第11章 CHAPTER III(1)

It was the cow that woke me the first morning. I did not know it was our cow--not at the time. I didn't know we had a cow. I looked at my watch; it was half-past two. I thought maybe she would go to sleep again, but her idea was that the day had begun. I went to the window, the moon was at the full. She was standing by the gate, her head inside the garden; I took it her anxiety was lest we might miss any of it. Her neck was stretched out straight, her eyes towards the sky; which gave to her the appearance of a long-eared alligator. I have never had much to do with cows. I don't know how you talk to them. I told her to "be quiet," and to "lie down"; and made pretence to throw a boot at her. It seemed to cheer her, having an audience; she added half a dozen extra notes. I never knew before a cow had so much in her. There is a thing one sometimes meets with in the suburbs--or one used to; I do not know whether it is still extant, but when I was a boy it was quite common. It has a hurdy-gurdy fixed to its waist and a drum strapped on behind, a row of pipes hanging from its face, and bells and clappers from most of its other joints.

It plays them all at once, and smiles. This cow reminded me of it--with organ effects added. She didn't smile; there was that to be said in her favour.

I hoped that if I made believe to be asleep she would get discouraged. So I closed the window ostentatiously, and went back to bed. But it only had the effect of putting her on her mettle. "He did not care for that last," I imagined her saying to herself, "I wasn't at my best. There wasn't feeling enough in it." She kept it up for about half an hour, and then the gate against which, I suppose, she had been leaning, gave way with a crash. That frightened her, and I heard her gallop off across the field. I was on the point of dozing off again when a pair of pigeons settled on the window-sill and began to coo. It is a pretty sound when you are in the mood for it. I wrote a poem once--a simple thing, but instinct with longing--while sitting under a tree and listening to the cooing of a pigeon. But that was in the afternoon. My only longing now was for a gun. Three times I got out of bed and "shoo'd" them away. The third time I remained by the window till I had got it firmly into their heads that I really did not want them. My behaviour on the former two occasions they had evidently judged to be mere playfulness. I had just got back to bed again when an owl began to screech. That is another sound I used to think attractive--so weird, so mysterious. It is Swinburne, I think, who says that you never get the desired one and the time and the place all right together. If the beloved one is with you, it is the wrong place or at the wrong time; and if the time and the place happen to be right, then it is the party that is wrong. The owl was all right: I like owls. The place was all right. He had struck the wrong time, that was all. Eleven o'clock at night, when you can't see him, and naturally feel that you want to, is the proper time for an owl.

Perched on the roof of a cow-shed in the early dawn he looks silly.

He clung there, flapping his wings and screeching at the top of his voice. What it was he wanted I am sure I don't know; and anyhow it didn't seem the way to get it. He came to this conclusion himself at the end of twenty minutes, and shut himself up and went home. I thought I was going to have at last some peace, when a corncrake--a creature upon whom Nature has bestowed a song like to the tearing of calico-sheets mingled with the sharpening of saws--settled somewhere in the garden and set to work to praise its Maker according to its lights. I have a friend, a poet, who lives just off the Strand, and spends his evenings at the Garrick Club. He writes occasional verse for the evening papers, and talks about the "silent country, drowsy with the weight of languors." One of these times I'll lure him down for a Saturday to Monday and let him find out what the country really is--let him hear it. He is becoming too much of a dreamer: it will do him good, wake him up a bit. The corncrake after awhile stopped quite suddenly with a jerk, and for quite five minutes there was silence.

"If this continues for another five," I said to myself, "I'll be asleep." I felt it coming over me. I had hardly murmured the words when the cow turned up again. I should say she had been somewhere and had had a drink. She was in better voice than ever.

It occurred to me that this would be an opportunity to make a few notes on the sunrise. The literary man is looked to for occasional description of the sunrise. The earnest reader who has heard about this sunrise thirsts for full particulars. Myself, for purposes of observation, I have generally chosen December or the early part of January. But one never knows. Maybe one of these days I'll want a summer sunrise, with birds and dew-besprinkled flowers: it goes well with the rustic heroine, the miller's daughter, or the girl who brings up chickens and has dreams. I met a brother author once at seven o'clock in the morning in Kensington Gardens. He looked half asleep and so disagreeable that I hesitated for awhile to speak to him: he is a man that as a rule breakfasts at eleven. But I summoned my courage and accosted him.

"This is early for you," I said.

"It's early for anyone but a born fool," he answered.

"What's the matter?" I asked. "Can't you sleep?"

"Can't I sleep?" he retorted indignantly. "Why, I daren't sit down upon a seat, I daren't lean up against a tree. If I did I'd be asleep in half a second."

"What's the idea?" I persisted. "Been reading Smiles's 'Self Help and the Secret of Success'? Don't be absurd," I advised him.

"You'll be going to Sunday school next and keeping a diary. You have left it too late: we don't reform at forty. Go home and go to bed."

I could see he was doing himself no good.

"I'm going to bed," he answered, "I'm going to bed for a month when I've finished this confounded novel that I'm on. Take my advice," he said--he laid his hand upon my shoulder--"Never choose a colonial girl for your heroine. At our age it is simple madness."