Curly — A Second-Hand Angel
A SECOND-HAND ANGEL
Scouting cautious, and shying wide of settlements except when we had to buy chuck, I herded my youngsters up the long trail north.
We took no count of the distance, we lost all tab of dates, but camped where game was plenty, pushed on when the sun was shining, holed up when the wind was too cold, and mostly lived by hunting.
So we rode the winter through and came to the spring beyond, catching maybe more happiness than was good to have all at once.
One day, the snow being gone, and the prairie one big garden of spring flowers reaching away to the skyline, we happened to meet up sudden with a pony-soldier which he was lying under the shadow of his horse and playing tunes on a mouth-organ, heaps content with himself.
His coat was red, his harness all glittering fine, his boots were shiny, his spurs had small cruel rowels.
He said his chief was His Imperial Majesty Edward VII.
, that his tribe was the North-West Mounted Police, and his camp was called Medicine Hat, the same being close adjacent.
We sounded him on robbers, but he seemed plumb ignorant, and said there was quite a few antelope if we cared for hunting.
Telling the youngsters to camp, I went butting along into Medicine Hat to prospect the same alone.
It felt mighty strange to be in a town again, see the people walking around who belonged there, women and children especially, but the whisky I sampled felt right natural, and for all my snuffing and snorting I smelt nothing suspicious in the way of wolf-trap.
So I traded with a lady who kept store for woman's clothing, such as she used herself, enough to load up my pack-horse.
She certainly selected liberal to judge by the money I paid.
When I got back to camp expecting supper, I found the kids had been quarrelling, so that they weren't on speaking terms, and I had to introduce them.
Jim was special haughty, but Curly got heaps interested in the clothes I'd bought, crowing and chuckling over everything.
Her favorite game was playing at being a lady, but now she shied at committing herself.
"Shucks!"
she flirted across to the far side of the fire.
"I cayn't oppress Jim in them things--I'd get so tame and weak he'd sit on my haid!"
"You're due to get mar'ied," says I, "as sure as sunrise to-morrow."
"So!
Jim ain't caught me yet!"
Jim started in to catch her, but she jumped the fire to clear him.
"Now!"
she deified him complete; "don't you rush my corral with one of yo' fool kisses, or I'll shorely bat yo' haid.
I ain't laid down my arms yet!"
So she swaggered with her little brown hand on her gun, the firelight glowing on her leather clothes and gold bright hair, on the flush of her sunburnt skin, on milk-white teeth, and laughing, flashing eyes.
Jim's heart was burning, I reckon, for he went down on one knee and reached out his arms to her.
There was only the fire between them.
"Say you love me, Curly?"
"It cayn't be helped, Jim," she whispered, and her face went grave, "but I shorely love you."
* * * * * Riding the ranges of the world and grazing in life's pastures, I've got to be plumb content with things present, which I can grab the same with my teeth, instead of hungering after that heaven above which seems a lot uncertain, and apt to prove disappointing.
Here I've got horses for sure, plenty cows, and Monte, one of my old riders, for my partner.
Bear Hole is the name of our new ranche, with the bull pines of the coconino forest all around us, the hoary old volcanoes towering above, and the lava-beds fencing our home pasture.
Back of the cabin is the spring where Curly used to splash me when she washed, the cave where she sang to me beside our camp fire.
The bubble spring, the wind in the pines, the chatter of the birds, and the meadow flowers remind me of her always.
She has put away her spurs and gun never to ride any more with free men on God's grass, because, poor soul!
she's only a lady now and gone respectable.
Last summer--it sure makes me sweat to think of that scary business--I went to Ireland.
First came civilisation--which I'd never seen it before--cities all cluttered up with so various noises and smells that I got lost complete.
When you stop to study the trail you get killed by a tramcar.
Then there was the ocean, a sure great sight and exciting to the stomach--mine got plumb dissolute, pitching and bucking around like a mean horse, so that I was heaps glad to dismount at Liverpool.
That Old Country is plenty strange, too, for a plain man to consider, for I seen women drunk and children starving, and had to bat a white man's head for shining a nigger's shoes.
It beats me how such a tribe can ride herd on a bunch of empires as easy as I drive cows, but if I proceed to unfold all I don't know, I'll be apt to get plumb talkative.
When I came up against Balshannon Castle, I found it a sure enough palace, which was no place for me, so I pawed around outside inquiring.
Her ladyship was to home, and I found her setting in a fold-up chair on the terrace.
It made me feel uplifted to see her there nursing a small baby, crooning fool talk to the same, which she patted and smacked and nuzzled all at once.
"Wall," says she, as I came looming up accidental, "ef it ain't ole Chalkeye!
Didn't I tell you awdehs to come long ago?
Now don't you talk, or you'll spoil my kid's morals, 'cause he ain't broke to hawss-thieves.
Yes, you may set on that stool."
"Curly," says I, feeling scared, "is that yo' kid?"
"Sort of.
I traded for him.
He's a second-hand angel.
Now jest ain't he cute?"
He was a sure cunning little person, and thought me great medicine to play with.
"Whar is his lawdship?"
says I. "Jim's down to the pasture, breaking a fool colt, and Chalkeye--oh, you ole felon, how I enjoy to see yo' homely face!
I got good news.
Father's alive, yes, in New York.
He writes to say he's got a job at a theatre, giving shows of roping and shooting.
He's the Cowboy Champion, and"--her voice dropped to a whisper--"planning enormous robberies.
He'll steal New York, I reckon."
"Curly," says I, "spose I give you good news.
May I hold that kid just to try?"
"Now you tame yo'self, and don't get ra'ring up too proud.
Then maybe you shall--to-morrow.
Tell me yo' news."
I handed her the documents, which the governor of Arizona had made for me himself.
Curly was pardoned, the charge against Jim was withdrawn, and I was to come up for trial when called upon.
I shall not be called upon so long as I stay good.
I saw the tears in Curly's eyes as she read, and her lips went twisty as if she were due to cry.
"Shorely," she said, "this comes of tellin' our prayers to God.
So Jim and me is free to go back to Holy Crawss?"
"You're free."
"Old friend," she whispered, "you must be first to tell Jim.
Leave me awhile."
I walked away into the house as if to look for Jim, then crept back behind a curtain watching her.
She looked away to the west, and I knew she was longing for the desert.
Then she kissed her baby on the nose, and once again, as in the old days, I heard her singing:-- "Whar y'u from, little stranger--little boy?
Y'u was riding a cloud on that star-strewn plain, But y'u fell from the skies like a drop of rain, To this wo'ld of sorrow and long, long pain-- Will y'u care fo' yo' motheh, lillie boy?"
Far off I could hear the footfall of a horse.
"When y'u grows, little varmint, lillie boy, Y'u'll be ridin' a hawss at yo' fatheh's side, With you' gun and yo' spurs and yo' haidstrong pride: Will y'u think of yo' home when the world rolls wide-- Will y'u wish fo' yo' motheh, lillie boy?"
The horse was coming nearer up the drive.
"When y'u love in yo' manhood, little boy, When y'u dream of a girl who is angel fair, When the stars are her eyes, and the winds her hair, When the sun is her smile, and yo' heaven's there, Will y'u care fo' yo' motheh, lillie boy?"
The horseman, brought up half-rearing, stepped from the saddle, then threw his rein in the old range way, and Balshannon hurried to his wife.
* * * * * LITTLE, BROWN, AND COMPANY'S
_Popular Editions of Recent Fiction_ Reissues of favorite copyrighted novels, fully illustrated (with few exceptions), and handsomely bound in cloth.
1. THE RAINBOW CHASERS.
A Story of the Plains.
By John H. Whitson.
It presents with striking vividness a picture of the rise and fall of a boom town.
--_Boston Transcript.
_ 2. FROM KINGDOM TO COLONY.
By Mary Devereux.
It is many a long day since such a charming love story has been written.
--_Literary World.
_ 3. THE SHADOW OF THE CZAR.
By John R. Carling.
An engrossing romance of the sturdy, wholesome sort, in which the action is never allowed to drag.
--_Boston Herald.
_ 4. WHITE APRONS.
By Maud Wilder Goodwin.
Has the true qualities of historical romance, dramatic situation, and stirring incident, coupled with accuracy and literary charm.
--_Philadelphia Public Ledger.
_ 5. A DREAM OF A THRONE.
By Charles Fleming Embree.
A powerful story, with constantly changing movement, strong color, and striking effects.
--_Philadelphia North American.
_ 6. IN THE COUNTRY GOD FORGOT.
By Frances Charles.
The sky and the cacti and the droughts of Arizona are stamped in on the brain as one reads.
The characters loom forcibly out of the arid air.
--_The Nation.
_ 7. WITHOUT DOGMA.
By Henryk Sienkiewicz.
Author of "Quo Vadis."
Intensely human, intellectually a masterpiece, and throughout entertains.
--_Philadelphia Telegraph.
_ 8. A DETACHED PIRATE.
By Helen Milecete.
A charming young English woman is the self-styled pirate of this book.
--_The Outlook.
_ 9. KISMET.
By Julia Fletcher (George Fleming).
It is so fresh and sweet and innocent and joyous, the dialogue is so natural and bright, the characters so keenly edged, and the descriptions so pathetic.
--_Extract from a letter.
_ 10. A DAUGHTER OF NEW FRANCE.
By Mary Catherine Crowley.
A strong, vivid romance, and has reproduced with rare skill the social atmosphere of the time, as well as the spirit of adventure that was in the air.
--_Brooklyn Eagle.
_ 11. THE LOVE-LETTERS OF THE KING; or, The Life Romantic.
By Richard le Gallienne.
He possesses charm, sweetness, native poesy.
--_Chicago Evening Post.
_ 12. WITH FIRE AND SWORD.
By Henryk Sienkiewicz.
Translated by Jeremiah Curtin.
The only modern romance with which it can be compared for fire, sprightliness, rapidity of action, swift changes, and absorbing interest is "The Three Musketeers" of Dumas.
--_New York Tribune.
_ 13. A MAID OF BAR HARBOR.
By Henrietta G. Rowe.
Mrs. Rowe writes of the country life, character and traditions, and dialect with the sure touch of the observer at first hand.
--_Providence Journal.
_ 14. UP AND DOWN THE SANDS OF GOLD.
By Mary Devereux.
The story is one of sunshine and shade, of smiles and tears.
--_Boston Transcript.
_ 15. THE KING'S HENCHMAN.
A Chronicle of the Sixteenth Century.
By William Henry Johnson.
Mr. Johnson has caught the spirit of the period, and has painted in Henry of Navarre a truthful and memorable historical portrait.
--_The Mail and Express_, New York.
16. WHEN THE GATES LIFT UP THEIR HEADS.
A Story of the South in the Seventies.
By Payne Erskine.
A very remarkable story of the South after the war.
--_Boston Budget.
_ 17. A ROSE OF NORMANDY.
By William R. A.
Wilson.
Stirs the blood, warms the heart, and holds the interest in a firm grip from beginning to end.
--_Chicago Tribune.
_ 18. BARBARA, A WOMAN OF THE WEST.
By John H. Whitson.
A story original in ideas, clever in construction, and interesting to the last word.
--_New York World.
_ 19. THE HEROINE OF THE STRAIT.
By Mary Catherine Crowley.
A story of absorbing interest, told in a praiseworthy and skilful manner.
--_Current Literature.
_ 20. LOVE THRIVES IN WAR.
By Mary Catherine Crowley.
The author is saturated with the atmosphere of the time, and has told her story with zest and spirit.
It is a picturesque, well-imagined tale.
--_New York Times Saturday Review.
_ 21. A GIRL OF VIRGINIA.
By Lucy M. Thruston.
The author has given us a picture of modern girlhood that goes straight to the heart and stays there.
--_New York Globe.
_ 22. PAINTED SHADOWS.
By Richard le Gallienne.
Rich in poetic interpretation.
--_Boston Transcript.
_ 23. THE VIKING'S SKULL.
By John R. Carling.
A capital tale of mystery and detection of crime.
The ingenuity with which its intricacies are threaded is really wonderful.
--_New York Times.
_ 24. SARAH TULDON.
By Orme Agnus.
A remarkable study of an English peasant girl of strong character who was developed into a fine, noble hearted, and generous woman.
--_Chicago Record-Herald.
_ 25. THE SIEGE OF YOUTH.
By Frances Charles.
Of uncommon power.
There is much bright and epigrammatic conversation.
Among the notable good books of the year.
--_Argonaut_, San Francisco.
26. HASSAN, A FELLAH.
A Romance of Palestine.
By Henry Gillman.
It is romance of the strongest type.
Many pages fairly glow with color.
--_Public Opinion.
_ 27. THE WOLVERINE.
By Albert L. Lawrence.
An uncommonly vivid and well sustained story of pioneer days in Michigan.
--_New York Globe.
_ 28. CURLY.
A Tale of the Arizona Desert.
By Roger Pocock.
The best cowboy story since "The Virginian."
--_The Outlook.
_ 29. JUSTIN WINGATE, Ranchman.
By John H. Whitson.
An accurate and adequate picture of the Western life of the day.
--_New York Sun.
_ 30. A KNOT OF BLUE.
By William R. A.
Wilson.
A strong, fanciful weaving together of incidents of adventure, intrigue, and gallantry.
--_New York World.
_ 31. THE HEAD OF A HUNDRED.
By Maud Wilder Goodwin.
Charming for its sweetness and truth.
--_New York Times.
_ 32. THE WEIRD PICTURE.
By John R. Carling.
Leads the reader through a maze of mystery and adventure.
--_Brooklyn Eagle.
_ 33. A PRINCE OF LOVERS.
By Sir William Magnay.
A remarkable story of love, adventure, and intrigue.
--_Boston Transcript.
_ 34. SWEET PEGGY.
By Linnie Sarah Harris.
A jolly, wholesome love story in the good old-fashioned manner.
--_Detroit Free Press.
_ 35. JOURNEYS WITH DUMAS.
The Speronara.
By Alexandre Dumas.
Translated by Katharine Prescott Wormeley.
These pages simply teem with entertainment.
--_New York Evening Sun.
_ 36. SIR CHRISTOPHER.
By Maud Wilder Goodwin.
One of the strongest and most wholesome romances ever brought forth from Maryland and Virginia.
--_Cleveland World.
_ 37. FILE No. 113. By Emile Gaboriau.
Translated by George Burnham Ives.
A masterpiece of its kind, one of the best detective stories ever written.
--_New York Tribune.
_ 38. MY LADY CLANCARTY.
By Mary Imlay Taylor.
A wholesome, vigorous, stirring, refreshing tale.
--_Chicago Record-Herald.
_ 39. WHERE THE TIDE COMES IN.
By Lucy M. Thruston.
A novel of dramatic force, with a good plot.
--_New York Times.
_ *** END OF THE PROJECT GUTENBERG EBOOK CURLY: A TALE OF THE ARIZONA DESERT *** Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U. S.
copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!
) can copy and distribute it in the United States without permission and without paying copyright royalties.
Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark.
Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark.
If you do not charge anything for copies of this eBook, complying with the trademark license is very easy.
You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U. S.
copyright law.
Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG™ LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.
gutenberg.
org/license.
Section 1.
General Terms of Use and Redistributing Project Gutenberg electronic works 1. A.
By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement.
If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1. E.
8. 1. B.
“Project Gutenberg” is a registered trademark.
It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement.
See paragraph 1. C below.
There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works.
See paragraph 1. E below.
1. C.
The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works.
Nearly all the individual works in the collection are in the public domain in the United States.
If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed.
Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work.
You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.
1. D.
The copyright laws of the place where you are located also govern what you can do with this work.
Copyright laws in most countries are in a constant state of change.