that
show a master's hand. Sometimes,--to-night, for instance,--the
curtain is accidentally drawn back, and I see a bare arm stretched out
imploringly in the darkness, and an eager, wolfish face watching mine: a
wan, woful face, through which the spirit of the dead korl-cutter looks
out, with its thwarted life, its mighty hunger, its unfinished work. Its
pale, vague lips seem to tremble with a terrible question. "Is this the
End?" they say,--"nothing beyond? no more?" Why, you tell me you have
seen that look in the eyes of dumb brutes,--horses dying under the lash.
I know.
The deep of the night is passing while I write. The gas-light wakens
from the shadows here and there the objects which lie scattered through
the room: only faintly, though; for they belong to the open sunlight. As
I glance at them, they each recall some task or pleasure of the coming
day. A half-moulded child's head; Aphrodite; a bough of forest-leaves;
music; work; homely fragments, in which lie the secrets of all eternal
truth and beauty. Prophetic all! Only this dumb, woful face seems to
belong to and end with the night. I turn to look at it. Has the power
of its desperate need commanded the darkness away? While the room is yet
steeped in heavy shadow, a cool, gray light suddenly touches its head
like a blessing hand, and its groping arm points through the broken
cloud to the far East, where, in the flickering, nebulous crimson, God
has set the promise of the Dawn.
End of Project Gutenberg's Life in the Iron-Mills, by Rebecca Harding Davis
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