The Coward

A Novel Of Society And The Field In 1863

Edición de la obra The Coward

A June Morning of Eighteen Hundred and Sixty-three—Glimpses of West Philadelphia—The Days before Gettysburg—the Two on the Piazza—Margaret Hayley and Elsie Brand—An Embrace and a Difference—Foreshadowings of Carlton Brand, Brother and Lover. A wide piazza, with the columns made of such light tracery in scrolled plank-work that they seemed to be almost unreal and gave an appearance of etheriality to the whole front of the house. The piazza, flecked over with the golden June sunshine that stole down between the branches of the tall trees standing in front and shading the house, and that crept in through the network of twine and climbing roses clambering almost up to the roof from the balustrade below. The house to which the piazza adjoined, large, built of wood in that half Flemish and half Elizabethan style which has of late years been made popular through cheap books on cottage architecture and the illustrations in agricultural newspapers,—two and a half stories in height, with a double gabled front that belonged to the one, elaborate cornices and work over the piazza that belonged to the other, and a turret in the centre that belonged to neither. A wide, tall door opening from the piazza, and windows also opening upon it, sweeping down quite to the floor. Altogether a house which approached more nearly to the "composite" order of architecture so much affected by wealthy Americans, than to any one set down in the books by a particular designation; and yet shapely and imposing, and showing that if the most unimpeachable taste had not presided over the erection, yet wealth had been lavishly expended and all the modern graces and ornaments freely supplied. In front of the house, and sweeping down to the road that ran within a hundred feet, a grassed lawn lying in the lovely green of early summer, only broken at irregular intervals by the dozen of trees of larger and smaller sizes, round which the earth had been artistically made to swell so as to do away with any appearance of newness and create the impression that the roundness had been caused by the bursting of the trees farther out of the ground through many years of vigorous growth. Beneath one of the largest of the trees—a maple, with the silver sheen almost equally divided between its bark and its glossy leaves, a long wooden bench or settee, with two or three sofa-cushions thrown carelessly upon it, as if it formed at times a favorite lounge for a reader or a smoker. On the piazza a triad of chairs, irregularly placed and all unoccupied. One of the two folding doors leading into the halls from the piazza, wide open, as became the season, and the other half closed as if a single puff of summer breeze coming through the hall had become exhausted before closing it entirely. One of the windows opening from the piazza into what seemed to be the better part of the house, closed entirely; and the other, with the shutters "bowed" or half open, permitting a peep into a large parlor or sitting-room, with rich carpet and handsome furniture, but kept dusky under the impression (more or less reasonable) that thereby additional coolness would be secured. Near the house, on both sides, other houses of corresponding pretension though displaying great variety in style of architecture; and in front, across the wide road, still others showing to the right and left, and the whole appearance of the immediate neighborhood evidencing that it was neither country nor city, but a blending of both, suburban, and a chosen spot for the residences of those who did business in the great city and wished to be near it, and who possessed means and taste to make so pleasant a selection. Still farther away in front, as seen between the other houses and shrubbery, and stretching off southward in a long rolling sweep, rich agricultural country, with some of the hay-crop yet ungathered, broad fields of grain receiving the last ripening kiss of

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