By Kate Douglas Smith Wiggin
Kate Douglas Wiggin used to be one of many past due nineteenth century's most well liked authors of youngsters books, and her vintage Rebecca of Sunnybrook Farm continues to be generally learn today.
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Could they have wandered up the hill road— the discontented, "traipsing," exasperating things? She started in that direction, when she heard a crash in the Croft kitchen, and then the sound of a boy's voice coming from an inner room— a weak and querulous voice, as if the child were ill. She drew nearer, in spite of her dread of meeting people, or above all of intruding, and saw Anthony Croft standing over the stove, with an expression of utter helplessness on his usually placid face. She had never really seen him before in the daylight, and there was something about his appearance that startled her.
If God had smitten these two with one hand, he had held out the other in tender benediction. There had been a scene of unspeakable solemnity when Anthony first told Lyddy that he loved her, and asked her to be his wife. He had heard all her sad history by this time, though not from her own lips, and his heart went out to her all the more for the heavy cross that had been laid upon her. He had the wit and wisdom to put her affliction quite out of the question, and allude only to her sacrifice in marrying a blind man, hopelessly and helplessly dependent on her sweet offices for the rest of his life, if she, in her womanly mercy, would love him and help him bear his burdens.
Aunt Hitty was right; it did mean something out of the common. It meant the growth of an all-engrossing, grateful, divinely tender passion between two love-starved souls. On the one hand, Lyddy, who though she had scarcely known the meaning of love in all her dreary life, yet was as full to the brim of all sweet, womanly possibilities of loving and giving as any pretty woman; on the other, the blind violin maker, who had never loved any woman but his mother, and who was in the direst need of womanly sympathy and affection.