The door of the house is open, and an elderly woman is looking out; but
she is not placidly contemplating the evening sunshine; she has been
watching with dim eyes the gradually enlarging speck which for the last
few minutes she has been quite sure is her darling son Adam. Lisbeth
Bede loves her son with the love of a woman to whom her first-born has
come late in life. She is an anxious, spare, yet vigorous old woman,
clean as a snowdrop. Her grey hair is turned neatly back under a pure
linen cap with a black band round it; her broad chest is covered with a
buff neckerchief, and below this you see a sort of short bedgown made of
blue-checkered linen, tied round the waist and descending to the hips,
from whence there is a considerable length of linsey-woolsey petticoat.
For Lisbeth is tall, and in other points too there is a strong
likeness between her and her son Adam. Her dark eyes are somewhat dim
now--perhaps from too much crying--but her broadly marked eyebrows are
still black, her teeth are sound, and as she stands knitting rapidly and
unconsciously with her work-hardened hands, she has as firmly upright
an attitude as when she is carrying a pail of water on her head from the
spring. There is the same type of frame and the same keen activity of
temperament in mother and son, but it was not from her that Adam got his
well-filled brow and his expression of large-hearted intelligence.

Family likeness has often a deep sadness in it. Nature, that great
tragic dramatist, knits us together by bone and muscle, and divides us
by the subtler web of our brains; blends yearning and repulsion;
and ties us by our heart-strings to the beings that jar us at every
movement. We hear a voice with the very cadence of our own uttering the
thoughts we despise; we see eyes--ah, so like our mother's!--averted
from us in cold alienation; and our last darling child startles us with
the air and gestures of the sister we parted from in bitterness long
years ago. The father to whom we owe our best heritage--the mechanical