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 ...
Preface VIII 12 Boring and Cutting Tools 82
Key Features IX 13 Fastening and Dismantling Tools 9 1
Acknowledgm en ts XIV
About the Au thors xv
Unit 6 Portable PowerTools 102
Introduction XVI 14 Saws. Drills. and Drivers 103
15 Planes, Routers. Sanders.
and Plate Joiners 114
16 Fastening Tools 12 1

Unit 7 Stationary Power Tools 130

17 Circular Saw Blades 13 1
18 Radial Arm and M itre Saws 136
19 Table Saws and Other
Stationary Power Tools 139

Unit 8 Architectural Plans

and Building Codes 156
20 Understanding Architectural
Section 1 Plans 157
21 Floor Plans 178
22 Sections and Elevations 190
Tools and Materials 2 23 Plot and Foundation Plans 196
24 Building Codes and
Unit 1 Wood and Lumber 4 Zoning Regulations 207
1 Wood 5
2 Lumber 9

Unit 2 Engineered Panels 22

3 Structural (Rated) Panels 23
4 Non-Structural Panels 29
Unit 3 Engineered Wood Products 35
5 Laminated Venee r Lum ber
and Cross-Lamina ted Tim bers 36
6 Parallel Strand Lumber and
Laminated Strand Lumber 39
7 Engineered Joists : Open
Joist TRIFORCEce 43
8 Glue-Laminated Lum ber and Section 2
Wood I-Joists 46

Unit4 Fasteners 52 Rough Carpentry 218

9 Nails, Screws. and Bolts 53
10 Anchors and Adhesives 61 Unit 9 Jobsite Safety and Scaffolds 220
Unit 5 Hand Tools 72 25 Jobsite Safety and
11 Layout Tools 73 Construction Aids 22 1
26 Scaffolds 239

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vi Contents

Unit 10 Building Layout 261 Unit 16 Energy-Efficient Housing 593

27 Levelling and Layout Tools 262 52 Building Science:
28 Laying Out Founda tion Lines 284 Principles and Practice 594
53 Progressive Practices:
Unit 11 Concrete Form Construction 294
Fram ing and Air Sealing 606
29 Characteristics of Concrete 295 54 Thermal and Acoustical
30 Forms for Footings, Slabs, Insulation 615
Walks, and Driveways 306
31 Wall, Column, and Insulated
Concrete Forms 318
32 Concrete Stair Forms and
Preserved Wood Foundations 337
33 Concrete Forming for the
ICI Sector (Industrial,
Commercial, and Institutional) 347
Unit 12 Floor Framing 358
34 Types of Frame Construction 359
35 The Substructure: Columns,
Beams, and Sill Plates 369
36 The Floor Frame: Joists,
Openings, Bridging, and Section 3
the Subfloor 375
37 Stairways and Stair Design 390
38 Stair Layout and Exterior Finish 630
Construction 399
Unit 13 ExteriorWall Framing 4 15 Unit 17 Roofing 632
39 Exterior Wall: Components 55 Asphalt Shingles and
and Their Functions 416 Tile Roofing 633
40 Exterior Wall: 56 Wood Shingles and Shakes 643
Construction Sequence 422 57 Flashing 653

Unit 14 Interior Rough Work 445 Unit 18 Windows 666

41 Interior Partitions and 58 W indow Terms and Types 667
Ceiling Joists 446 59 W indow Installation 675
42 Backing and Blocking 456 Unit 19 Exterior Doors 685
43 Steel Framing 462
60 Exterior Door Styles 686
Unit 15 Roof Framing 478 61 Exterior Door Installation 694
44 Roof Types, Componen ts, 62 Installing Exterior
and Terminology 479 Door Hardware 705
45 Roof Trusses 487 Unit 20 Siding and Cornice
46 Gable and Gambrel Roofs 497 Construction 7 12
47 Shed, Dormer, and
63 Wood Siding Types and Sizes 713
Porch Roofs 521
64 Applying Vertical and
48 Hip Roofs 530
Horizon tal Wood Siding 720
49 Intersecting Roofs w ith
65 Wood Shingle and
Equal Pitch 550
Shake Siding 735
50 Unequal Pitched Roofs
66 Aluminum and Vinyl Siding 740
and Gazebo Roofs 562 67 Cornices and Eavestroughs 750
51 Post-and-Beam and Timber
Frame Construction 578

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 Contents
..
VII

Unit 21 Decks, Porches, and Fences 759 Unit 25 Interior Doors and Door Frames 851
68 Deck and Porch Construction 760 77 Description of Interior Doors 852
69 Fence Design and Erection 771 78 Installation of Interior Doors
and Door Frames 856
Unit 26 Interior Trim 869
79 Description and Applica tion
of Moulding 870
Ii 80 Applica tion of Door Casings,

-
Base, and W indow Trim 881
Unit 27 Stair Finish 895
81 Laying Ou t Open and
Closed Staircases 896
82 Finishing Open and
Closed Staircases 904
83 Installing Balustrades 914
Unit 28 Finish Floors 933
Section 4 84 Description of Wood
Finish Floors 934
Interior Finish 782 85 Laying Wood Finish Floor 940
86 Underlaymen t and
Resilient Tile 951
Unit 22 Drywall Construction 784
70 Gypsum Board 785 Unit 29 Cabinets and Countertops 960
71 Single-Layer and Multilayer 87 Description and Installation
Drywall Application 789 of Manufactured Cabinets 961
72 Concealing Fasteners 88 Countertop and Cabinet
and Joints 800 Construction 97 1
Unit 23 Wall Panelling and Ceramic Tile 813
Appendix 989
73 Wall Panelling Types Index 990
and Application 814 Glossary (online at
74 Ceramic Tile 825 www.nelson.com/student) W-1
Unit 24 Ceiling Finish 832
75 Suspended Ceilings 833
76 Ceiling Tile 845

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 W elcome to Carpentry, Third Canadian Ed ition.
This text is designed for students who are
studying residential construction and who are pur-
suing careers in the trade either in post-secondary
college programs, in apprenticeship programs, or
at the senior high school level across Canada. The
2015 National Building Code of Canada is used as
the point of reference. All measurements are given in
both metric and imperial systems.
APPROACH
The core of the carpentry trade as practised in
Canada is covered in four comprehensive sections:
Tools and Materials, Rough Carpentry, Exterior
Finish, and Interior Finish. Each section features
step-by-step procedures for all stages of construc-
tion, important safety precautions, tips of the trade,
and a look at anticipated future trends in the con-
struction industry.
Section 1: Tools and Materials
This section describes how building materials from
\VOod to engineered \VOod products to composites are
shaped, prod uced, and applied in their various forms.
The Canadian Ply\vood Association (CANPLY) is
referenced. Wood I-joists are included in the discus-
sion of engineered \VOod products. Information about
cross-laminated timber (CLT) and its application in
the construction industry has been added to the unit
on engineered \VOod products. The latest fasteners
and cordless tools and their batteries are described in
their current use in the trade. The final unit on plans
and codes has been revised to Canadian standards
to provide the student ,vith a basic understanding
of how the building components come together to
form a structure. The house plans used in Chapter 20
have been provided by Cardel Homes. The Ontario
Building Code, 2012, is referenced, as \Veil as the
minimum requirements for occupancy.
Section 2: Rough Carpentry
The on-site \VOrk starts with locating the building,
\Vith the use of surveying instruments (a utomatic
levels, theodolites, and total stations), in its exact
VIII
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pos1t1on on the building lot. T he site is then
excavated. Foundation work in concrete and other
materials, \Vaterproofing, drainage tile placement,
backfilling, and other associated work then gets the
structure above grade. The "clean" work is next-
floor framing, \Vall framing, and roof framing, using
both ne\v and old materials and methods. This un it
has been expanded to emphasize the importance
and the intricacies of roof \VOrk from both a
mathematical and a geometric approach, including
equal and unequal pitched hip roofs, dormer roofs,
hexagonal and octagonal roofs, and gazebo roofs.
Timber-frame construction is expanded with deta iled
dra\vings for timber joinery from Moha\vk College
in Hamilton, Ontario. Energy-efficient construction
deta ils (R-2000 Program, LEED®Canada for Homes
rating system, and ENERGY STAR®for New Homes
initiative) are emphasized with respect to energy
and resource conservation and healthy indoor air
quality.
Section 3: Exterior Finish
Exterior finish as it pertains to the surroundings-
"fitting in" instead of sticking out-is discussed in
terms of the ava ilability and durabi lity of various
materials. The installation of roof coverings, sidings,
doors and windo,vs, cornice ,vork, decks, and fences
is also covered in this section. Special attention is
paid to first and second planes of protection, end
dams, air leakage control, ventilation, and the insu-
lation values of materials.
Section 4: Interior Finish
The section on interior finishes begins by discussing
how dry,vall is applied to ,valls and ceilings. It then
describes ho,v other finishes are appl ied to these sur-
faces, as \Veil as to floors. The hanging of interior
doors is discussed, follo\ved by the installation of
various trim mouldings to windO\VS, doors, ,valls,
and ceilings. The section then covers ho,v to con-
struct a finished set of stairs \Vith a balustrade. The
book ends by explaining how to install manufac-
tured cabinets and countertops and ho,v to construct
countertops, unit boxes, and dra,vers from various
materials.
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Safety Reminders and Cautions prominently feature the latest safety

considerations so that readers can avoid the dangers of certain
procedures, tools, and equipment in order to stay safe on the job.

.IX
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x Key Fea tures

Step by Step Procedures walk readers through the

key tasks associated ,vith specific residential building
tasks, including On the Job tips of the trade.
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Visually intensive content featuring photo-
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LASER LEVEILS

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from live construction sites in geographically ...._-............-......
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diverse locations in Canada, bridge the gap
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THE THIRD CANADIAN approximate, such as 4 feet (1.2 m), whereas

EDITION
• A {t,ll-colo11r design brings the jobsite to life-
integrating photo-rea listic dra\v ings drawn to
scale and on-the-job photos from constr uction
projects across Canada and the United States.
• Measurements in the text are recorded in both
metr ic an d imper ia l. Some conversions are
others are exact, especially in build ing code
references, such as 71s inches (200 mm) for the
maximum rise for a set of stairs to a dwelling unit.
• Safety information reta ins its prominence in
the text, including a section titled "Safety at the
Worksite" in t he Introd uction, un it-opening
Safety Reminders to alert students to potentially
dangerous situations on the job, and Ca11tions to

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may be suppres.sed from the eBook ancVor eChapeer(s). Nelson Educalion reserve..:; the right to remove additjonaJ oon1en1 at any Lime if subsequent rights re..:;lricLions require iL

help prevent accidents \Vhen \Vorking \Vith vari-
ous cools of the trade.
• A section in the Introduction covers the critical
soft skills required of successful and proficient
carpenters. Coverage of important organiza-
tions, including the Carpenters' Union and Skills
Canada, helps students keep up co dace on
industry expectations.
• A Success Story opens each of the four sections,
highlighting a successful account of an individual
\VOrk ing on carpentry jobs in different regions
of the country, and providing insight into the
industry.
• Structural and health and safety issues are aligned
co the National Building Code of Canada (NBCC),
2015 edition.
New co this third Canadian edition are the follo\ving:
• Ne,v and revised dra\vings and photos on heavy
concrete constr uction, including piles, precast,
pre- and post-tensioning, fly-forms, slip forms,
shoring, and more.
• A What's Wrong with This Pict ure? feat ure
at the end of some units that includes an incor-
rect appl ication or scenario as \Veil as a cor-
rected one.
• The Deconstrucc T his feature illustrates situa-
tions \Vhere a problem may or may not exist
in the construction process, giving students
the opport unity co consider \Vhat is right and
\Vrong and co develop the ir critical thinking
skills.
• An up-co-dace Canadian path co obtaining train-
ing in preparation for taking the Inter-Provincial
Red Seal Certificate of Qualification Exam.
• Improved coverage of stationary and portable
power cools, the anti -kickback splitter and riv-
ing kn ife for t he cable saw, and set up for the
jointer.
• Expanded coverage of insulated concrete forms
(ICF), monopour ICF, rebar vibrator, and po,ver
screed.
• Added information on stair building, scair,vell
opening, land ings, and circular stairs.
• Correct installation of steel studs and ne\v tech-
niq ues and construction aids for the application
of dry,va ll.
• Expanded CAD drawings co ill ustrate the de-
termination of lengths and angles of rafters and
sheathing for hip roofs, including setting the top
of ridge and the drop and backing bevel for the
hip rafter.
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may be suppres.sed from the eBook ancVor eChapeer(s). Nelson Education reserve..:; the right to remove additional oon1en1 at any Lime if subsequent rights re.•arictions require iL
Key Features
.
XI
• The use of constr uction geometry co start \Vith
the plan view of roofs and to "unfold" them co
illustrate actual roof surface.
• Revisions to t he chapter on uneq ual pitc hed
roofs and intersecting roofs (incl ud ing dor-
mer roofs), as ,veil as hexagonal and octagonal
roof rafter lengths, side cut angles, and backing
angles.
• A complete set of constr uction drawings for
timber framing (from Moha,vk College) and
structural insu lated panels (SIPs) installation
methods.
• Updates to energy-efficient housing, wh ich
highl ights building science and its important
impact on current practices and prod ucts such
as increased air sealing, reduced therma l bridg-
ing, acoust ical sealants, and heat recovery
ventilators.
• A revised chart on Canada's climate zones for
,vindO\VS, including degree days.
• Methods to reduce sound transmission within the
building envelope complete \Vith Building Code
references.
• Revised treatment of composite decking, air-gap
at ledgers, Fast-Tube concrete piers, guardrai ls,
and code references.
• Added discussion of drywall butt joints, ceiling
drywall, 54-inch panels, and paper-faced corner
bead.
• Added disc ussion of ceramic tile un -co upling
membrane and sho,ver bases.
• Ne\v photos for mitre saw compound angles and
jigsa\V templates for cutting crown moulding.
• Added discussion of cork, bamboo, and en-
gineered flooring and OSB ti les for basement
floors .
• Up-to-date information on frameless kitchen cab-
inets, European hard,vare, and composite, gran-
ite, and wood-edged countertops.
INSTRUCTOR RESOURCES
Qn@.g
The Nelson Education Teaching Advantage (NETA)
program delivers research-based instructor resources
that promote student engagement and higher-order
thinking co enable the success of Canadian students
and educators. Visit Nelson Education's Inspired
xii Key Features
Instruction \vebsite at www.nelson.con1/inspired to
find out more about NETA.
The follo\ving instructor resources have been created
for Carpentry, Third Canadian Edition. Access these
ultimate tools for customizing lectures and presenta-
tions at www.nelson.com/instructor.
NETA Test Bank
This resource \Vas ,vritten by Tim Dom, Okanagan
College. It includes over 1500 multiple-choice ques-
tions written according to NETA guidelines for effec-
tive construction and the development of higher-order
questions.
-
cogne10· FCAll·Cirt le Assessment'
The NETA Test Bank is available in a nev>', cloud-
based platform. Nelson Testing Po,vered by Cog-
nero® is a secure online testing system that allov>'S
instructors to author, edit, and manage test bank con-
tent from any,vhere Internet access is available. No
special installations or downloads are needed, and
the desktop-inspired interface, \Vith its drop-dov,n
menus and familiar, intuitive tools, allov>'S instruc-
tors to create and manage tests \Vith ease. M ultiple
test versions can be created in an instant, and
content can be imported or exported into other
systems. Tests can be delivered from a learning
management system, the classroom, or ,vherever
an instructor chooses. Nelson Testing Powered by
Cognero for Carpentry, Third Canadian Edition, can
also be accessed through www.nelson.com/instructor.
NETA PowerPoint
Microsoft® Po,verPoint® lecture slides for every
chapter have been created by Brad MacDonald,
Moha,vk College. There is an average of 25 slides
per chapter, featuring an outl ine of the chapter, key
figures, dra ,vings, photos, tables, and procedures
from Carpentry, Third Canadian Edition. NETA
principles of clear design and engaging content have
been incorporated throughout, making it simple for
instructors to customize the deck for their courses.
Image Library
This reso urce consists of digital copies of figures,
drawings, photographs, and procedures used in
the book. Instructors may use these jpegs to cus-
tomize the NETA PowerPoint or create their O\Vn
Po,verPoint presentations.
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Videos
Instructors can enhance the classroom experience
,vith the exciting and relevant videos provided
directly to students through M indTap. These videos
have been selected to accompany Carpentry, Third
Canadian Edition.
NETA Instructor Guide
The Instructor's Guide to accompany Carpentry,
Third Canadian Edition, has been prepared by Brad
MacDonald, Mohawk College. This gu ide contains
many helpfu l tools to facilitate effective classroom
presentations of material-comprehensive Lesson
Plans, integrated Po\verPoint"' references and
teaching tips, a review of important math, bl ueprint
reading to help eval uate student kno\vledge at the
start of the course, and Answers to Revieiv Qttes-
tions. A separate Note to the lnstn,ctor includes
valuable information on effectively teaching con-
struction students-everything from learning styles
to safety on the \VOrksite is covered in this introduc-
tion to the course.
DayOne Slides
Day One-Prof lnClass is a PowerPoint presenta-
tion that instructors can customize to orient stu-
dents to the class and their text at the beginning of
the course.
MindTap
MindTap~
Offering personalized paths of dynamic assignments
and applications, MindTap is a digital learning
solution that turns cookie cutter into cutting edge,
apathy into engagement, and memorizers into
higher-level thinkers. M indTap enables students to
ana lyze and apply chapter concepts ,vithin relevant
assignments, and allo,vs instructors to measure skills
and promote better outcomes ,vith ease. A fu lly
online learning solution, M indTap combines all stu-
dent learning tools-readings, multimedia, activities,
and assessments-into a single Learning Path that
guides the student through the curriculum. Instruc-
tors personalize the experience by customizing the
presentation of these learning tools to their students,
even seamlessly introducing their O\Vn content into
the Learning Path.
NEL

STUDENT ANCILLARIES
MindTap
MindTap~
Stay organized and efficient ,vith MindTap-a single
destination \Vith all the course material and study
aids you need to succeed. Built-in apps leverage
social media and the latest learning technology,
including the following:
• ReadSpeaker \Vi ll read the text to you.
• Flashcards are pre-populated to provide you with
a jump start for review-or you can create your
own.
• Yo u can highlight text and make notes in your
MindTap Reader. Your notes ,vill flow into Ever-
note, the electronic notebook app that you can
access anywhere ,vhen it's time to study for the
exam.
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Key Features x111
• Videos to apply the concepts you learn in class.
• Self-quizzing allO\VS you to assess your under-
standing.
Visit www.nelson.com/student to start using
MindTap. Enter the Online Access Code from
the card incl uded ,vith your text. If a code card is
not provided, you can purchase instant access at
NELSONbrain.com.
Workbook
A workbook that provides a \Vide range of prac-
tice problems to reinforce concepts learned in each
chapter, as well as to prepare you for exams, is
ava ilable for students. Question types incl ude mul-
tiple choice, completion, and identification as ,veil
as critical math problems and soft skill activities.
Instructors may assign these questions as homework
to ensure full comprehension of the material.
 T he publisher and author of Carpentry, Third
Canadian Edition, wish to si ncerely thank those
\Vho contributed to this book. Our gratitude is extended
additions and changes to the Canadian author's
submissions.
Thanks also to Jeff Acciaccaferro from Mohawk
to those revie\vers \Vho contributed to the revision: College for his help with the chapter on timber
Hank Bangma, Thompson Rivers University; Barry framing, both \Vith the content and \Vith the photo-
Botham, St. Lawrence College; Donnie Bro\vn, Holland graphs.
College; Don Fishley, Durham College; Julie Le,vis,
The supplemental package could not have
George Bro\vn College; Brad MacDonald, Moha\vk
been completed ,vithout the help of four ta lented
College; and Ted Zak, University of the Fraser Valley.
instructors-to Timothy Dorn for the Test Bank,
We continue to benefit from the insightful to Brad MacDonald for the PowerPoint and the
comments of revie\vers of previous editions: Hank Instructor's Gu ide, to Kevi n LeMay for MindTap,
Bangma, Thompson Ri vers University; Chuck and to Kim Woodman for the Student Workbook,
Barsony, Loyalist College; Jeff Chow, SIAST; Rick our many thanks.
Dohl, BCIT; Tim Dorn, Okanagan College; Bruce
And to the Nelson Education team, \Vhose
Fergstad, Winnipeg Technical College; Murray
dedication to the project produced qua lity learning
Fleece, SIAST; Rob Gilchrist, Conestoga College;
materials for aspiring carpenters every,vhere-Jackie
Steve Laing, Fansha\ve College; Doug Laporte,
Wood, publisher; Toula Di Leo, content development
George Bro,vn College; Tom Newton, Camosun
manager; Carrie McGregor, permissions coordinator;
College; Rob Passmore, Canadore College; Dana
Christine Gilbert, production project manager; and
Rushton, NSCC; Al Scott, Niagara College; and Kim
Michael Kelly, copy editor-thanks to you all!
Woodman, Georgian College. Their insights and rec-
ommendations \Vere invaluable. A special thanks to all the many tradespeople
,vho \Vere willing to share their techn iques and to
Special thanks to Kevin LeMay of Algonquin
pause in their tasks for pictures. Last and most,
College, to Andris Balodis of Conestoga College,
thanks to my ,vife, Barb, for her gracious support.
to Rick Dohl of the British Columbia Institute of
Technology (BCIT), and to Greg Kenny of Algon-
quin College, for their significant input on necessary Michael Nauth

.
XIV NEL

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 loyd Vogt is a sixth-generation carpenter/builder.
F He ,vas raised in a fami ly ,vith a business devoted
to all phases of home construction, and began
,vorking in the family business at age fifteen.
After completing a B.A. in chemistry from the
State University of Ne,v York at Oneonta, Mr. Vogt
returned to the field as a self-employed remodeller.
In 1985, he began teaching in the Carpentry pro-
gram at the State University of Nev, York at Delhi
in Delhi, New York (www.delhi.ed11). He has taught
many courses, including Light Framing, Advanced
ichael Nauth ,vas born in Guyana. His family
M immigrated to Canada in 1967. He finished
high school in Scarborough, Ontario, and began
,vorking in construction in 1972, in both the resi-
dential and commercial sectors. He obtained his
carpenter's licence in 1978 in Fort St. John, British
Columbia. After moving to Otta,va, he started a
residential construction company. He obtained his
Ontario licence in the early 1990s. A fe,v years later
he passed the Inter-Provincial Certificate of Qualifi-
cation Red Seal Exam.
Michael took training to teach in carpentry,
receiving his diploma from McGill University in
Montreal. He wou ld later complete a B.Sc. in math-
ematics at Carleton University in Ottawa. He began
teaching night school in carpentry at Algonquin
College (Otta,va) in 1984; he ,vas hired as a full-time
professor of the Carpentry Apprenticeship programs.
He is currently enrolled in the Master of Education
in Educational Administration and Policy program
at St. Francis Xavier University in Antigonish, Nova
Scotia.
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Framing, Math, Energy Efficien t Construction,
Finish Carpentry, Finish Masonry, and Estimating.
Currently, Mr. Vogt is a professor in construc-
tion design-build management, bachelor's degree
program at Delhi. Course responsibilities include
Residentia l Construction, AutoCAD, Construction
Seminar, and Physical Science Appl ications. He has
served as a carpentry regional coordinator for Skills-
USA and postsecondary Skills-USA studen t advisor.
He is currently a member of a local town planning
board. He is available by e-mail at vogtfh@delhi.ed11 .
M ichael has also served as a building super-
visor, foreman, and board member ,vith Habitat for
Humanity-National Capita l. He has ,vorked ,vith
Global Village in Honduras, Nicaragua, and Yukon
assisting in the building of homes, the establish-
ment of septic systems, and the delivery of potable
,vater. He has coordinated and judged carpentry
competitions for Skills Canada-Ontario and for the
Carpenters' Union, Local 93. Besides several other
construction textbooks, he has reviewed Canada
Mortgage and Housing Corporation's Canadian
Wood Frame House Construction, 2005 edition. He
has worked as a carpenter and a trainer in Russia
and is currently engaged by Canada Wood to assist
,vith training needs and qual ity assurance of the
residential construction industry in China.
M ichael is the proud father of four sons: Aaron,
Anthony, Jason, and Jonathan. They have all helped
Dad in the summers on the construction si te and
have experienced, firsthand, the adrenaline rush, the
add ictive buzz, and the s,veet sleep that follo,vs an
honest, hard day's ,vork.
xv
 T he history of carpentry goes back to 8000 s.c.,
when primitive people used stone axes to shape
\VOod to build shelters. Stone Age Europeans built
rectangular timber houses more than 100 feet (30 m)
long-proving the existence of carpentry even at th is
early date. The Egyptians used copper ,vood,vorking
tools as early as 4000 s .c . By 2000 s .c . they had
developed bronze tools and were proficient in the
drill ing, dovetailing, mitring, and mortising of \VOod.
In the Roman Empire, t\vo-,vheeled chariots,
called carpentum in Latin, ,vere made of ,vood. A
person who built such chariots \Vas called a carpen-
tarius, from \Vhich the English \VOrd carpenter is
derived. Roman carpenters handled iron adzes, saws,
rasps, a\vls, gouges, and planes.
During the Middle Ages, most carpenters were
found in larger to,vns ,vhere ,vork was plentiful.
They wou ld also travel with their tools to outlying
villages or wherever there \Vas a major construc-
tion project in progress. By this time, they had many
efficient, steel-edged hand tools. During this period,
skillful carpentry was required for the building of
timber churches and castles.
In the t\velfth century, carpenters banded
together to form guilds. The members of the gui ld
\Vere divided into masters, journeymen, and appren-
tices. The master was a carpenter with much experi-
ence and kno,vledge \Vho trained apprentices. The
FIGURE 1-1 Carpenters make up the majority of workers
in the construction industry.
.
XVI
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apprentice lived \Vith the master and \Vas given food,
clothing, and shelter and worked \Vithout pay. After
five to nine years, the apprentice became a jour-
neyman \Vho worked and travelled for wages. Even-
tually, a journeyman could become a master. Guilds
,vere the forerunners of the modern labour un ions
and associations.
Starting in the fifteenth century, carpenters used
great skill in constructing the splendid buildings
of the Rena issance period and aftenvard. With the
introduction of the balloon frame in the early nine-
teenth century, more modern construction began
to replace the slower mortise-and-tenon frame. In
1873, electric power ,vas used for the first time to
drive machine tools. The first electric hand drill ,vas
developed in 1917, and by 1925, electric portable
saws ,vere being used.
At present, many po,ver tools are available to
the carpenter to speed up the ,vork. Although the
scope of the carpenter's work has been reduced by
the use of manufactured parts, some of the same
skills carpenters used in years past are still needed
for the intricate interior finish \VOrk in buildings.
Carpenters construct and repair structures and
their parts using ,vood, ply,vood, and other building
materials. They lay out, cut, fit, and fasten the mate-
rials to erect the frame,vork and apply the finish .
They build houses, factories, banks, schools, hospi-
tals, churches, bridges, dams, and other structures.
In addition to new construction, a large part of the
industry is engaged in the remodell ing and repair of
existing buildings.
The majority of ,vorkers in the construction
industry are carpenters (Figure 1- 1). They are the
first trade \Yorkers on the job, laying out excavation
and building lines. They take part in every phase
of the construction, \VOrking belo,v the ground, at
ground level, or at great heights. They are the last to
leave the job \Vhen they put the key in the lock.
SPECIALIZATION
In large cities, where there is a great volume of construc-
tion, carpenters tend to specialize in one area of the
trade. They may be specialists in rough carpentry, who
are called rough carpenters or framers (Figure 1-2).
NEL
 Introduction XVII

FIGURE 1-2 Some carpenters specialize in framing. FIGURE 1-4 Erecting concrete formwork may be a
specialty.

Rough carpentry does not mean that the workman-

ship is crude. They typically measure to \Vithin V, 6 inch
(2 mm). Just as much care is taken in the rough ,vork
as in any other \VOrk. Rough carpentry ,vill be covered
eventually by the finish work or \Yill be dismantled, as
in the case of concrete form construction.
Finish carpenters specialize in applying exte-
rior and interior finish, sometimes called trim
(Figure 1-3 ). Many materials require the finish
carpenter to measure to tolerances of )132 or Y.,4
of an inch (1 or 0.5 mm). Other specialties are
constructing concrete forms (Figure 1-4 ), lay ing
finish flooring, building stairs, applying roofing
(Figure 1- 5), insu lating, and install ing suspended
ceilings.
In smaller communities, ,vhere the volume of
construction is lighter, carpenters often perform tasks
in all areas of the trade from the rough to the finish.
·--
Such communities may have workers ,vho perform
-
FIGURE 1- 5 Some carpenters choose to do only
roofing work.

all aspects of construction, including plumbing, elec-

trical ,vork, and excavating. The general carpenter
needs a more complete kno,vledge of the trade than
the specialist does.

REQUIREMENTS
Every occupation sets specific requirements for its
,vorkers. These include the skills necessary to per-
form each task and an attitude or mind-set the
FIGURE 1-3 Carpenters may be specialists in applying ,vorkers should have \Vhi le on the job. Construction
interior trim. skills vary to fit the type of ,vork being performed.

NEL

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xv111 Introduction
They tend co be clearly defi ned, and it is easy co
determine whether a worker possesses these skills.
The construction attitude is less tangible, but no less
important. While work may continue if the workers
have only the required skills, minor or severe slow-
do\vns are inevitable if ,vorkers do not have the
proper attitude.
Skill
Carpenters need co know hO\V co use and maintain
hand and po\ver cools. They need co know the kinds,
grades, and characteristics of the materials with
\Yhich they work- how each can be cut, shaped,
and most satisfactorily joined. Carpenters must be
familiar with the many different fasteners available
and choose the most appropriate ones for each task.
Carpenters should know how co lay out and
frame floors, walls, stairs, and roofs. They must
kno\v ho\v co install ,vindO\YS and doors and hO\V co
apply numerous kinds of exterior and interior finish.
They must use good judgment co decide on proper
procedures co do the job at hand in the most efficient
and safest manner.
Carpenters need co be in good physical condi-
tion, because much of the work is done by hand and
sometimes requires great exertion. They must be able
co lift large sheets of ply\vood, heavy wood timbers,
and bundles of roof shingles; they also ha ve co climb
ladders and \York on scaffolds.
Carpenters need reading and math skills. Much
of construction begins as an idea put on paper. A
carpenter must be able to interpret these ideas from
the \Yritten form co create the desired structure.
This is done by reading prints and using a ruler. The
quantity of materia l needed must be estimated using
math and geometry. Accurate measurements and cal-
culations speed the construction process and red uce
\Yasce of materials.
Communication skills are also very important.
Carpenters must communicate with many people
during the construction process. Work co be done
as determined by the O\vner or architect must be
accurately understood, othenYise costly delays and
expenses may result. Efficiency of \York relies heavily
on workers' understanding of what others are doing
and \Yhat \York must be done next. Communication
is vi ta l for a jobsice co be safe.
Attitude
The proper construction attitude is not as clearly
defined as job skills. Regional var iations and require-
ments ,viii affect the expected jobsite attitude. For
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example, in regions ,vhere heat is a concern, \Yorkers
develop a steady rhythm to their ,vork that survives
the heat. In regions where winters are harsh, \Yorkers
develop a faster style of work when the ,veather is
warm, kno\ving they may have do\Yntime in the
winter. Other attitudes, such as having a good work
ethic, are universal to all jobsites.
A good ethic is not easily defined in one sen-
tence. It involves the person as a whole, the ,vay
he or she approaches life and ,vork. A person \Vith
a good work ethic has respect and lets it sho\v.
Respect for the jobsite, CO-\YOrkers, tools and mate-
rials, and themselves reveals care and concern for
the construction process. Workers demonstrating
this form of respect are safe and more pleasant to
work alongside.
Workers \Yith a good ,vork ethic sho\Y up
15 minutes early, not a fe\Y minutes late. When fin-
ished with a task, they look for something else to
do that promotes the job, even if it's using a broom.
They perform their tasks as well as expected, up
to the standard required for that application. They
finish the task, not leaving something undone for
someone else co fix. They are interested in learning,
looking around at the \York of others for ,vays to
improve their O\Vn skills. They cooperate \Yith
other \Yorkers and tradespeople to make the job-
site a pleasant ,vorkplace. They are also honest \Yith
the material and their time, never cheating on the
accepted method. They feel that noth ing less than a
first-class job is acceptable.
Jobsite humour makes work easier co do and
more fun. Some tasks, by their very nature, are
boring and unpleasant. Humour can make di fficult
jobs seem co get done faster. Unfortunately, humour
has a bad side because humour for one person can be
pain for another. Jobsite humour can be tasteless. It
can single out a person, making him or her feel alien-
ated. This type of humour can have severe effects on
jobsite safety. Someone \Vho feels like a victim will
feel defensive and will not concentrate on what he or
she is doing. During these times, unintended things
can happen and someone may get hurt. Keep jobsite
humour suitable for everyone present.
There is no replacement for teamwork on the
jobsite. Someone once said, "Tvvo people \YOrking
together can outperform three people \YOrking
alone." This is easily seen when one person holds
material co be fastened or cut for another. But the
difference between the team and individuals is
more dramatic when each member of the team
anticipates the next move of the other. For example,
while holding a board that is being fastened, that
person looks co see what else can be done. Is more
NEL
 Introduction -
X IX

material needed? Does the horse or ladder have to be
moved into a better position? Will there be another
tool needed ? Ho,v ca n the tool best be ha nded to the
co-worker? It can be easy to miss this type of team-
\VOrk when it is do ne witho ut \VOrds and ,vithout
being asked.
Another ,vay a team \VOrks better is in the men tal
energy used on the job. T\VO pairs of eyes \VOrki ng
on o ne task can wa rd off errors and mistakes. T\VO
mi nds ca n find the better, faster, safer method. Team-
\VOrk is a major reason \Vhy people stay in construc-
tion for a lifetime.
BUILDING YOUR CAREER
AS A CARPENTER
Across Canada, educatio n and skills tra ining fall under
the jurisdictio n of the provinces. This means that
\Vhile there are vario us paths for apprentices to follo\v,
depending o n the province, all must serve time o n the
job under the tutelage of a journeyperson and pass the
same Inter-Provincial Certificate of Q ualification Red
Seal Exam with a minimum score of 70 percent.
There are several paths toward the goa l of jour-
neyperson, but all of them require that the traveller
achieve competence in both skill and knowledge.
The fust and most important path is tha t of
apprenticeship (Figure 1-6). T he educational pre-
requisite for apprenticeship varies from grade 9 to
grade 12 (minim um age 16). However, the Canadian
Counci l of Directors of Apprenticeship (CCDA)
advises that most employers require prospective
apprentices to have grade 12 or the equivalent. Also,
there is a provincially specified ratio of journeyper-
sons to apprentices, in most cases 1:1.
To become an apprentice, the young ,vorker must
find a licensed employer ,vho is ,villing to indenture
him o r her and then sign an agreement \Vith that

APPRENTICESHIP AND TRAINING SYSTEM OF THE CARPENTRY TRADE

Canadian United Brotherhood of Canad ian Hom e

Constructio n Carpenters and Join ers Build ers'
Association of Am erica Association
Carpenters' Union

Provincial Provincial Provincial

Construction Apprenticesh ip Home Builders'
Association (Advisory) Association
Committee
Labour- Management
and
Provincial Ministry

Local Local
Construction Home Builders'
Association Association

Local Apprenticeship
Committee
La bour- Management
General and Renovators'
Co ntractors Provincial Ministry Council

APPRENTI CES

TRAINING DELIVERY AGENTS

Colleges, I nstitutes of Technology,
Un ion Train ing Centres

FIGURE 1-6 Employers in commercial and residential construction industry associatio ns

work together with labour and government organizations in apprenticeship programs.

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xx Introduction
employer and ,vith the provincial ministry responsible
for skills training. In Ontario, Carpentry Apprentice-
ship falls under the purvie,v of the Ontario College
of Trades. The apprentice's name then goes on a
list, and he or she is called to go to school for the
in-school portion of apprenticeship training. This
type of training is called block release and can be in
three or four blocks of six to eight ,veeks at a time.
(Some of the Maritime provinces and Quebec have
individualized learning packages rather than block
release.) Usually, the apprentice takes a level of in-
school training, ,vorks for a year, and then takes the
next level. Human Resources and Skills Development
Canada (HRSDC) is currently working with the prov-
inces and territories to standardize the delivery of the
in-school portion of apprenticeship training.
After the in-school training or the modularized
training is complete, and all of the required on-the-job
hours have been served, the apprentice is entitled to
,vrite the Certificate of Qualification Exam (C of Q)
and obtain journeyperson status. Passing the Red
Seal exam allows the carpenter to receive recogni-
tion and top dollar right across Canada.
Apprenticeship in-school training generally
has a fee attached to it, though some provinces
offer it as a free service. While attending school,
the qualifying apprentice will receive Emp loyment
Insurance and in some cases travel and cost-of-
living allowances. To help offset the cost to the
apprentice, the federa l government has launched
the Apprentice Incentive Grant (AIG) for Red Seal
trades, ,vhich offers $1000 per level to apprentices
,vho have successfully completed level 1 and level 2
of the in-school portion of their training. There are
also "loans for tools" and tax credits for appren-
tices. Upo n successful completion of the Red Seal
Exam, the " nev," journeyperson receives a grant
of $2000.
Another route to achieving journeyperson status
is to complete pertinent postsecondary technician
and technologist programs and recei ve credit for one
or two levels of the in-school portion of apprentice-
ship training. Th is path provides novices ,vith mar-
ketable skills to help them find employment ,vith
a company that ,viii train them in the trade. This
path costs more, but it also equips participants ,vith
"soft" skills relating to the construction industry,
such as AutoCAD, surveying, business ethics, tech-
nica l reporting, project planning, and accounting.
Many employers find that individuals with this well-
rounded background are va luable assets to their
operations (Figure 1-7).
A third ,vay to get a carpenter's licence is referred
to as the "Trade Qualifiers" way. This is intended for
C0pyrigh120 16 Nelson EducaLion Ltd. All Rj,ghrs Re..:;erved. May nol be copied. seann(?d, or duplica1ed, i~ ~hole or in part. Du~ 10 e.leclrOnic righ~. so~e thi;rd.party co~te~1
may be suppres.sed from the eBook ancVor eChapeer(s). Nelson Education reserve..:; the nght to remove addttJonaJ oon1en1at any Lime if subsequent nghts re..:;rnct1ons require 1L
FIGURE 1-7 Many opportunities lie ahead for the
apprentice carpenter.
older carpenters ,vho have ,vorked for many years
on the job but ,vho lack the financial or ed ucational
resources to go to school to get training. Having
sho,vn proof of the hours they have spent on the job,
they are given the opportunity to take the C of Q
exam. With sufficient preparation in trade calcula-
tions, safety training, and building code fam iliariza-
tion, many have succeeded. The C of Q is designed
to test ,vhat the apprentice has learned on the job.
Clearly, then, experience counts.
Many opportunities exist for the journeyperson
carpenter. Advancement depends on dependability,
skill, productivity, and ingenuity, among other char-
acteristics. Carpentry foremen, construction superin-
tenden ts, and general contractors usuall y rise from
the ranks of the joumeyperson carpenters. Many
,vho start as apprentice carpenters eventually operate
their o,vn construction fums. A survey revealed that
90 percent of the top officials (presidents, vice presi-
den ts, owners, and partners) of construction compa-
nies who replied began their careers as apprentices.
Many of the project managers, superintendents, and
craft supervisors employed by these companies also
began as apprentices.
National student organizations s uch as Skills
Canada offer students training in leadership, team-
,vork, citizenship, and character development. The
organization helps bui ld and reinforce ,vork atti-
tudes, self-confidence, and communications skills for
the future workforce. It emphasizes tota l quality at
,vork, high ethical standards, superior ,vork skills,
and pride in the dignity of work. Skills Canada
also promotes involvement in community service
activities. Yearlong studen t activities culminate ,vith
skill competitions ,vhere loca l ,vinners move up to
regional, provincial, and then nationa l and interna-
tional levels.
NEL

SAFETY ATTHE WORKSITE
Much of the work performed in construction carries
risk ,vith it. Although the risk ,viii vary ,vith the type
of ,vork, all construction ,vorkers, at some point,
may be at risk of being ma imed or ki lled on the job.
Tools are, by their very nature, dangerous to use.
Each must be operated in a fashion suited co the design
of the tool. Some tools can cause cuts, while others
can kill. Safety cannot be taken for granted and must
be built into the methods and processes being used for
any particular cask. Unusual situations leading co acci-
dents can happen at any time. For example, a roofing
carpenter can be chro,vn co the ground by a gust of
,vind, cleanup ,vorkers can be injured by falling objects
from a scaffold, and trim carpenters can fall through
a scainvay opening that is under construction. Safety
is like the air we breathe: It must be everr,vhere all of
the time in order for ,vorkers to survive.
Jobsice safety is like team sportsmanship. Every-
one on the team must ,vork together and play by the
same rules or someone is at risk of being injured.
Safety is like silence: J use as everyone in a room must
agree to be silent for silence co exist, so coo everyone
on the job must agree co be safe for safety to exist.
One person can create a situation where dozens of
,vorkers ,viii be at risk. All safety programs are suc-
cessful only because ,vorkers join the team.
Safe Work Practices
Safe methods and practices learned correctly today
,viii develop into habits that will become second
nature for a lifetime. Ahvays approach new casks
thoughtfully and carefully. If a new cool is being
used, become familiar with its requirements. Adapt
co the cool, beca use it cannot adapt co you. Ahvays
read and follov>' the directions associated with the
cool or task. Read the manufacturer's recommenda -
tions for use and installation. Manufacturers clearly
define the risks and recommended uses. Failure co
follow their instructions is fool ish and short-sighted.
Ahvays use the safety devices designed into a cool.
They are there co protect the operator, not to make it
harder to use the cool. Always remember ,vhere you
are and the possible dangers of the worksite. Horse-
play and practical jokes are distracting co everyone
around. When horseplay happens, the ,vork environ-
ment is less safe. Workers have suffered permanent
back inj uries ,vhile lifting an object coo fast because
someone couched them inappropriately. Respect is
the key ,vord co safety. Ahvays listen and commu-
nicate fully. Think of possible ways for misunder-
standing and clear them up. The only stupid question
is the one not asked.
NEL
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may be suppres.sed from the eBook ancVor eChapeer(s). Nelson Education reserve..:; the right to remove additional oon1en1at any Lime if subsequent rights re.•arictions require iL
Introduction -
XXI
Safe Work Conditions
Safe ,vork conditions are not hard co create, yet they
can be easily neglected. Always maintain clear areas
for ,vorking and ,valking. Store materials in an orderly
fash ion and dispose of waste materials as they are pro-
duced. If you stumble and struggle for a place to stand,
then safety risks have increased. Ahvays work to keep
the area as dry as possible. S,veep ,vacer puddles a,vay
or make small trenches co divert the water. Keep elec-
trical cords and cools dry. Ahvays maintain tools and
equipment according to manufacturer's recommen-
dations. Equipment needs may include lubrication,
cleaning, drying, or inspection. Ahvays understand the
risks associated with building materials. Al l ,vorkers
are to have access to information on the hazards of
materials they are ,vorking ,vith through Material
Safety Data Sheets (MSDSs). Read them. Al,vays look
for ,vays to keep fires from starting. Any possible
heat source should be carefully studied and isolated
from starting fires. Always be a ,vare of the effect of
air temperature on safety. Cold or frozen areas can
be slippery to ,vork on. Hot areas can have soft mate-
ria l that is easily marred. Always wear personal pro-
tective equipment. Eyes, ears, and air,vays should be
protected ,vhen injury is possible. It is easier to under-
stand why eyes are important to protect. Most of our
perception of the world comes through our eyes. But
ear, lung, and sinus damage often occurs slo,vly. Most
times they do not sho,v any effects for years. Personal
protection is a personal responsibility.
Construction efficiency and jobsice safety require
good listening skills. Listening to what is asked
and performing chat task efficiently is one form of
good listening. It is just as important to listen to the
sounds of the job. Mose sounds are norma l, some are
not. A sa ,v cutting ,vood, a mixer mixing mortar, a
generator providing po,ver, and the bangs, taps, and
thuds of construction are examples of normal noises.
As ,vorkers become acquainted and accustomed to
these sounds, it is important for them co be able to
tell ,vhen these sounds change. A change in sound
can be an early ,varning signal that something is
,vrong. It could be that something is about to break
or that someone is in trouble and needs assistance.
OCCUPATIONAL HEALTH
AND SAFETY
The Canadian federal government states that all
Canadians have the right to work in a safe and healthy
environment. However, it is the provincial miniseries
and departments that have jurisdiction over jobsite
safety. Each province has set regulations for health
and safety practices on construction projects. Those
xx11 Introduction

\Vho contravene these regulations can be punished

by fines, job shutdo\vns, and even jail time. Every
construction worker is protected by the Workers'
Co1npensation Act and the Workplace Safety and
Insurance Board (WSIB). Contact your provincial
government offices or go online to your provincial
government's \vebsite for more information.
Provincia l construction safety associations have
been established to provide research information,
ed ucation, and tra ining in the field of occupational
health and safety. It is the employer's responsibility
to ensure a safe and healthy workplace and to pro-
vide tra ining for employees. It is the employee's
responsibility to follo\v the safety ru les, especially
\Vhen it comes to \Vearing properly fitted personal
protective equipment.

SUMMARY
Carpentry is a trade in \Vhich a great deal of self-
satisfaction, pride, and dignity is associated \Vith
the \VOrk. It is an ancient trade and the largest of all
trades in the building industry.
Skilled carpenters who have laboured to the best
of their ability can take pride in their \VOrkmanship,
\Vhether the job was a rough concrete form or the
finest finish in an elaborate staircase (Figure 1-8). At
the end of each \VOrking day, carpenters can stand
back and actually see the results of their labour. As FIGURE 1-8 After completing a complicated piece of
the years roll by, the buildings that carpenters' hands work. such as this intricate staircase. carpenters can take
pride in and view their accomplishment.
had a part in creating still can be viewed with pride in
the community.

NEL

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Another random document with
no related content on Scribd:
die vrugteboord het die bome die grond al bestrooi met die wit- en
rosesneeu van hul fyngeurende bloeisels, en glimlag nog uit al die
botsels aan hul takkies. Twee lindebome, in die hoek van die
agterplaas, versprei hul geur in die lug, en die kastaiingbome van die
laning versier hul donkergroen gebladerte met wit blomtrosse.
Hulle hoor hiervandaan die ewige lied van die weergeboorte; hulle
is getuie van die onophoudelike belofte van die vrugbare aarde aan
die werksame mens.
Voor hulle en om hulle heen is die jonkheid van die jaar—’n beeld
van die bestendige lewe self. Swyend kyk hulle alles so aan; aldrie
dink aan Marcel, en hierdie alte skone dag maak hul droefgeestig.
Gebuig en moeg, neergedruk deur haar herinneringe, laat mevrou
Kibert haar dogter met die kaptein meegaan na die hek. Sy sien hul
aanstap, dink in stilte aan wat miskien kan gebeur, vertrou die
toekoms van Paula toe aan God, en gaan na binne om in
eensaamheid die gebeurtenisse nogmaals voor haar gees te haal
waarvan Jan vertel het.
Paula en Jan groet mekaar aan die end van die laning. Die
jonkman draai nog ’n keer om en volg met sy oog die slank-
buigsame gestalte wat tussen die bome deurgly. Op dieselfde
oomblik kyk Paula ook om. Die toeval jaag ’n kleur in haar gesig. Om
hom nie te laat dink dat sy dit ekspres gedaan het nie, draai sy om
en stap dapper na hom terug.
—Jan, sê sy bewoë, ek dink net daaraan: ek het jou nie genoeg
bedank nie, vir my broer, wat ook min of meer ’n broer vir jou was, vir
my moeder wat jou briewe en jou besoek tog so aangenaam gevind
het in haar droefheid. Jy is baie vriendelik gewees vir ons. Ek het
gevoel dat ek jou dit nog moes sê, daarom het ek teruggekom na
jou.
Haar ontroering maak haar skoonheid meer menslik en treffend.
—Ag nee! antwoord die jonkman, moenie so danig bedank nie;
was ek dan nie Marcel se maat nie. En vóór ons was ons vaders ook
al maats.
 Sonder nog meer woorde te kan kry, bly hulle mekaar so staan en
aankyk. Hulle voel ’n wonderlike verleëntheid, hulle wil daar ’n end
aan maak, maar wil ook nie. Jan sien op Paula se wange die
skaduwee van die lang ooghare, neergeslae oor haar vlammende
oë, wat na die grond kyk.
—Luister, sê hy eindelik. In Marcel se baadjie was net één brief:
die laaste een van jou ma. Maar hierdie portret was daarby. Ek het
gedink dat ek dit maar aan jou moes gee.
Hy gee haar ’n half-verweerde kaartjie waarop sy sien, tussen die
bome van Maupas, twee klein meisies van tien of twaalf jaar—die
één blond, die ander bruin, die één het ’n soet gesiggie en kyk alles
verwonderd aan, die ander lyk of sy in beweging was: dis Alida en
Paula self.
—Ag! sê Paula. En met dowwe stem vra sy:
—Het hy nooit met jou gepraat oor haar nie?
—Nee, nooit.
Die kaartjie ontglip aan haar hand en val met ’n droë tikkie op die
sand van die pad. Sy hou haar nou nie meer in nie, sonder enige
trots in haar houding beween sy die onverbiddelike lotsbestemming
van haar broer—deur die liefde na sy dood gelei, en hy het dit
geweet.
Jan neem haar hand.
—Ja, daar vèr in Afrika het ek baiemaal gedink: hoe verkeerd en
dom gaan die noodlot tog te werk—waarom nie vir my geneem nie,
in plaas van Marcel? Oor my sal tog niemand getreur het nie.
Wat kan sy antwoord? Daar skiet net ’n vlam uit haar oë. Sy tel die
kaartjie self op, voordat Jan kan buk om dit te doen:
—Dankie, Jan; kom gou weer; jy bewys ons daar ’n weldaad mee.
Hy kyk haar ’n oomblik aan en stap dan weg. Sy gaan langsaam
die tuin deur, huis-toe. Sy hou van blomme, sy pluk ’n roos af, en, vir
die eerste keer vanjaar is dit vir haar ’n bietjie aangenaam om aan ’n
roos te ruik. Die dood van haar broer het vir haar ’n ander en
onverwagte aansien gekry; en by haarself herhaal sy die woorde van
Jan, terwyl sy die opwekkende les daarvan voel:
—Ons moet die dode eer, dog ook vertroue behou in die lewe.
Dié woorde, is hul nie die kort samevatting nie, die aansporing tot
ware lewe, wat die loopbaan van helde samevat as in ’n kosbare
kragaftreksel? Die is groot wat nie suinig is met die moeite wat hul
moet gebruik nie, en wat op hul kort of lang loopbaan ’n afdruksel
maak van hul siel—vry van alle vrees en swakheid. So put sy dan
bevrediging en vertroosting uit die aandoening self wat haar in
verwarring bring. En terwyl sy die fyn geur opruik, sweer sy by
haarself om van nou af dapper haar swaar te dra, sonder bitterheid
en sonder te murmureer. Haar afgeskeepte jonkheid sal nie
nutteloos wees nie as dit hom aan die wêreld gee soos ’n vrywillige
offerande. En as sy by haar moeder kom, wat die blomme van
Marcel water gee, omarm sy die arme ou vrou, asof sy die ouderdom
wil beskerm wat aan haar sorg toevertrou is, asof sy die belofte van
nuwe moed met ’n seël wil bekragtig en wil toon dat sy dit meen met
haar nuwe lewensopvatting.
 VI.
ISABELLA.

Vooraan in ’n hokkie of „loge” van die eerste rang, in die

konsertgebou, sit mevrou Marthenay (Alida) en mevrou Landeau
(Isabella). Aan al die oë en brilletjies wat op hulle gerig is, bied hulle
so hul skoonheid te kyk aan—eersgenoemde met bedeesheid,
laasgenoemde ekspres en beslis. En die teëstelling in hulle
skoonheid val goed in die oog. Isabella dra ’n aandrok van dun, geel
sy, met ’n punt laag toelopend van voor, sodat haar volmaak-skone,
dunne hals goed te sien is; en, om die blankheid van haar hals nog
meer te laat uitkom, dra sy ’n swart ferweellint daar om, met ’n
diamant daarin van die helderste water. Die sagte Alida dra ’n rok
van swart kant, sonder ’n enkele juweel; en die sombere kleur—wat
sy ekspres gekies het om nie in die oog te val nie—pas goed by haar
fyne blondheid.
Agter die dames sit graaf Marthenay, meneer Landeau en kaptein
Jan Berlier. Die stuk wat vanaand gespeel word, is „Iphigenie in
Tauris,” van Glück. Op die eerste mate van die orkes, soos snel
opmekaarvolgende golwe, stilte en aandag in die saal
verspreidende, verdwyn Marthenay stilletjies deur die agterdeurtjie
van die „loge.” In ’n oomblik is hy in die dobbelsaal. Toe sy vrou
omkyk, sien sy dat hy weg is. Alleenstaande in haar ongeluk, en
terwyl sy die vriend van Marcel so by haar sien, dink sy met
weemoed aan wat sou kan gewees het, maar wat nie is nie. Isabella
wag nou met die geduld en gespanne aandag van ’n kat haar kans
af om eindelik haar begeerde prooi te bemagtig, en sy gee haar
bekoorlikheid tyd om sy werk te doen, want sy voel agter haar blote
nek, waar haar swart hare opgeborsel is, die asem van die jonkman
wat agter haar sit. Meneer Landeau voel hom geslinger tussen twee
gedagtes, tussen die begeerte om in die nabyheid te toef van sy
verfynd-wrede, skone vrou, en die lus om na die leessaal te loop en
in die koerante na te gaan hoe die geldmark staan—die toneel van
sy eindelose worstelinge.—Hy gaan.
 Alleen gelaat, geniet Jan nou van die hemelse musiek—eenvoudig
en rustig, soos die lyne van ’n Griekse tempel. Wat hy hoor, is die
roerende smeekbede aan die kuise Diana gerig deur Iphigenie:
vraende aan die godin om haar tog liewer genadiglik te laat sterwe
as haar te verban na die woeste kuste van Tauris. Deur die
voorwaartse beweging van haar jong liggaam, haar uitgestrekte
arms, die reglynige en harmoniese plooie van haar wit gewaad, die
adel in haar houding en haar suiwer-skone gelaat, verteenwoordig
die sangeres—maar in lewende lywe—die outydse marmerbeelde,
waarvan die onbeweeglik vaste vorme altyd nog aandoening wek in
siele wat gevoelig is vir skoonheid, en waarvan die invloed nog altyd
aangroei met die tyd. Half begrypende die hoë besieling van hierdie
kuns, juig die mense geesdriftig toe.
Isabella kyk om en sien met verbasing dat Jan se oë skitter van
opgetoënheid—hy kyk oor haar heen na die toneel. Sy fluister hom
toe, sodat hy vooroor buig en die geur kry van haar huid.
Ná die eerste bedryf het Alida lus om die kaptein te vra om haar
na die dobbelsaal te bring en haar man te gaan haal. Het sy hom nie
iets te vra nie? Maar sy durf nie en neem maar die arm van meneer
Landeau. Dat almal nou weg is, is net na Isabella haar sin, en sy
wink vir Jan om naas haar te kom sit.
—Weet jy, sê sy, dat ek jou dood al beween het?
—My dood? Maar dan was jy ’n bietjie haastig daarmee.
—Ja, die dood van kaptein Kibert is bekend gemaak geword; en jy
was mos daar by hom. Hoe kon ek weet dat dieselfde lot jou nie
getref het nie?
—Het die mooi oë my waarlik beween?
—’n Hele aand.
—Hulle brand en skitter so, dat hul jou trane wel moet laat
opdroog.
—Hulle is bly om jou weer te sien, Jan. En brutaalweg kyk sy hom
aan met brandende, smagtende oë. Oombliklik geluk dit haar om
tussen hulle twee te herstel die vryerige verhouding wat vir hulle
vroeër so aangenaam was. Sy sien dat hy sy handskoen uit het. Sy
trek hare ook uit, en haar vingers vol goue ringe, strengel sy deur dié
van haar ou maat.
—Jy hou van edelstene, sê hy, en by die lig beskou hy die dun
uitlopende vingers en rose naels van haar blanke hand.
—Ja, antwoord sy, dan het ek ’n gedagte dat ek, in klein, al die
skatte van die wêreld by my dra.
Om sy mond speel ’n twyfelagtige glimlag.
—Die wêreld is baie groot, mevrou, om dit in u handjie te kan hou.
—Kyk hoe mooi is die groen van hierdie smarag, Jan.
—Ek hou meer van die veld-groen.
—En die helder-blou van hierdie saffier.
—Dis nie so skoon as die hemelblou nie.
—En hierdie robyn.
—Bloed is mooier.
—En hierdie pêrels.
—Ek hou meer van trane.
—Nou ja, dan kan jy tevrede wees, want trane het ek vir jou
gestort.
—En die trane, mevrou, was hul ook van die eerste water, net
soos die diamant aan u hals?
—Is dit nie ’n mooi diamant nie? Die vonke wat dit uitskiet, is enig.
Hulle glimlag van pret oor hul verliefderige skermutseling—soos
twee sabelskermers wat mekaar met die wapen groet. Net of sy
geniet van ’n ruiker blomme, so asem die jong vrou gretig die jong
lewe in. Haar boesem gaan op en neer onder haar keurslyf van
sagte sy, wat haar volle vorme goed laat veronderstel, en op haar
blanke huid kan Jan die fyn vertakking van blou aartjies sien tot waar
hul verdwyn onder die sye stof. Die onberispelike snit en hang van
haar kleed laat goed sien wat ’n volmaakskoon liggaam daarin sit,
gekroon met die fiere koninklike gelaat en pikswart hare. Hy hoef
maar te buk om die skoon blom te kan pluk—die seldsame, lewende
orgideeblom. Die steel na hom toe gebuig, die blaartjies uitgesprei—
trillende in die lou aandwindjie—bied die blom hom aan. Waarom
sou hy dit nie pluk nie? Weet hy dan die skoonheid nie op prys te
stel nie, en die jeug, wat deur die plesier opgefleur word? Maar as hy
dit nie waardeer nie, dan sou hy nie in teenwoordigheid van die
vreugde die uitdrukking hê van diepe droefgeestigheid nie, wat
alleen ontstaan as ’n mens met die dood bekend is.
—Ek het tog so lank vir jou gewag, sê sy, met ’n veranderde stem,
waarin hy ’n toontjie van verlange ontdek.
—Het jy regtig vir my gewag?
—Ek wag nog vir jou.
Die orkes begin te speel vir die twede bedryf. Alida en meneer
Lavernay kom terug in die „loge”—meneer Landeau het sy plek aan
meneer Lavernay afgestaan omdat hy liewer in die leessaal bly by sy
beursoordinkings dan te luister na die droefgeestige musiek wat hy
tog nie verstaan nie, en wat so anders is as die operettedeuntjies.
Langsaam word die outydse drama op die toneel afgespeel. Maar
die musiek—opvoedster van kalme en reine siele—kan Jan nou nie
meer bekoor nie. Vlak voor hom, tussen die swart ferweellint en die
keurslyf, sien hy die blanke vlees van Isabella, en hy stel hom voor
hoe sag dit moet wees. Sy kyk half opsy en hy sien haar sy-gesig:
met sy oog volg hy die skone lyn van haar neus tot sy blik gevestig
bly op haar rooi lippe—skone lippe, slaafs tot sy diens bereid. Want
het sy nie gesê nie: Ek wag nog vir jou? Waarvoor wag hy nog? Het
hy dan meteens onverskillig geword vir die tallose verleidinge van
die lewe, in hierdie vrou samegevat in haar buitengewone
skoonheid, soos die soort oosterse reukflessies wat in één
druppeltjie die aftreksel bevat van duisend rose? Het die Afrikaanse
son dan sy bloed koud gemaak in plaas van daar gloed in te giet?
Hy is nog jonk en ongetroud, by wie sou hy meer kan geniet van sy
jonkheid en vryheid?
 Die skone hoof, wat so sy aandag boei, draai nou weer na voor,
en nou is sy oog gevestig op haar hare—waarvan hy die gewig skat
—op haar hals en skouers. Dit duisel in sy hoof: ’n oomblik sluit hy
sy oë en sweer dat hy die vurige begeerte sal tevrede stel wat hom
verteer.
Op die oomblik van oorgawe laat die musiek hom die akkoorde
hoor van diepe en aanhoudende gemoedsontroering—statig en
bedaard, selfs by die heftige smart wat hul moet vertolk. Sy
oorspanne senuwee tril. Sy gevoeligheid, vertienvoudig deur die
uitsig op genot, drink die hemelse musiek met graagte in, soos ’n
verdroogde blom die dou.
Op die toneel betwis Orestes en Pylades mekaar die voorreg om,
die een vir die ander, te sterwe—dewyl op die somber kuste van
Tauris een van hulle as offer geëis word. Dis ’n diep-droewige
worsteling waarin die weldadige vriendskap die innigste liefde nog
oortref.
Jan probeer om teëstand te bied aan die ontydige invloed van die
musiek en toneel, want dis heeltemal in stryd met sy opgewekte
hartstog. Maar sy wil is verlam en kan nie lank weerstand bied nie.
Hy het die lewe, in al sy uitinge van skoonheid, te lief om weerstand
te kan bied aan so’n volmaakte kuns, wat hy begryp en bewonder,
waarvan die reine besieling alle lae begeertes, alle haat en
beuselagtigheid uit ons harte losruk, soos onkruid uit ’n tuin uitgetrek
word, sodat die oneindig kosbaarder plant beter mag bloei: die
heilige begeerte na liefde en toewyding.
Hy voel nou dat hy reeds verhewe is bo die aanbidding van die
éne vrou. ’n Begeerte gryp hom aan om, as die ware, verskillende
lewens gelyk te lewe. Van ’n lae wellusteling is hy in ’n held
verander; hy wil terug, maar voel hom dan weer opgehef. Met
onweerstaanbare mag dring sy verlede lewensloop hom aan sy
herinnering op: Hy is weer saam met sy vriend Marcel, op die
woestyntog, waar hy, in eensaamheid en gevaar, by gebrek en
strewe, gevoel het wat die lewe beteken in al sy grootheid, want hy
het toe besef wat die rigting en waarde daarvan is. En van die broer
dwaal sy gedagtes af op die suster. Van die begin af het hy vanaand
elke gedagte aan Paula verban. Het hy haar, ’n oomblik gelede, selfs
nie heeltemal vergeet nie? Waarom verskyn sy nou meteens weer in
sy gedagtes, en waarom sou dit wees dat die kuise musiek wat hy
hoor, so bevorderlik is aan haar ontydige koms in sy herinnering? Hy
probeer om haar beeld te verdrywe, maar hy het daar berou oor.
—O! dink hy, waarom is sy tog nie net so mooi soos hierdie een
nie?
En weer is sy oog op die skone hals en skouers, dis net of daar lig
uitstraal wat hom aantrek. Maar met stille genoeë, dog sonder te
dink aan die growwe ongepastheid van sy vergelyking, erken hy
darem:
—Paula het mooier hare; as dit los is, moet dit seker tot by haar
knieë kom.
Isabella draai haar hoof om en lag met hom.
Paula het mooier oë ook, dink hy weer. En in sy gedagte sien hy
hoe die swart oogappels, met hul blitsligte, hom weer aankyk. Maar
daar’s ’n verwyt in dié oë, en hy verstaan goed wat hul sê: Waarom
dink jy aan my met so min respek? skyn Paula hom te vra. Het ek
miskien probeer—net soos hierdie een by jou—om jou te verlei met
vertoning en aanloklike maniertjies? Het dit my, in jou
teenwoordigheid, al ooit ontbreek aan sedigheid en waardigheid? As
jy my nie liefhet nie, laat my dan met vrede in my eensame bestaan;
moenie my reine jonkheid onteer deur die beeld daarvan te maak tot
’n voorstelling van jou laere begeerlikheid nie. En as jy my liefhet, o!
as jy my liefhet! waarom is jou liefde dan nie sterk genoeg om jou los
te ruk van ’n bekoring waarvan jy nie weet of dit jou lewe uit die
goeie koers sal stuur nie. Kom tog na my toe terwyl jy nog vry en
onskuldig is. Laat my op jou voorhoof en in jou oog niks ontdek wat
laag en gemeen is nie. Ek weet nie of ek mooier is nie, maar ek het
jou lief, so innig, dat hierdie vrou nooit ’n begrip daarvan kan hê nie.
Hy behoor reeds nie meer tot dié jongkêrels wat deur die lewe
gaan met oogklappe aan nie. Dié soort jongkêrels kan nie die
ontsaglik groot velde sien wat naas die smalle pad van hul harstogte
lê nie, en wat aldag die vrugbare saad ontvang van menslike strewe.
Nadat Jan nou eers net sy oog gehad het op die begeerte van die
oomblik, sien hy meteens die kaart van sy hele bestaan voor hom
uitgesprei, en hy lees daarop—uit sy afkoms en sy verlede—die
openbaring van sy toekoms. So beskou, kry die liefde vir hom ’n
ander betekenis. In plaas van die wellus, stel hy hom voor die
bekoring van ’n gemeenskap van gedagtes, en van die innerlike krag
wat voortspruit uit vrede van die gemoed en uit ’n kalm, huislike
bestaan. In plaas van verbygaande, heftige opbruisinge, stel hy die
genot van duursame geluk en die welsyn van die ras.
In die drie weke wat hy nou al terug is, het Jan al baiemaal na
Maupas gegaan. En dit was nie net maar om twee bedroefde vroue
te troos nie. Deur haar fierheid, deur haar ernstige en diepe gevoel,
deur haar jeug, waarvan die skone ingetoënheid vir hom duidelik
word, oefen Paula ’n onweerstaanbare aantrekking op hom uit. Ná
elke besoek moes hy tot eie verbasing beken dat die teruggetrokke
en verstandige noointjie ’n hart vol lewe besit, net so klaar om die
lewe met geesdrif te geniet, as sy die smart gedra het sonder te
beswyk. Op die treffende manier van liefhebbende harte, wat daar
plesier in het om hul liefde terug na te gaan dat hul kan sien hoe die
tyd dit aangebring het, so vergelyk hy die teenwoordige bekoring wat
Paula op hom uitoefen met die vae herinneringe van vroeër dae toe
hy nog rond gespeel het met ’n wilde, uitgelate Paulatjie. Vergetend
dat hy haar self vergeet het, verbeel hy hom dat dit ’n ou neiging is
wat die kinderjare oorleef het. Met die heldersiendheid van die
instink, bowenal voel hy dat sy toekomstige krag en ’n normale
verloop van sy lewe dáár te soek is, en nêrens anders nie. So bemin
hy dan die jong nooi, soos ’n mens op dertigjarige leeftyd bemin: met
vertroue en teerheid. Haar bekoorlike teenwoordigheid het sy hart
vervul met nuwe vrede.
Nou kom die hartstogtelike Isabella weer tussenin. Ná haar
huwelik vir geld, oorstelp sy haar „flirt” van vroeër dae met al haar
onbevredigde sinlike begeertes, met al die storme van haar
gemartelde hart. Sy het baie trouer gebly aan Jan as aan haar eie
man, meneer Landeau. Sy het uitgekyk na sy terugkoms. En toe sy
hom weer sien, was sy nog meer aangetrek deur die erns en diepte
op die gesig van die jongman te lees, as deur sy sorgloosheid en
vrolikheid van vroeër dae; sy het by haarselwe gesê dat sy nie meer
sal wag nie, en om hom te behaag, hang sy haar skoonheid voor
hom uit soos ’n vlag.
Wel, sonder te weet, is dit haar ook geluk om hier in die „loge” van
die konsertgebou enige oomblikke oor hom te triomfeer. Die hele
aand het sy al getwyfel of haar middeltjies om die mooi jong offisier
te vang, iets uitgerig het—hy is maar terughoudend, en ook maar
versigtig met sy woorde.
Daar val die gordyn, die bedryf is uit; nou sal sy die kans
waarneem om die afgebroke gesprek weer aan te knoop.
Brandend van ongeduld, kyk sy dadelik om na hom, en, ekspres
so vooroorbuiend dat hy mooi langs haar welgevormde hals kan kyk,
vra sy:
—Waaraan het jy so gesit en dink? Ek het gemerk dat jy nie na die
musiek geluister het nie.
—Ek het aan twee mooi vrouens gedink.
—Dis één te veel.
Met haar twee oë, skerp soos pyle, probeer sy om die harde
voorhoof te deurboor en daarin te lees.
Ongeduldig en dorstig na haar geluk, waarvan sy haar wil
verseker, staan sy op en sê:
—’n Mens stik hier van die warmte. Kom, kaptein, bring my na die
wandelsaal.
En as sy aan die arm van Jan uitstap, kyk sy die vryerige
Lavernay aan met ’n blik wat sê: gefop oudjie! want hy sit haar en
oppas. En as hul uitstap in die gang, leun sy, met die hele gewig van
haar wulpse liggaam, op die arm van Jan.
Hy bly nog maar stil, en sy vra, met bevallige bedeesdheid:
—Jan, is ek dan nie meer mooi nie?
—Kyk om u heen, mevrou, wat sê die oë van die mense?
 Ja, die oë van die hele deftige skaar in die wandelsaal is op hulle
twee gerig. Vrouens wat verbykom, kyk na haar rok en bereken die
snit en waarde daarvan; en haar bekoorlike blote arms en hals trek
die aandag van almal. Sy tik met haar waaier op Jan se vingers en
antwoord.
—Jy, wat jy sê alleen, is al wat ek vra.
—En die ou oppasser van jou, daar in die „loge”? vra Jan,
laggend.
—Hy doen my boodskappe.
Gesteund deur sy gedagte aan Paula, maak hy of hy die
toenadering nie merk nie, en nie sonder ’n seker ontroering nie, voel
hy die ronde arm van die verleidster op syne. Die hoogrooi kleur op
die gesig van die jong vrou bedek maar half ’n uitdrukking van
teleurstelling.
—Onthou jy nog, Jan, die eikebos by Chenée?
—Ja, sê hy, en hy dink daaraan hoe die lot van Marcel daar beslis
is.
—Ek sou so graag weer met jou daarnatoe wil gaan. Jan, sê my
nou reguit: as ek nog ’n jong meisie was, sou jy dan meer van my
hou?
—Jy is nou mooier, maar anders. Ek sien altyd jou man agter jou.
—Jou grappies is laf, Jan, sê sy, nou sy sien dat meneer Landeau
nie daar is nie. Sy sê weer:
—Is jy dan bang vir hom?
—Glad nie!
—Vind jy hom onaangenaam?
—Ja.
— Moet hy dan aangenaam wees as jy met my wil . . . . „flirt”?
Hy lag en sê:
—Natuurlik.
 —Maar dis snaaks.
—Ja, sy is tog sy vrou.
Nou lag sy weer; met haar gesig half agter haar waaier, sê sy:
—Ja, so op ’n manier.
—Hou op.
Sy maak die stemmetjie na van kinders wat knor gekry het.
—Ek sal dit nooit weer doen nie, hoor.
Hy kyk haar aan soos sy daar voor hom staan, heeltemal aan hom
oorgegee. Waarom sal hy nog weerstand bied aan die oproeping
van die plesier, in so’n skone vorm gehul?
—Isabella! fluister hy.
Op haar beurt kyk sy hom nou weer in sy oë aan, en, stralende
van genoeë, lê sy haar sagte hand in die hand van die jonkman.
—Jan! my liewe Jan!
’n Oomblik verlustig altwee hulle in die saligheid van beloofde
genot en in die bedwelmende betowering wat die jonkheid aanbied.
Daar lui die bel: die voorstelling begin weer. Swaar weeg hul geluk
op hulle, spraakloos en langsaam stap hul terug na die konsertsaal.
Bo-op die marmere trap bly hulle staan om asem te skep. Haar
triomf dwing haar die bekentnis af:
—Jy weet nie hoe jy my van ongerustheid laat bewe het nie, Jan.
Ek het waarlik al geglo wat die mense sê.
Vaag-ongerus, en met halfbeklemde hart, vra hy:
—En wat sê die mense dan?
—Dat jy Paula Kibert liefhet.
Hy laat die arm val wat op syne leun, en vra, met veranderde
stem:
—Wie vertel jou dit?
 —O! sê sy, ontsteld en bleek, asof sy aan sy voete die puinhope
sien van haar geluk. Net deur die towerkrag van één naam is sy
verslae. En dié naam, in haar onnoselheid moes sy dit self uitspreek.
Dis genoeg dat sy Jan net aankyk om te besef hoe groot haar
nederlaag is; en woedend omdat sy so meteens uit haar hemel geval
het, vererger sy nog haar dwaasheid:
—Ja, die hoogmoedige klein ding, met haar prinsesmaniertjies,
het jou wel weet te vang; dit moes ek geweet het. Ek wed dat sy
haar speletjie al lank met jou gespeel het. Soos alle ou-jong-nooiens
is sy op die mannejag. Loop maar na haar toe: sy wag vir jou.
Nou die verleidster self hom aan sy ware liefde teruggee, sien hy
haar met medelye aan:
—Isabella, dit het vroeër net van jou afgehang om my vrou te
word. En vanaand nog het jy kon opmerk hoe swak ek en hoe sterk
jy is. Dit betaam jou nie om so te praat nie.
Sy antwoord niks. Die op-en-neer-gaan van haar bors toon aan
wat ’n storm daar in haar woel. Met haar allesoorwinnende
skoonheid gee sy die stryd op, erken haar nederlaag en gee haar
oor aan haar verdriet. Die neerlaag vind haar onvoorbereid. Te lank
al het sy altyd mog reken op die geluk van haar oorwinninge. Haar
flirterige, sinlike liefde weet net van geesdriftige verheffinge of
wanhoop, en is onmatig in ’n liefdeskermutseling.
Hulle bly alleen staan op die balkon, bo die trap; die mense is al
almal die konsertsaal in. Die leegheid van die wandelsaal lyk
bowemate groot vir Isabella. Sy vat met haar hande aan haar keel
asof sy wil stik, en hef eindelik haar oë op na Jan; dit maak sy hart
seer om die smart te sien van dié skone wese. Nou dat sy innig
verdriet het, voel sy niks laags of gemeens meer nie.
—Jan, snik sy, met ’n nouliks verstaanbare stemmetjie, jy het dit
goed gesien: daar is geen vrou wat jou liefde so verdien as Paula
nie. Jy sal gelukkig wees, en ek baie ongelukkig . . . .
Sy kan nie meer sê as dit nie, maar vooroorbuigend neem sy die
hand van die jongman en druk ’n soen daarop. Hy voel ’n traan op sy
hand val, en, as sy weer haar hoof ophef, sien hy die trane langs
haar wange afrol. Sy herstel haar genoeg om te kan sê, met ’n
armsalige glimlaggie:
—Is dit nou pêrels, Jan?
—Jou trane is duisendmaal meer werd.
Hy neem haar in sy arms en soen haar op haar oë. Die
onversigtige afskeidsomhelsing laat hulle amper weer beswyk.
Hoeveel paartjies is daar nie al aanmekaargeketen geraak nie ten
gevolge van so ’n paar sekondes van vertedering en jeugdige
ontroering? In die liefde is oral gevaar; ons vlees is so swak en ons
wil so wankelend . . . . ’n Deur wat oopgaan, is hul redding. Hulle
gaan terug in hul „loge.”
—Omdat ek bang was, het ek my lewe misgeloop, sê sy.
Vir die res van die aand vergeet sy heeltemal wat ’n krag sy in
haar skoonheid besit, sy is droewig in haarself gekeerd, sy haat haar
mooi rok en haar juwele, en sou liewer die heerlike armoede van
ware liefde besit. Vir die res van die aand het haar oorwinnaar—
onderdaniger en kragteloser as ’n oorwonnene—sy oog nog op die
skoonheid, wat nooit syne sal word nie. Voordat die vlam van sy
begeerte uitgaan, brand dit hom nog. Voordat hy met vaste stap op
die reguit pad van sy bestemming gaan, kyk hy nog ’n slag om na
die wellus—en nie sonder ’n suggie nie.
Toe sy uitstap by die deur om huis-toe te gaan, help hy haar nog
met die wit symantel wat sy om die blanke naaktheid van haar hals
en skouers slaan. En nou eers dat sy weg is, voel hy bly dat hy haar
baasgeraak het, en dink hy ongedwonge en vry aan die reine, fiere
jongnooi wat sy hele hart vervul—die hart wat so vol moed is en tog
so swak.
Alida het maar min met Jan gepraat die hele aand. Hy het haar
besig gesien met haar man. Daar word gefluister dat Marthenay
belangryke verliese gely het by die dobbelspel en dat hy so
opsigtelik aan die gang is met ’n seker dame van die deftige wêreld.
Sonder teenstribbeling onderwerp Alida haar aan haar droewige
bestaan, met ’n hart wat al vooruit die ergste verwag. Wat help haar
nou haar groot fortuin? Sy verwag geen geluk meer nie. Haar natuur
is te fyn en gevoelig om hom te kan troos met die genoeëns van die
wêreld, terwyl daar verlatenheid is in haar huis en leegheid in haar
hart. Haar dogtertjie alleen hou haar nog terug van wanhoop. Sy
maak haar groot met oordrewe liefde, en weet nie dat sy haar ook
ontwapen vir haar toekomstige lewe nie.
Maar vanaand het die teenwoordigheid van Jan haar weer met
pynlike helderheid laat terugdink aan die gebeurtenis daar in die
eikebos van Chenée toe sy te swak was om haar geluk te gryp ten
koste van ’n gemaklike selfoorwinning of selfs maar ten koste van ’n
belofte om te wag en geduld te hê. Sy wou Jan nog gevra het om
haar iets te vertel omtrent die dood van kommandant Kibert. Maar
dié vraag het nie oor haar lippe gekom nie: is dit nie reeds ontrou
van haar as sy so’n vraag sou doen nie? Nougeset, laai sy dié nuwe
smart ook nog maar op haar innerlike weduweeskap.
So kom sy dus nooit te wete nie dat Marcel, op die oomblik van sy
dood, die portret by hom gedra het van ’n blonde blouoog-meisie,
wat hom gebring het tot die fiere minagting van die dood.
 VII.
DIE GEHEIM VAN PAULA.

Jan het ’n ope rytuig in die dorp gaan haal en help sy oom daarin.
Die oubaas is opgeskik in swart manel en keil, borshemp, hoë
boordjie en pêrelgrys handskoene, en in sy hand sy goudknop-
wandelstok.
—Ek voel bra ongemaklik in al die deftigheid, sê hy aan sy neef.
Hy het spyt dat hy sy tuinklere moes uittrek. En ’n mens sou sê hy
gaan weg op ’n lang reis, want Jan moet allerhande raadgewinge
aanhoor in verband met sy agterblywende roosboompies.
Jan stel hom gerus daaromtrent.
—Maar, oom, vergeet veral nie u boodskap nie.
—Verbeel jou! sê die ou mannetjie, opwippend. Ek sal jou
boodskap goed oorbring, al sou my beste rose ook verlep solank as
ek weg is.
Die oom gaan na Maupas om aan mevrou Kibert die hand van
Paula te vra vir sy neef Jan. Die rytuig verdwyn om die draai. Jan is
ongeduldig en opgewonde; in plaas van binne-toe te gaan, stap hy
langsaam die pad langs, agter die rytuig aan. Op dié manier sal hy
sy oom gouer ontmoet as hy terugkom; en miskien sal hy dan voor
die aand tyd hê om self nog na Maupas te gaan en te praat met
haar, wat dan sy verloofde sal wees. Hy kyk na die son, wat sonder
die minste haas na die berge daal, en hy verwens die vervelende
lang somerdae.
Ná die aand van die komedievoorstelling het die gevoel in die
jonkman se hart nog inniger geword. Hy het Paula lief om haar moed
en haar fierheid, en ook om die geheimsinnige onverklaarbare
aantreklikheid wat op ons uitgeoefen word deur die gelaatstrekke,
die kleur van die oë, die sware hoofhare, die gestalte, en al die
bekoorlikhede van die vrou in wie ons vooruit die versekering en die
blydskap van ons toekoms lees, of van ’n toekoms vol rampsalige
dog genotvolle kwelling. Die verstandige jongnooi, met haar
vlammende oogopslag, het sy hart vervul met tere liefde; bowenal
het sy hom daartoe gebring om die ware doel van ons menslike
bestaan na te streef—die doel wat nie daarin lê dat ons die begin en
die end van alles in onsself soek nie, maar daarin, dat ons
onbaatsugtige en werksame skakels uitmaak tussen voorgaande en
nakomende geslagte. Waar sou hy ooit ’n edeler metgesel kan vind,
dapperder, standvastiger, beradener? Sy het groot geword soos ’n
jong plantjie wat krag put uit vrugbare grond. Haar famielie is ’n
waarborg vir haar deugsaamheid. Net ’n bietjie son het haar
ontbreek om tot volle wasdom te kan kom. Sou liefde haar nie met
die warmte en lig kan bedeel nie? En wat ’n vreugde om te sien hoe
sy opegaan soos ’n blom, om te voel dat ’n mens daar ’n bietjie
oorsaak van is, om aan die alte swaar beproefde jonkheid weer
smaak te gee in die dag wat verbygaan, om haar te laat wens dat dit
nie so gou verdwyn nie!
Sy sal hom liefkry; miskien het sy hom reeds lief. Sou hy verkeerd
gesien het, of het hy haar nou en dan betrap op ’n klein verrassing
van haar geheime jongmeisies-gevoel, ondanks die waardigheid en
terughoudenheid wat al haar beweginge bestuur? Het sy oog nie
nou en dan ’n blossie gevang op haar wange nie, ’n alte snelle knip
van haar oë, en veral die manier van aankyk, die blik, so rein, so
trouhartig, so vas, so onwillekeurig vriendelik op hom gerig? En nou,
as hy terugdink, lyk dit dan nie vir hom of hy ook gedeel het in die
afkeer wat sy by alle geleenthede laat blyk het teen Isabella Orlandi
nie? Isabella Orlandi—hy het haar nog nie weer gesien nie; hy sal
haar ook nooit weer sien nie; hy voel nog ’n soort van bygelowige
vrees vir haar, en hy verban die alte skone beeld uit sy gedagte; dit
verneder hom en herinner hom wreed aan sy swakheid. Maar as
geliefde van Paula Kibert voel hy sterk genoeg om die gewig van die
hele wêreld te kan dra. Is dit nie ’n teken van ware liefde nie, as dit al
ons kragte verhoog en ons soveel selfvertroue gee?
Ander bedenkinge het nog by die gevoel van sy hart gekom. By ’n
huwelik skei ’n liefhebbende hart hom nie af van die stoflike en
maatskaplike lewe nie; en juis daardeur, deur die moeilikhede wat in
die weg kom, leer die liefde verstaan wat die menslike bestaan in die
algemeen beteken, en dat dit beskerm moet word; die hartstog,
daarenteen, probeer om dit te vergeet of te verniel. Die famielie
Kibert is nie ryk nie, en wat hy self moet erwe, is ook maar min.
Alhoewel hy die militêre diens liefhet en nie sonder hartseer daarvan
sal afskeid neem nie, voel hy nie die beroepsaansporing—soos
Marcel by voorbeeld—wat ’n mens as dit ware by die skouers gryp
en dwing om ’n pad te gaan waarbuite hom net ongemak en ongeluk
te wag is. En hy moet rekening hou met die stoflike behoeftes van sy
aanstaande huishoue.
Sonder moeite het hy sy lewensplan uitgewerk: hy gaan as kolonis
na Frans en Etienne Kibert in Asië. Hulle het al so dikwels aan hul
moeder geskrywe dat hulle hulp nodig het om hul werk behoorlik uit
te brei. Hy is ’n kind en kleinkind van landbouers, en daar is ’n
verlange in hom na die vrye, vreedsame buitelewe. Sy vroutjie sal
nie bang wees om met hom oor die see te gaan nie: sy sal hom sterk
maak vir ’n lewe van stryd en avontuur. Die bloed van ou dokter
Kibert—onverskillig vir gevaar—die bloed van die ou moeder—met
haar onoorwinlike geloof, wat alle beproewings vir haar draaglik
maak—dié bloed vloei ook in die are van die meisie wat hy bemin.
Met die selfsug wat ’n minnaar kenmerk, vergeet Jan net één
persoon, by al sy toekomsplanne; of liewer, sonder daaraan te dink,
maak hy nou ’n plan om dié één te beroof van haar enigste
soetigheid in ’n bitter bestaan. Die dapperheid van mevrou Kibert is
vir hom ’n sterk waarborg van Paula se moed, sy is so’n moeder
waardig; maar hy besef nie dat hy van die arme vrou haar grootste
opoffering gaan verlang nie: haar laaste kind, dié wat sy so angstig-
beminnend in haar arms druk, en wat God haar nog gespaar het.
Terwyl hy so op die pad van Maupas aanstap, sy geluk tegemoet,
in die skemer en die heerlike lug van die someraand, maak ou Marie
die deur oop vir sy oom. Sy laat hom in die voorkamer, en terwyl sy
haar nooi gaan roep, dink sy:
—Wat is die ou se planne—met sy swart manel en keil?
Die ou bly stilstaan voor ’n blompot met rose wat in die middel van
die tafel staan. Hy bekyk hulle so digteby dat dit lyk of hy hul wil
opruik, en meteens lig hy sy hande op in die grootste verbasing. So
kry mevrou Kibert hom daar staan. Hy groet haar nouliks, dog wys
dadelik na die blomme en roep uit:
—Daardie een! Sien u dit?
—Ja, sê sy, verwonderd.
—Waar het u dit gekry?
—Ag, ek weet nie meer nie, meneer.
—Onmoontlik! U moet weet. Antwoord!
En ’n bietjie minder brutaal sê die ou rosegek dan weer:
—Asseblief tog, mevrou. Dis baie belangryk.
Mevrou Kibert probeer nou om haar geheue te ondervra:
—My seun het die steggies uit Siena meegebring. Ons het dit hier
geplant en dit dra mooi.
—A! het ek nie geweet dis ’n Sinese roos nie! En die naam weet u
natuurlik nie. Niemand ken hier die name van blomme nie.
Mevrou Kibert beken glimlaggend dat sy die naam nie weet nie.
En daar begin die ou uit te vaar, wel ’n halfuur lank, oor die
skandelike verwaarlosing van die plantkunde by die onderwys.
Mevrou Kibert, dinkende aan iets anders, kan skaars ’n woordjie
hier en daar inbring. Sy verseker hom dat sy van name niks weet
nie, maar darem baie van blomme hou.
Maar die ou is nou heeltemal opgewonde, en nie meer in te hou
nie. Hy vertel haar die geskiedenis en name van rose in vreemde
lande. Mevrou Kibert voel wel wat die doel van sy onverwagte
besoek is: hy wat net vir sy plante lewe en sy medemense
veronagsaam, dit moet wel iets belangryks wees wat hom
uitgedrywe het, dit kan niks anders wees nie as ’n aanvraag ten
huwelik. Bewoë dink sy aan Paula, wat nie tuis is nie en so gelukkig
sal wees as sy terugkom. Die ou vrou probeer om sy woorde op ’n
ander koers te lei:
—Hoe gaan dit tog met Jan? Ons het hom al ’n paar dae nie
gesien nie, hy kom te min hier.