Mary Raymond Shipman Andrews

Summary

Mary Raymond Shipman Andrews A Play to the Gallery (1903)

From the far-away city, whose steeples and towers rose like clouds against the sunset, beyond the distant silver river, chimed out, softened by the miles between, the bells and whistles of six o'clock. Up the hill in the low sunlight, dark against the brightening sky, toiled two work-worn figures; and Crackerjack, raising his gentle, high-bred head from his long feast, gazed at them mildly. The girl nodded brightly.
"How do you do, Peter? I didn't know it was you hammering down there at the bridge. How do you do, Thomas?" Half the farmers in the country were her friends.
Source: Wikisource

Mary Raymond Shipman Andrews A Play to the Gallery (1903)

There is no better way to loosen his grip. Riders say that the animal feels his master's mood and personality through the touch of the reins and pressure of the body. As often, surely, the free, large nature of a horse flows back into the rider, and the world is for a human being in the saddle a kindlier, simpler, less complex affair than it is anywhere else. Yet the girl gave a sigh of relief as the chorus of hoofs clattered in distant thunder across the bridge and the last galloping figure disappeared over the top of the hill beyond.
Source: Wikisource

Mary Raymond Shipman Andrews A Play to the Gallery (1903)

On she came, a flashing vision of intense life, and as Lyndon's hunter forged ahead to meet her, Crackerjack gathered himself for the spring on the bridge, the girl waved her crop triumphantly, and the bright picture—the splendid horse with his kindly, eager face, the girl with her fair hair blowing, her cheeks glowing, her eyes shining with victory, and the crop still lifted high in air—crashed through the bridge.
Source: Wikisource

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