.

"It's what I'm a-honin' fer," he admitted at last. "Hit's what I'd
give half my life fer.... I mout sell my land, an' raise the money....
I reckon hit would take passels of money, wouldn't hit?" He paused, and
his eyes fell on the rifle leaning against the tree. His lips tightened
in sudden remembrance. He went over and picked up the gun, and, as he
did so, he shook his head.

"No," he stolidly declared; "every man to his own tools. This here's
mine."

Yet, when they were again out sketching, the temptation to play with
brushes once more seized him, and he took his place before the easel.
Neither he nor Lescott noticed a man who crept down through the timber,
and for a time watched them. The man's face wore a surly, contemptuous
grin, and shortly it withdrew.

But, an hour later, while the boy was still working industriously and
the artist was lying on his back, with a pipe between his teeth, and his
half-closed eyes gazing up contentedly through the green of overhead
branches, their peace was broken by a guffaw of derisive laughter. They
looked up, to find at their backs a semi-circle of scoffing humanity.
Lescott's impulse was to laugh, for only the comedy of the situation at
the moment struck him. A stage director, setting a comedy scene with
that most ancient of jests, the gawking of boobs at some new sight,
could hardly have improved on this tableau. At the front stood Tamarack
Spicer, the returned wanderer. His lean wrist was stretched out of a
ragged sleeve all too short, and his tattered "jimmy" was shoved back
over a face all a-grin. His eyes were blood-shot with recent drinking,
but his manner was in exaggerated and cumbersome imitation of a rural
master of ceremonies. At his back were the raw-boned men and women and
children of the hills, to the number of a dozen. To the front shuffled
an old, half-witted hag, with thin gray hair and pendulous lower lip.
Her dress was patched and colorless. Her back was bent with age and
rheumatism. Her feet were incased in a pair of man's brogans. She stared
and snickered, and several children, taking the cue, giggled, but the
men, save Tamarack himself, wore troubled faces, as though recognizing
that their future chieftain had been discovered in some secret shame.
They were looking on their idol's feet of clay.

"Ladies and gentle-_men_," announced Tamarack Spicer, in a
hiccoughy voice, "swing yo' partners an' sashay forward. See the only
son of the late Henry South engaged in his mar-ve-lous an' heretofore
undiscovered occupation of doin' fancy work. Ladies and gentle-_men_,
after this here show is conclooded, keep your seats for the concert
in the main tent. This here famous performer will favor ye with a little
exhibition of plain an' fancy sock-darnin'."

The children snickered again. The old woman shuffled forward.

"Samson," she quavered, "I didn't never low ter see ye doin' no sich
woman's work as thet."

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