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"I don't shoot quail any more," Billy answered. "I've got to know 'em too well, I guess. You see," in answer to the other boy's look of surprise, "when a feller gets to know what chummy, friendly little beggars they are, he don't feel like shootin' 'em.",

He made her one of those elegant and stately bows which was his greatest charm in the eyes of old Miss Acton, and left the berth, closing the door.,

"The wind's gone down," said the boy. "Jest a fair sailin' breeze now.",

On the top-most branch of a tall, dead pine, close beside the wood-pile, sat the tame crow, Croaker, his head cocked demurely on one side, as he listened to the woman's righteous abuse. Croaker could no more help filling his claws with chips and dirt and wobbling the full length of a line filled with snowy, newly-washed clothes than he could help upsetting the pan of water in the chicken-pen, when he saw the opportunity. He hated anything white with all his sinful little heart and he hated the game rooster in the same way. He was always in trouble with Ma Wilson, always in trouble with the rooster. Only when safe in the highest branch of the pine was he secure, and in a position to talk back to his persecutors.

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The scene of the quay-side was gay and indeed festive. The few ships had hoisted colours in celebration of the Aurora's arrival, and the large flags of those days streaming from mast-head and gaff-end and ensign-staff and jack-staff combined with the brilliant blue of the sky, the light and lovely greenery of spring that clothed the ravine's slopes, the sober hue of the cliffs, the white shape of the squab lighthouse past which some gulls[Pg 90] were wheeling, the chocolate tint of the revolving windmill, the sober grey of the houses and the diamond sparkle of the river with its softened reflection of bridge and banks streaming into its heart in dreamlike shadow of what was mirrored: this combination, I say, coupled with the motions and colours of human life on the quay-side, albeit the beer hour had struck and the picture owed nothing of animation to the workmen, fascinated the eye with the calm, the freshness, and the glory of a little English sea-piece, Sabbath-like in repose, lighted by the sun of April beaming in a perfectly fair heaven.,

Lucy heard a church bell strike: she started from a fit of abstraction, and, turning to move on, confronted an old man who was crossing the bridge. The face of this old man was pale and wrinkled; his hair was long and quite white. His nose streamed down his face in a thin, curling outline; his mouth when his lips were compressed might be expressed by a simple stroke of a pencil.[Pg 30] His eyes were deep-seated and extraordinarily luminous and swift in their motions, and his eyebrows, which were as white as his hair, were so thick and overhanging that they might have passed for a couple of white mice sleeping on his brow. His apparel had that dim and faded look which in fiction is associated with miserliness. His high and dingy white cravat and the tall build of his coat at the back of his head, so sloped his shoulders that they looked to make a line with his arms. He wore a faded red waistcoat which sank very low, and under it dangled a bunch of seals. His knee-breeches left painfully visible the pipe-stem shanks clothed in grey hose and terminating in large shoes, burdened with steel buckles.,

She turned slowly, stern eyes looking above her glasses straight into his startled and apprehensive ones.,

"I assure you, sir," said Mr Lawrence, with a smile which added a freshness to his beauty by that light, "that I have no idea of taking command of your ship with a view to a French prison."