Стивен Ликок
Sunshine Sketches of a Little Town
TWELVE. L'Envoi. The Train to Mariposa
It leaves the city every day about five o'clock in the evening, the train for Mariposa.
Strange that you did not know of it, though you come from the little town—or did, long years ago.
Odd that you never knew, in all these years, that the train was there every afternoon, puffing up steam in the city station, and that you might have boarded it any day and gone home. No, not "home,"—of course you couldn't call it "home" now; "home" means that big red sandstone house of yours in the costlier part of the city. "Home" means, in a way, this Mausoleum Club where you sometimes talk with me of the times that you had as a boy in Mariposa.
But of course "home" would hardly be the word you would apply to the little town, unless perhaps, late at night, when you'd been sitting reading in a quiet corner somewhere such a book as the present one.
Naturally you don't know of the Mariposa train now. Years ago, when you first came to the city as a boy with your way to make, you knew of it well enough, only too well. The price of a ticket counted in those days, and though you knew of the train you couldn't take it, but sometimes from sheer homesickness you used to wander down to the station on a Friday afternoon after your work, and watch the Mariposa people getting on the train and wish that you could go.
Why, you knew that train at one time better, I suppose, than any other single thing in the city, and loved it too for the little town in the sunshine that it ran to.
Do you remember how when you first began to make money you used to plan that just as soon as you were rich, really rich, you'd go back home again to the little town and build a great big house with a fine verandah,—no stint about it, the best that money could buy, planed lumber, every square foot of it, and a fine picket fence in front of it.
It was to be one of the grandest and finest houses that thought could conceive; much finer, in true reality, than that vast palace of sandstone with the porte cochere and the sweeping conservatories that you afterwards built in the costlier part of the city.
But if you have half forgotten Mariposa, and long since lost the way to it, you are only like the greater part of the men here in this Mausoleum Club in the city. Would you believe it that practically every one of them came from Mariposa once upon a time, and that there isn't one of them that doesn't sometimes dream in the dull quiet of the long evening here in the club, that some day he will go back and see the place.
They all do. Only they're half ashamed to own it.
Ask your neighbour there at the next table whether the partridge that they sometimes serve to you here can be compared for a moment to the birds that he and you, or he and some one else, used to shoot as boys in the spruce thickets along the lake. Ask him if he ever tasted duck that could for a moment be compared to the black ducks in the rice marsh along the Ossawippi. And as for fish, and fishing,—no, don't ask him about that, for if he ever starts telling you of the chub they used to catch below the mill dam and the green bass that used to lie in the water-shadow of the rocks beside the Indian's Island, not even the long dull evening in this club would be long enough for the telling of it.
But no wonder they don't know about the five o'clock train for Mariposa. Very few people know about it. Hundreds of them know that there is a train that goes out at five o'clock, but they mistake it. Ever so many of them think it's just a suburban train. Lots of people that take it every day think it's only the train to the golf grounds, but the joke is that after it passes out of the city and the suburbs and the golf grounds, it turns itself little by little into the Mariposa train, thundering and pounding towards the north with hemlock sparks pouring out into the darkness from the funnel of it.
Of course you can't tell it just at first. All those people that are crowding into it with golf clubs, and wearing knickerbockers and flat caps, would deceive anybody. That crowd of suburban people going home on commutation tickets and sometimes standing thick in the aisles, those are, of course, not Mariposa people. But look round a little bit and you'll find them easily enough. Here and there in the crowd those people with the clothes that are perfectly all right and yet look odd in some way, the women with the peculiar hats and the—what do you say?—last year's fashions? Ah yes, of course, that must be it.
Anyway, those are the Mariposa people all right enough. That man with the two-dollar panama and the glaring spectacles is one of the greatest judges that ever adorned the bench of Missinaba County. That clerical gentleman with the wide black hat, who is explaining to the man with him the marvellous mechanism of the new air brake (one of the most conspicuous illustrations of the divine structure of the physical universe), surely you have seen him before. Mariposa people! Oh yes, there are any number of them on the train every day.
But of course you hardly recognize them while the train is still passing through the suburbs and the golf district and the outlying parts of the city area. But wait a little, and you will see that when the city is well behind you, bit by bit the train changes its character. The electric locomotive that took you through the city tunnels is off now and the old wood engine is hitched on in its place. I suppose, very probably, you haven't seen one of these wood engines since you were a boy forty years ago,—the old engine with a wide top like a hat on its funnel, and with sparks enough to light up a suit for damages once in every mile.
Do you see, too, that the trim little cars that came out of the city on the electric suburban express are being discarded now at the way stations, one by one, and in their place is the old familiar car with the stuff cushions in red plush (how gorgeous it once seemed!) and with a box stove set up in one end of it? The stove is burning furiously at its sticks this autumn evening, for the air sets in chill as you get clear away from the city and are rising up to the higher ground of the country of the pines and the lakes.
Look from the window as you go. The city is far behind now and right and left of you there are trim farms with elms and maples near them and with tall windmills beside the barns that you can still see in the gathering dusk. There is a dull red light from the windows of the farmstead. It must be comfortable there after the roar and clatter of the city, and only think of the still quiet of it.
As you sit back half dreaming in the car, you keep wondering why it is that you never came up before in all these years. Ever so many times you planned that just as soon as the rush and strain of business eased up a little, you would take the train and go back to the little town to see what it was like now, and if things had changed much since your day. But each time when your holidays came, somehow you changed your mind and went down to Naragansett or Nagahuckett or Nagasomething, and left over the visit to Mariposa for another time.
It is almost night now. You can still see the trees and the fences and the farmsteads, but they are fading fast in the twilight. They have lengthened out the train by this time with a string of flat cars and freight cars between where we are sitting and the engine. But at every crossway we can hear the long muffled roar of the whistle, dying to a melancholy wail that echoes into the woods; the woods, I say, for the farms are thinning out and the track plunges here and there into great stretches of bush,—tall tamerack and red scrub willow and with a tangled undergrowth of bush that has defied for two generations all attempts to clear it into the form of fields.
Why, look, that great space that seems to open out in the half-dark of the falling evening,—why, surely yes,—Lake Ossawippi, the big lake, as they used to call it, from which the river runs down to the smaller lake,—Lake Wissanotti,—where the town of Mariposa has lain waiting for you there for thirty years.
This is Lake Ossawippi surely enough. You would know it anywhere by the broad, still, black water with hardly a ripple, and with the grip of the coming frost already on it. Such a great sheet of blackness it looks as the train thunders along the side, swinging the curve of the embankment at a breakneck speed as it rounds the corner of the lake.
How fast the train goes this autumn night! You have travelled, I know you have; in the Empire State Express, and the New Limited and the Maritime Express that holds the record of six hundred whirling miles from Paris to Marseilles. But what are they to this, this mad career, this breakneck speed, this thundering roar of the Mariposa local driving hard to its home! Don't tell me that the speed is only twenty-five miles an hour. I don't care what it is. I tell you, and you can prove it for yourself if you will, that that train of mingled flat cars and coaches that goes tearing into the night, its engine whistle shrieking out its warning into the silent woods and echoing over the dull still lake, is the fastest train in the whole world.
Yes, and the best too,—the most comfortable, the most reliable, the most luxurious and the speediest train that ever turned a wheel.
And the most genial, the most sociable too. See how the passengers all turn and talk to one another now as they get nearer and nearer to the little town. That dull reserve that seemed to hold the passengers in the electric suburban has clean vanished and gone. They are talking,—listen,—of the harvest, and the late election, and of how the local member is mentioned for the cabinet and all the old familiar topics of the sort. Already the conductor has changed his glazed hat for an ordinary round Christie and you can hear the passengers calling him and the brakesman "Bill" and "Sam" as if they were all one family.
What is it now—nine thirty? Ah, then we must be nearing the town,—this big bush that we are passing through, you remember it surely as the great swamp just this side of the bridge over the Ossawippi? There is the bridge itself, and the long roar of the train as it rushes sounding over the trestle work that rises above the marsh. Hear the clatter as we pass the semaphores and switch lights! We must be close in now!
What? it feels nervous and strange to be coming here again after all these years? It must indeed. No, don't bother to look at the reflection of your face in the window-pane shadowed by the night outside. Nobody could tell you now after all these years. Your face has changed in these long years of money-getting in the city. Perhaps if you had come back now and again, just at odd times, it wouldn't have been so.
There,—you hear it?—the long whistle of the locomotive, one, two, three! You feel the sharp slackening of the train as it swings round the curve of the last embankment that brings it to the Mariposa station. See, too, as we round the curve, the row of the flashing lights, the bright windows of the depot.
How vivid and plain it all is. Just as it used to be thirty years ago. There is the string of the hotel 'buses, drawn up all ready for the train, and as the train rounds in and stops hissing and panting at the platform, you can hear above all other sounds the cry of the brakesmen and the porters:
"MARIPOSA! MARIPOSA!"
And as we listen, the cry grows fainter and fainter in our ears and we are sitting here again in the leather chairs of the Mausoleum Club, talking of the little Town in the Sunshine that once we knew.
