Our New Neighbors At Ponkapog
Date: 2007-11-06T00:00:00+00:00
Keywords: Short stories; United States -- Social life and customs -- 19th century -- Fiction

The Project Gutenberg eBook of Our New Neighbors At Ponkapog

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Our New Neighbors At Ponkapog

Author: Thomas Bailey Aldrich

Release date: November 6, 2007 [eBook #23360]
Most recently updated: February 24, 2021

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK OUR NEW NEIGHBORS AT PONKAPOG ***

OUR NEW NEIGHBORS AT PONKAPOG

By Thomas Bailey Aldrich

Boston And New York Houghton Mifflin Company

Copyright, 1873, 1885, and 1901

When I saw the little house building, an eighth of a mile beyond my own, on the Old Bay Road, I wondered who were to be the tenants. The modest structure was set well back from the road, among the trees, as if the inmates were to care nothing whatever for a view of the stylish equipages which sweep by during the summer season. For my part, I like to see the passing, in town or country; but each has his own unaccountable taste. The proprietor, who seemed to be also the architect of the new house, superintended the various details of the work with an assiduity that gave me a high opinion of his intelligence and executive ability, and I congratulated myself on the prospect of having some very agreeable neighbors.

It was quite early in the spring, if I remember, when they moved into the cottage—a newly married couple, evidently: the wife very young, pretty, and with the air of a lady; the husband somewhat older, but still in the first flush of manhood. It was understood in the village that they came from Baltimore; but no one knew them personally, and they brought no letters of introduction. (For obvious reasons I refrain from mentioning names.) It was clear that, for the present at least, their own company was entirely sufficient for them. They made no advances toward the acquaintance of any of the families in the neighborhood, and consequently were left to themselves. That, apparently, was what they desired, and why they came to Ponkapog. For after its black bass and wild duck and teal, solitude is the chief staple of Ponkapog. Perhaps its perfect rural loveliness should be included. Lying high up under the wing of the Blue Hills, and in the odorous breath of pines and cedars, it chances to be the most enchanting bit of unlaced dishevelled country within fifty miles of Boston, which, moreover, can be reached in half an hour’s ride by railway. But the nearest railway station (Heaven be praised!) is two miles distant, and the seclusion is without a flaw. Ponkapog has one mail a day; two mails a day would render the place uninhabitable.

The village—it looks like a compact village at a distance, but unravels and disappears the moment you drive into it—has quite a large floating population. I do not allude to the perch and pickerel in Ponk-apog Pond. Along the Old Bay Road, a highway even in the colonial days, there are a number of attractive villas and cottages straggling off towards Milton, which are occupied for the summer by people from the city. These birds of passage are a distinct class from the permanent inhabitants, and the two seldom closely assimilate unless there has been some previous connection. It seemed to me that our new neighbors were to come under the head of permanent inhabitants; they had built their own house, and had the air of intending to live in it all the year round.

“Are you not going to call on them?” I asked my wife one morning.

“When they call on us,” she replied lightly.

“But it is our place to call first, they being strangers.”

This was said as seriously as the circumstance demanded; but my wife turned it off with a laugh, and I said no more, always trusting to her intuitions in these matters.

She was right. She would not have been received, and a cool “Not at home” would have been a bitter social pill to us if we had gone out of our way to be courteous.

I saw a great deal of our neighbors, nevertheless. Their cottage lay between us and the post-office—where he was never to be met with by any chance—and I caught frequent glimpses of the two working in the garden, floriculture did not appear so much an object as exercise. Possibly it was neither; may be they were engaged in digging for specimens of those arrowheads and flint hatchets which are continually coming to the surface hereabouts. There is scarcely an acre in which the ploughshare has not turned up some primitive stone weapon or domestic utensil, disdainfully left to us by the red men who once held this domain—an ancient tribe called the Punkypoags, a forlorn descendant of which, one Polly Crowd, figures in the annual Blue Book, down to the close of the Southern war, as a state pensioner. At that period she appears to have struck a trail to the Happy Hunting Grounds. I quote from the local historiographer.

Whether they were developing a kitchen garden, or emulating Professor Schliemann at Mycenæ, the new-comers were evidently persons of refined musical taste: the lady had a contralto voice of remarkable sweetness, although of no great compass, and I used often to linger of a morning by the high gate and listen to her executing an arietta, conjecturally at some window upstairs, for the house was not visible from the turnpike. The husband, somewhere about the grounds, would occasionally respond with two or three bars. It was all quite an ideal, Arcadian business. They seemed very happy together, these two persons, who asked no odds whatever of the community in which they had settled themselves.

There was a queerness, a sort of mystery, about this couple which I admit piqued my curiosity, though as a rule I have no morbid interest in the affairs of my neighbors. They behaved like a pair of lovers who had run off and got married clandestinely. I willingly acquitted them, however, of having done anything unlawful; for, to change a word in the lines of the poet,

“It is a joy to think the best
We may of human kind.”

Admitting the hypothesis of elopement, there was no mystery in their neither sending nor receiving letters. But where did they get their groceries? I do not mean the money to pay for them—that is an enigma apart—but the groceries themselves. No express wagon, no butcher’s cart, no vehicle of any description, was ever observed to stop at their domicile. Yet they did not order family stores at the sole establishment in the village—an inexhaustible little bottle of a shop which, I advertise it gratis, can turn out anything in the way of groceries, from a handsaw to a pocket-handkerchief. I confess that I allowed this unimportant detail of their ménage to occupy more of my speculation than was creditable to me.

In several respects our neighbors reminded me of those inexplicable persons we sometimes come across in great cities, though seldom or never in suburban places, where the field may be supposed too restricted for their operations—persons who have no perceptible means of subsistence, and manage to live royally on nothing a year. They hold no government bonds, they possess no real estate (our neighbors did own their house), they toil not, neither do they spin; yet they reap all the numerous soft advantages that usually result from honest toil and skilful spinning. How do they do it? But this is a digression, and I am quite of the opinion of the old lady in “David Copperfield,” who says, “Let us have no meandering!”

Though my wife had declined to risk a ceremonious call on our neighbors as a family, I saw no reason why I should not speak to the husband as an individual, when I happened to encounter him by the wayside. I made several approaches to do so, when it occurred to my penetration that my neighbor had the air of trying to avoid me. I resolved to put the suspicion to the test, and one forenoon, when he was sauntering along on the opposite side of the road, in the vicinity of Fisher’s sawmill, I deliberately crossed over to address him. The brusque manner in which he hurried away was not to be misunderstood. Of course I was not going to force myself upon him.

It was at this time that I began to formulate uncharitable suppositions touching our neighbors, and would have been as well pleased if some of my choicest fruit trees had not overhung their wall. I determined to keep my eyes open later in the season, when the fruit should be ripe to pluck. In some folks, a sense of the delicate shades of difference between meum and tuum does not seem to be very strongly developed in the Moon of Cherries, to use the old Indian phrase.

I was sufficiently magnanimous not to impart any of these sinister impressions to the families with whom we were on visiting terms; for I despise a gossip. I would say nothing against the persons up the road until I had something definite to say. My interest in them was—well, not exactly extinguished, but burning low. I met the gentleman at intervals, and passed him without recognition; at rarer intervals I saw the lady.

After a while I not only missed my occasional glimpses of her pretty, slim figure, always draped in some soft black stuff with a bit of scarlet at the throat, but I inferred that she did not go about the house singing in her light-hearted manner, as formerly. What had happened? Had the honeymoon suffered eclipse already? Was she ill? I fancied she was ill, and that I detected a certain anxiety in the husband, who spent the mornings digging solitarily in the garden and seemed to have relinquished those long jaunts to the brow of Blue Hill, where there is a superb view of all Norfolk County combined with sundry venerable rattlesnakes with twelve rattles.

As the days went by it became certain that the lady was confined to the house, perhaps seriously ill, possibly a confirmed invalid. Whether she was attended by a physician from Canton or from Milton, I was unable to say; but neither the gig with the large white allopathic horse, nor the gig with the homoeopathic sorrel mare, was ever seen hitched at the gate during the day. If a physician had charge of the case, he visited his patient only at night. All this moved my sympathy, and I reproached myself with having had hard thoughts of our neighbors. Trouble had come to them early. I would have liked to offer them such small, friendly services as lay in my power; but the memory of the repulse I had sustained still rankled in me. So I hesitated.

One morning my two boys burst into the library with their eyes sparkling.

“You know the old elm down the road?” cried one.

“Yes.”

“The elm with the hang-bird’s nest?” shrieked the other.

“Yes, yes!”

“Well, we both just climbed up, and there’s three young ones in it!”

Then I smiled to think that our new neighbors had got such a promising little family.

*** END OF THE PROJECT GUTENBERG EBOOK OUR NEW NEIGHBORS AT PONKAPOG ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- OUR NEW NEIGHBORS AT PONKAPOG

- Boston And New York Houghton Mifflin Company

- Copyright, 1873, 1885, and 1901

- THE FULL PROJECT GUTENBERG LICENSE