IV

him⁠—Marblehead women don’t act that way⁠—’twas a passel o’ men an’ boys, an’ they carted him araound town in an old dory till the bottom fell aout, and Ireson he told ’em they’d be sorry for it some day. Well, the facts come aout later, same’s they usually do, too late to be any ways useful to an honest man; an’ Whittier he come along an’ picked up the slack eend of a lyin’ tale, an’ tarred and feathered Ben Ireson all over onct more after he was dead. ’Twas the only tune Whittier ever slipped up, an’ ’tweren’t fair. I whaled Dan good when he brought that piece back from school. You don’t know no better, o’ course; but I’ve give you the facts, hereafter an’ evermore to be remembered. Ben Ireson weren’t no sech kind o’ man as Whittier makes aout; my father he knew him well, before an’ after that business, an’ you beware o’ hasty jedgments, young feller. Next!”

Harvey had never heard Disko talk so long, and collapsed with burning cheeks; but, as Dan said promptly, a boy could only learn what he was taught at school, and life was too short to keep track of every lie along the coast.

Then Manuel touched the jangling, jarring little machete to a queer tune, and sang something in Portuguese about “ Nina, innocente! ” ending with a full-handed sweep that brought the song up with a jerk. Then Disko obliged with his second song, to an old-fashioned creaky tune, and all joined in the chorus. This is one stanza:

“Now Aprile is over and melted the snow, And outer Noo Bedford we shortly must tow; Yes, out o’ Noo Bedford we shortly must clear, We’re the whalers that never see wheat in the ear.”

Here the fiddle went very softly for a while by itself, and then:

“Wheat-in-the-ear, my truelove’s posy blowin, Wheat-in-the-ear, we’re goin’ off to sea; Wheat-in-the-ear, I left you fit for sowin, When I come back a loaf o’ bread you’ll be!”