two fingers and thumb be laid, us can go to them. And us have bespoke to the sexton the place whereabout the fingers and thumb lie. I ha' planted rosemary there, and know where it be, and no one else can be laid there, as his fingers and thumb be resting there. And when Samuel dies, or I die, whichever goes first is to lie beside the rosemary bush over his fingers and thumb, and when the t'other follows, Samuel or I will be laid beside the other, with only the fingers and thumb and rosemary bush between us,—'cos us ain't exactly married—and 'twouldn't be respectable wi'out. 'Twill be no great expense," she added, apologetically.
When Joan Melhuish had told her all the story, Arminell no longer saw the crude green kerchief and the magenta bows. She saw only the face of the poor woman, the crystal-clear eyes in which light came, and then moisture, and the trembling lips that told more by their tremor than by the words that passed over them, of the deep stirring in the humble, patient heart.
How often it is with us that, looking at others, who belong to an inferior, or only a distinct class, we observe nothing but verdigris green kerchiefs and magenta bows, something out of taste, jarring with our refinement, ridiculous from our point of view. Then we talk of the whole class as supremely barbarous, grotesque and separate from us by leagues of intervening culture, a class that puts verdigris kerchiefs on and magenta bows, as our forefathers before Christ painted their bodies with woad. And we argue—these people have no human instincts, no tender emotions, no delicate feelings—how can they have, wearing as they do green ties and magenta bows? Have the creatures eyes? Surely not when they wear such unæsthetic colours. Hands, organs, dimensions, senses, affections, passions? Not with emerald-green kerchiefs. If we prick them they do not bleed. If we tickle they cannot laugh. If we poison them,
