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I. Description of Farmer Oak—An Incident

           Whatpossessedhertoindulgeinsuchaperformanceinthesightofthesparrows,blackbirds,andunperceivedfarmerwhowerealoneitsspectators,—whetherthesmilebeganasafactitiousone,totesthercapacityinthatart,—nobodyknows;itendedcertainlyinarealsmile.Sheblushedatherself,andseeingherreflectionblush,blushedthemore.

           Thechangefromthecustomaryspotandnecessaryoccasionofsuchanact—fromthedressinghourinabedroomtoatimeoftravellingoutofdoors—lenttotheidledeedanoveltyitdidnotintrinsicallypossess.Thepicturewasadelicateone.Woman’sprescriptiveinfirmityhadstalkedintothesunlight,whichhadclotheditinthefreshnessofanoriginality.AcynicalinferencewasirresistiblebyGabrielOakasheregardedthescene,generousthoughhefainwouldhavebeen.Therewasnonecessitywhateverforherlookingintheglass.Shedidnotadjustherhat,orpatherhair,orpressadimpleintoshape,ordoonethingtosignifythatanysuchintentionhadbeenhermotiveintakinguptheglass.ShesimplyobservedherselfasafairproductofNatureinthefemininekind,herthoughtsseemingtoglideintofar-offthoughlikelydramasinwhichmenwouldplayapart—vistasofprobabletriumphs—thesmilesbeingofaphasesuggestingthatheartswereimaginedaslostandwon.Still,thiswasbutconjecture,andthewholeseriesofactionswassoidlyputforthastomakeitrashtoassertthatintentionhadanypartinthematall.

           Thewaggoner’sstepswereheardreturning.Sheputtheglassinthepaper,andthewholeagainintoitsplace.

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