Part 10 (1/2)
I can't write unless I have something to say, can I?”
”That is what compositions are for,” returned Miss Dearborn doubtfully; ”to make you have things to say. Now in your last one, on solitude, you haven't said anything very interesting, and you've made it too common and every-day to sound well. There are too many 'yous' and 'yours' in it; you ought to say 'one' now and then, to make it seem more like good writing. 'One opens a favorite book;' 'One's thoughts are a great comfort in solitude,' and so on.”
”I don't know any more about solitude this week than I did about joy and duty last week,” grumbled Rebecca.
”You tried to be funny about joy and duty,” said Miss Dearborn reprovingly; ”so of course you didn't succeed.”
”I didn't know you were going to make us read the things out loud,”
said Rebecca with an embarra.s.sed smile of recollection.
”Joy and Duty” had been the inspiring subject given to the older children for a theme to be written in five minutes.
Rebecca had wrestled, struggled, perspired in vain. When her turn came to read she was obliged to confess she had written nothing.
”You have at least two lines, Rebecca,” insisted the teacher, ”for I see them on your slate.”
”I'd rather not read them, please; they are not good,” pleaded Rebecca.
”Read what you have, good or bad, little or much; I am excusing n.o.body.”
Rebecca rose, overcome with secret laughter dread, and mortification; then in a low voice she read the couplet:--
When Joy and Duty clash Let Duty go to smash.
d.i.c.k Carter's head disappeared under the desk, while Living Perkins choked with laughter.
Miss Dearborn laughed too; she was little more than a girl, and the training of the young idea seldom appealed to the sense of humor.
”You must stay after school and try again, Rebecca,” she said, but she said it smilingly. ”Your poetry hasn't a very nice idea in it for a good little girl who ought to love duty.”
”It wasn't MY idea,” said Rebecca apologetically. ”I had only made the first line when I saw you were going to ring the bell and say the time was up. I had 'clash' written, and I couldn't think of anything then but 'hash' or 'rash' or 'smash.' I'll change it to this:--
When Joy and Duty clash, 'T is Joy must go to smash.”
”That is better,” Miss Dearborn answered, ”though I cannot think 'going to smash' is a pretty expression for poetry.”
Having been instructed in the use of the indefinite p.r.o.noun ”one” as giving a refined and elegant touch to literary efforts, Rebecca painstakingly rewrote her composition on solitude, giving it all the benefit of Miss Dearborn's suggestion. It then appeared in the following form, which hardly satisfied either teacher or pupil:--
SOLITUDE
It would be false to say that one could ever be alone when one has one's lovely thoughts to comfort one. One sits by one's self, it is true, but one thinks; one opens one's favorite book and reads one's favorite story; one speaks to one's aunt or one's brother, fondles one's cat, or looks at one's photograph alb.u.m. There is one's work also: what a joy it is to one, if one happens to like work. All one's little household tasks keep one from being lonely. Does one ever feel bereft when one picks up one's chips to light one's fire for one's evening meal? Or when one washes one's milk pail before milking one's cow? One would fancy not.
R. R. R.
”It is perfectly dreadful,” sighed Rebecca when she read it aloud after school. ”Putting in 'one' all the time doesn't make it sound any more like a book, and it looks silly besides.”
”You say such queer things,” objected Miss Dearborn. ”I don't see what makes you do it. Why did you put in anything so common as picking up chips?”
”Because I was talking about 'household tasks' in the sentence before, and it IS one of my household tasks. Don't you think calling supper 'one's evening meal' is pretty? and isn't 'bereft' a nice word?”