I spoke just now of knights errant. Do you remember in accounts of the tournament the disguised cavalier who enters the lists and is recognized by the weight of his blows? The champions of rhetoric were sometimes the heroes of similar adventures.
Hippodromus of Larissa landed at Smyrna, and, following the crowd, entered a hall where one Megistias had drawn together an audience. Hippodromus was in travelling gear. Approaching Megistias, he said: "Change clothes with me. Lend me your mantle for a moment." The other looked at him to see if he might be a maniac; but the exchange was made. "And now give me a subject of declamation," continued Hippodromus. They gave him one, which he treated so skilfully that Megistias exclaimed with surprise: "But who are you?" "I am Hippodromus the Thessalian." In a few moments the report of the illustrious rhetor's arrival had spread through the town, and the whole population rushed to see and hear him. [Footnote 96]
[Footnote 96: Philostratus, Life of the Sophists, I. xxiv.4.]
Again the challenger would be some great celebrity. Anatolius, prefect of the praetorium, and gifted with remarkable eloquence, announced his speedy arrival at Athens, challenging all speech-makers to an encounter, and proposing one of the most difficult questions capable of discussion by trained intelligences. Great agitation ensued. Anatolius was a formidable judge, both by his science and by his exalted position in the state. Eunapus tells us that Greece trembled more on that occasion than at the approach of the Persians. He was Prohaeresius, the great Prohaeresius, victor in every battle, to whom Rome was to erect a statue bearing the inscription:Rome, queen of the world, to Prohaeresius, king of eloquence.The Greeks decreed even a grander title to him. He was no mere mortal; he was Mercury disguised in human form. One day when he had finished speaking, the people gathered round him and kissed his hands and feet, nay, licked his breast, as if he had been in very deed a god. And would you know by what manifestation of power he had deserved this idolatry? After improvising a long discourse, he had forthwith repeated it word for word, without missing a single syllable. The prodigy could not be denied, for reporters had been provided for the occasion, who had noted down every expression. [Footnote 97]
[Footnote 97: Eunapus, Prohaeresius.]
These transports on the part of the public, these passionate demonstrations, bordering sometimes on delirium, are so foreign to our habits that we should be inclined to suspect exaggeration in the recital of Eunapus, if many other authorities did not testify also to the ecstasies excited in the populace by eloquence. Habits of mind are, perhaps, harder to eradicate than those of the soul, and Christianity succeeded in introducing austere ideas in the spiritual life without immediately curing this excessive love of eloquence. Applause was heard sometimes in churches, and St. John Chrysostom had to impose silence more than once upon his hearers, who clapped him, forgetful of the sanctity of the place in their enthusiasm for the orator.
We have seen the bright side of the subject, but every medal has two sides. Without speaking of the jealousies and enmities inherent to the profession, can one be sure of being equal to one's self every day and all day? You appear before an imposing assembly; all eyes are fixed upon you. Let emotion seize you, a little lapse of memory, a slight absence of mind, and you are lost. The thought is enough to intimidate the most intrepid rhetor. And it was a misfortune not without example. Herodius Atticus, on one occasion, stopped short in the presence of the emperor, and thought for an instant of drowning himself in the Ister.A similar accident happened to Heraclides, who took the accident more philosophically, and sought consolation for his disgrace in abusing improvisation, and composing a work in praise of labor. [Footnote 98]
[Footnote 98: Philostratus, Life of Soph. II. i. 36; xxvi. 3, 5. Here belongs an anecdote showing the pleasure taken by rhetors in insulting each other. Heraclides sent his Panegyric of Labor (Greek text) to one Ptolemaeus, and adept in improvisation. Ptolemaeus returned it to him, after erasing the first letter, so that the title stood, "Panegyric of an Ass." The biographer does not mention that Heraclides found the epigram to his taste.]
And who can count on the good nature of his audience? Listeners have a certain malice of their own at times, as Philagrius once discovered to his cost. He had composed a discourse in Asia, and learned it by heart. On arriving in Athens, he presented himself before the amateurs and burst forth into improvisation. By a wonderful coincidence, they had given him precisely the subject which he had so carefully treated. Philagrius, sure of his ground, began boldly, and wandered on like one led by the moment's inspiration. He grew diffusive and pathetic; but, strange to relate, as the discourse proceeded, the audience gave evidence of merriment, first by subdued tittering, finally by uproarious bursts of laughter. Philagrius paused in wrath and amazement. To calm this excitement, his hearers produced a copy of the address which he had repeated without altering a sin
[Footnote 99: Philostratus, Life of Soph. II. viii. 3.]
The abuse of this false eloquence could not fail in the end to produce disgust. Serious men began to ask themselves if these brilliant exercises were true oratorical art or merely a vain tissue of words. A few even of those who had yielded to the fascination began to look pityingly on declaimers. Lucian lavished satire upon them, but the trade was still prosperous in his day. Synesius, coming later, spared them as little. From him we learn their misery as well as their presumption. We see that the palmy days of the profession had passed away.
"I will not wander from door to door, attracting the townspeople with the promise of a charming speech. O sad profession! Speaking for the crowd; attempting the impossible in trying to please so many different minds! The stage orator, no longer belonging to himself, is in truth a slave to the public, subject to the caprice of every individual. If an auditor begins to laugh, the sophist is lost. He dreads a morose visage; too close attention seems to him to imply criticism, a restless turning of the head to signify weariness. And yet he surely merits indulgent masters who sacrifices sleep at night, spends his days in toil, consuming himself, as it were, with hunger and fatigue, in order to compose a fine address. He comes before the disdainful crowd to charm their ears, concealing his indisposition with an affectation of health. Having bathed the day before, he presents himself to the public at the appointed time, blooming, dimpling, displaying every grace. He turns to the audience, wreathed in smiles, joyous in appearance, but torn with secret pangs. He chews gum to make his voice clear and strong, for even the most serious sophist lays great stress upon a fine voice, and lavishes upon it much ill-concealed care. In the middle of the oration, he pauses to ask for a beverage, previously prepared. A servant offers it, and he drinks, moistening his throat, the better to pronounce his melodious sentences. But the poor wretch cannot with all this gain the good will of his hearers. The audience await the final clause impatiently, that they may laugh in liberty. They would gladly see him with out-stretched arm and parted lips, preserving the attitude and silence of a statue: then, when worn out with weariness, they could escape." [Footnote 100]
[Footnote 100: Synesius, Dion]
But of all the perils that menaced their very existence, sophists and rhetoricians had most cause to dread the growing strength of Christianity. The new religion proposed to its disciples, as the aim of life, an object far more elevated than the pleasures of eloquence. It was no longer a question of noble words, but of noble actions.What were intellectual satisfactions in comparison to the joys of conscience? The Christian sought the eloquence that should teach him his duties, and the sophist with uncertain and contradictory answers was no longer an authority. He must appeal to the priest for precepts of unfailing, unchanging wisdom. Let some solitary, in repute for sanctity and for familiarity with the things of God, leave his desert for a moment to mingle among men, and the crowd rushed to greet him. St. John Chrysostom proudly contrasts the entrance of a monk with that of a sophist. A few days more, and the revolution was consummated. Sophists saw no one following them, while the troop of the faithful, that is to say, the entire nation, pressed upon the steps of the humble monk. A preacher of the gospel, even if recommended only by soundness of doctrine and morality, was sure of seeing listeners seated at the foot of the pulpit. But preachers who think only of the triumph of the faith attain the true glory of oratory, that of arousing emotion. Not only may a great thought come from the heart, but the expression with which it is given forth. Why listen to elegant but empty amplifications in schools, when in a neighboring basilica one could enjoy a magnificent oration, whose brilliancy should remain untarnished through fifteen centuries? No rhetor, but a young priest from Antioch, received from contemporary admirers as well as from posterity the glorious name of Chrysostom—Golden Mouth. The church is fertile in orators as in martyrs. Christianity did not smother eloquence. She assigned to it new destinies; regenerating, or rather (for it existed no longer) resuscitating it.
And now we ask ourselves, what good and what evil these exercises have done? The mischief is not far to seek. It is exhibited in every page of the present article. Invented by vanity, these literary and philosophical exhibitions had seldom any better object than the satisfaction of vanity; hence their vitality and duration, but also their sterility.
But does this imply that they answered no useful end? By no means. I do not believe with Ovid, a great amateur of public lectures, as it appears (perhaps he used them himself), that they excite poetic genius. [Footnote 101] His contemporaries Horace and Virgil had no need of the stimulant of public praise in the composition of their masterpieces. Pliny saw another advantage in lectures, as giving a writer the opportunity to consult the public, and to invite criticism with the view of correcting defects. [Footnote 102] But an audience thus convoked is no severe and judicious Aristarchus, overlooking no defect, [Footnote 103] but forever crying "Correct." It is there to approve, and any lack of commendation is generally criticised by the author as a want of good manners. Pliny's friends applauded him, and Pliny, with singular simplicity, confessed himself charmed with their good taste. [Footnote 104] What is he thinking of when he speaks of the free judgment of auditors, and yet complains of those who deny him applause? In fact, he says, whether you are the inferior, equal, or superior of the lecturer, you have an interest in praising him whom you surpass or who equals or surpasses you. Your superior, because you merit no praise if he deserves none; your equal or inferior, because the glory lavished upon him tends to raise your reputation. With this convenient theory criticism loses its rights. We need not wonder that Lucan, [Footnote 105] whose brilliant defects are easily pardoned, allowed himself to be elated by the boisterous applause accorded to his Pharsalia; or that, comparing his age anddébutswith those of Virgil, be exclaimed! "My friends, am I so far behind the great?" [Footnote 106] Seneca wisely decided that nothing had injured literature so much as popular acclamations. [Footnote 107]
[Footnote 101: Pont. iv. 2.]
[Footnote 102: Letters, v, 3; vii. 17.]
[Footnote 103: Horace, Poetic Art, 445.]
[Footnote 104: Letters, iii. 18.]
[Footnote 105: Letters, vi. 17.]
[Footnote 106: Saetonius, Lucan.]
[Footnote 107: Letters, 102.]
Far from thinking, as Pliny does, the system of lectures a finishing school, I believe the author to be confirmed in his defects by applause and adulation. But I agree with Pliny as to the efficiency of these assemblies in preserving and propagating a taste for intellectual things. Mental labor, even when bestowed on trivial matters, is of use in fostering intelligence. Rhetors and sophists were generally inferior orators and philosophers, but they deserve our thanks for their fidelity to study and to the preservation of literary traditions. But for them the maturity of Christian eloquence might have been long delayed. We must remember that Basil, Gregory, Chrysostom, Augustine, and Ambrose had passed through their schools before entering the church. The disciples effaced their masters, while profiting by lessons received from them.
And, turning to a different view of the subject, it is no matter of indifference to continue beyond the usual period assigned to serious labors one's devotion to literature, so softening and humanizing in its influence on the heart. This especially applies to a nation, unprovided by religion or morality with any remedy against evil instincts. To write little verses and polish periods is no great affair, I confess; but it is better than wallowing in low and sometimes cruel sensuality, like the rabble. In point of religious and moral convictions, the Greeks had fallen to a level with the Romans. But one thing elevated them: an untiring love of poetry, eloquence, and philosophy. In default of the reality, they pursued its shadow. Ixion, so say their mythologists, embraced only the phantom of Juno. True; but, while striving to win this phantom, he had not stooped to base and ignoble loves. The astute and polished Greek avoided that barbarism which engulfed the coarse, unlettered Roman.
We must not forget that Christian preaching has been served to a limited extent, but yet effectively, by habits introduced by sophists. The first comers freely explained their doctrines in public places without exciting surprise. Every system received a hearing. Stoics, epicureans, and cynics all sought to win converts to their various theories. Beneath the mantle of philosophy, the Christian could mingle with the crowd, and, while teaching a morality hitherto unknown, prepare the way for novel doctrines. When St. Paul arrived in Athens, that city where all men, strangers or citizens, were occupied only with hearing or uttering something new, [Footnote 108] the multitude at first mistook the apostle for some wandering sophist, and lent him an attentive ear so long as he did not openly shock their preconceived ideas. Peregrinus, whose life and death Lucian gives us, became a cynic after having been a Christian, and continued to address the people. Lucian does not clearly mark the change nor the distinction between the two systems of instruction, which seem to him equally strange. A similar confusion must have often arisen, not in the minds of Christians turned philosophers (there were fewer apostasies than conversions), but of philosophers who became Christians.
[Footnote 108: Acts of the Apostles, xvii. 21.]
Our study is ended. I had merely thought of writing a chapter on literary history, without seeking in the past an attack or a defence of the present. It is difficult to compare two periods justly. Our lectures and conferences differ in many respects from those in vogue among the ancients, but who can deny the various points of resemblance? If we wish, as everyone indeed must wish, to secure a durable and legitimate success to the system, we must remember it is not established merely for the recreation and diversion of the public, like the theatre or the concert-room, but also and above all for their instruction. It is a question of education.I would have the lecture, whether literary or scientific, given in an attractive style, not after the severe, didactic fashion or acours de faculté;but it should be distinctly a lecture, so that the hearer may carry away with him some profitable ideas with the memory of an agreeable hour. In my humble opinion, it is only on these conditions that the system of public conferences will obtain not merely a passing popularity, but freedom of the city. If this be true, are we to encourage authors to read their unpublished works, poems, dramas, odes, romances, or what not? In these days there are other roads to publicity, and it is not by a single hearing that intellectual works are to be judged. Still less must it be allowed (for even improbabilities should be anticipated) that an author, speculating in fame, should announce his arrival on such a day and hour: "To speak about what? I have not the least idea, but no matter! I shall speak, and you will have seen and heard me." A mere matter of curiosity, making one think of the tight rope.
Another danger is, that conferences may become a sort of intellectual gymnasium, only good for the development of suppleness and agility of mind. Hitherto, in running over the lists of subjects under discussion, we have met none of the frivolous and insignificant themes that rhetors revelled in handling. The titles at least announce a serious purpose. We should be glad to attribute the merit of this to the wisdom of the choosers, but the thought suggests itself that the administrative control may deserve part of the praise. It is well known that no one can deliver lectures without especial permission, and a especial approval of the subject of his address. It is also well known that certain orators find it impossible to obtain this permission. Whether this exercise of authority has inconveniences as well as advantages is a question we will not here investigate. But there is one among the conditions imposed on public lectures that must suit every sensible person, the restrictions with regard to age. It is not difficult to find young persons who, mistaking temerity for talent, are eager for an opportunity to display their presumptuous ignorance. Can we even be quite certain that among those who have passed their twenty-fifth year there may not be some who would do well to preserve a discreet silence? "Weigh carefully the burdens your shoulders are to bear," said Horace to the Romans of his day. The precept is old, but sound even now. Remember, all you who present yourselves for public speaking, that it is not merely an honor, but a responsibility also. Consult your strength. Neither diploma nor certificate of capacity is demanded of you. Do not, however, imagine that no quality is needed to fit you for this professorship (for the post is nothing less than a professorship) except unbounded self-confidence. The least we can ask is that those who would teach us should be well informed themselves. Good sense, ever successful in the end, would do justice sooner or later to all such vain pretensions; but meantime the oft-deluded public might have learned to avoid the recreation prepared for them. We earnestly desire the long life and prosperity of the system, and therefore trust that no lecturers likely to injure it should be tolerated. Is our wish to be fulfilled? The future must answer.
If there were no music, I think there would have been no Verheyden. He was an obligato.
The child of a violin-player and a singer, both professional, he had been born into an atmosphere of sweet sounds. His baby eyelids had drooped in slumber to a flute-voice lullaby, or some ethereal strain from his father's precious little Cremona. Every breeze that swept over the rippling Neckar or down the wooded mountain-sides, playing mournfully through the wind-harp in the window, caught the child at his play, hushing him. As soon as he could reach them, his fingers sought the keys of the piano; and from that thrilling moment when first a musical sound woke at his touch, Verheyden had found his occupation. It became his life. Every feeling found expression at the tips of his fingers, and his fiercest passions culminated in a discord.
It is said that a violin long played upon will show in the wood flutings worn by the "continual dropping" of musical sounds from the strings. So Verheyden seemed wrought upon by his art. He looked like a man who might have stepped from some wild German tale; of Walpurgis, or other. He was called tall, being slight, and appeared to be made of nerves and as little as possible besides. His dark hair rose like the hair in Sir Godfrey Kneller's portraits, and streamed back from his forehead as if blown. His thin face was alive with restless gray eyes—the eyes of a listener, not a seer—with fiery nostrils to the slightly aquiline nose, and with an unsteady mouth. He had frequent flitting motions, apparently inconsequent, really timed to some tune in his mind. He was moody, absent, abrupt; he was too much in earnest about everything. He had little perception of wit or humor, and he never laughed except with delight. He could be bold, yet he was simple and ingenuous as a child. An enthusiast, with room in his narrow, intense brain for but one idea at a time; a man who would take life by the blade rather than the handle; a man inalto relievo.
On the breath of some unaccountable impulse, he would have said—fulfilling his destiny, say we—Verheyden came to the New World, wandered about a little, dazed and homesick, at length engaged to take the place of Laurie, the organist, who was about going to Europe for further instruction.
He went into the church one afternoon with Laurie to try the organ. A sultry afternoon it was, the eve of the Assumption; but inside the church all was coolness and silence and shadow, most home-like to the stranger of any place he had seen this side the ocean. While the organist played, be leaned from the choir and looked down into the nave. Laurie played with great sweetness and delicacy, and chose first one of those yearning things that touch, but do not rouse; and Verheyden leaned and listened, dreaming himself at home.
Ah! the green, cool Neckar flowing downward to the Rhine; all the rafts and all the barges, all the wet and mossy rock; the overlooking mountains dense with forests to their summits; the gray outstanding castle crumbling lothly from its post; the red roofs of the houses, the churches fair and many; all the quiet and the color of that home in fatherland.
When the organist ceased playing, the dreamer felt as though he had been in motion and were suddenly stopped. He perceived that he was waving his hand, and became aware of a little maiden dressed in white who had been going about placing flowers, and who, at the first sound of music, had sunk upon the altar-steps, and sat there listening, her eyes upturned and fixed on the crucifix.
"Who, then, is she?" asked Verheyden, as Laurie trifled with the keys, holding the clew while he searched what next to play.
Laurie glanced into the mirror before him. "Oh! she belongs in a frame on the wall, but sometimes steps out and wanders about the church. She sings at service. Call her up here if you can."
Verheyden hastily took a seat at the organ, and, as the girl rose and prepared to leave the church, a smooth strain sprang like a lasso from under his fingers, and caught her. She went upstairs, and, standing by the organist, sang Lambillot'sQuam Dilecta. Her voice was not powerful, but a pure soprano, clear and sweet, making up in earnestness what it lacked in volume. She sang with exquisite finish, having taken the kernel of science and thrown away the husk. Musical ornamentation was not with Alice Rothsay vocal gymnastics, but seemed to grow upon the melody as spontaneously as tendrils upon the vine. Verheyden laughed with delight when, at the climax of the song, she touched the silver C in alt.
What had been a little maiden in the distance was a small young woman when near by. She was blonde; her oval face had the lustrous paleness of a pearl; she looked as she sang, pure, sweet, and earnest. One knowing the signs in faces would say that sharp tools must have wrought there to make the eyelids and the mouth so steady. Strangers called her cold; but those who had once seen her pale gray eyes grow luminous thought her fervid.
Then began again Verheyden's life, growing richer everyday. Musicalcognoscentigrew enthusiastic about him: he was a genius, they said, no one before had so well interpreted the old masterpieces of song. Laurie was charming; but Verheyden was inspiring. The Scottish laddie was sweet and bright as one of his own dancing burns; but the German brought reminiscences of torrents and avalanches, and lightnings tangled among the mountain-tops. Laurie saw music as in a glass darkly, and strove to tell them how she looked; but Verheyden grasped the goddess with compelling fingers, and led her out before their eyes to dazzle them. His slight form below the towering organ-pipes they compared to Samson between the pillars of the temple of Gaza.
Verheyden was extremely happy in his art: pleased, too, to feel the wreath of fame settling on his brow with tingling touches; and when that August day had slipped back three years, he was thirty years old.
John Maynard, the machinist, drew into his mind various abortive notions conceived by men who had lived, or who were still in the sun—drew them in mistrustfully, and found them stray sparks of genius whose kindred dwelt with him. Uniting, they played pranks on the man; they made his brain swell and snap as they pushed open the portals of unsuspected chambers; they sailed through his dreams in the trains of vast shadows, whose shapes he panted to catch as they eluded him in the labyrinths of sleep; they grouped and they scattered, forming here and there a salient or receding angle, leaving voids to be filled; they got into his eyes till he forgot his friends and to brush his hat; they salted his coffee and sugared his beef; they took him on long rambles, where he would wake to find himself standing stock-still, staring at nothing; they burned up questions and answers before they could reach his lips, and they dislocated his sentences. They wooed, and eluded, and tormented, and enraptured him, till, darting on them unawares, he caught a shadow and copied it out on paper. Finally, fused into one shape, it sprang from his brain, like Minerva from Jove's, armedcap-à-pie. The machinist's invention was clad in iron, and stood shining and winking in the unaccustomed sunshine for everybody to admire.
Which finishes the story of John Maynard's only love.
Among the many visitors who flocked to see this wonderful invention came one day Verheyden, Alice Rothsay, and her cousin Rose.
They stood and watched smoothly slipping cylinders that coquetted with a hand of gold from every gazing window, large wheels that turned deliberately on their dizzy centres, and little families of cogged wheels that made them feel cross-eyed—all the deceitful gentleness and guileful glitter of the creature.
Alice Rothsay stretched a venturesome pink finger-tip toward a lazily rocking bar, then with a shiver, drew it back. "But I like to look at machinery," she said; "it is so self-possessed. Besides, it is full of curves, which are amiable as well as graceful. Parallels are unsocial, and angles are disagreeable."
"Parallels are faithful if not fond," remarked the machinist, "and straight lines have an aim and arrive at places. They are the honest lines, the working lines, the strong lines. The reasoner's thought goes like an arrow, the dreamer's like smoke on a heavy day. I would rather see a cat pounce upon a mouse than run round after her own tail."
"But the spiral," she ventured.
"Oh! that's the supernatural," said the machinist.
"For my part," said Rose, "I don't see why the cat, after having caught her mouse, should not amuse herself by running round after her own tail. It keeps her out of the cream."
Miss Rothsay turned to look at Verheyden, who was examining another part of the machine. As she looked, he stretched his right hand to point a question, and stretched it too far. The cruel teeth caught it, there was a sharp breath that was not quite a cry. John Maynard sprang to stop the machine, and in a moment Verheyden drew back, wild-eyed, but silent, holding up a crushed and bleeding hand.
"There is no pain," he said as Maynard knotted the handkerchief about his arm. But he staggered while speaking, and the next moment fell.
Miss Rothsay had news of him that evening. His hand had been amputated, and he was wild. He wanted to tear the ligatures from his arm and bleed to death, had to be restrained and drugged into quiet. Her messenger had left him in a morphia-sleep, pale as the dead, and with only the faintest breathing.
Weeks passed, and the reports were scarcely more cheering. The patient had to be watched lest be should do himself harm; and as he resented such watching with savage impatience, his attendant's place was no sinecure.
Indeed, Verheyden writhed in his circumstances as upon burning fagots. Wrapped in his art as in an atmosphere, the wrench that tore his hand away left him breathless. Music, the glory and the sweetness of his life, floated back only just out of reach, tantalizing him with remembered and almost possible bliss. Melodies brushed his lips and left a sting; chords stretched broad, golden, electric, and, reaching to grasp them, he fell into darkness. His passionate heart rose and swelled, and found no outlet, but beat and broke against an impossibility, like the sea on its rocks. Verheyden's occupation was gone.
True, he could study phenomena. He was haunted by the ghost of a hand that he could clench but could not see, that sometimes itched at the finger-tips. It would seem that the nerves, confounded at being cut short from their usual station, had not yet learned to send new messages, even sent the old ones blunderingly, overdoing in their anxiety to do the best they could. He had sometimes to recollect that this troublesome hand was preserved in spirits in a glass jar set in Dr. Herne's laboratory, on a shelf just behind his pet skeleton.
Verheyden read treatises on nerves till his own were no longer telegraphic lines under control, but the wires of a rack to which he was bound. He studied spiritualism till in dim night-watches the veil before the unseen seemed to glide back. He dived into mesmerism till all the powers of his mind centred in a will that glittered hard and bright in his eyes, causing the timid to shrink and the pugilistic to make fists.
But through all these noxious parasites of the tree of knowledge which he recklessly gathered about him moaned ceaselessly his unforgotten bereavement. Or, if he forgot for a moment, it was like drawing the knife from a wound to drive it back again.
Having exhausted every other distraction, he started one day for a long walk in the country. He could not walk the city streets without meeting at every step some piercing reminder of his loss. It was Scylla and Charybdis. His fancy had caught a spark from everything beautiful in nature, and there was not an outline nor motion, not a sound nor a tint, but found in him some echo. Stately, swaying trees in his path waved the grave movement of an Andante; the shrill little bird that slid down on a sunbeam through the branches mimicked a twittering strain of Rossini's; a sigh of air that rose, and swelled, and sank again, echoed a phrase of Beethoven; and an unseen rivulet played one of Chopin's murmuring soliloquies.
Verheyden trod savagely on yielding moss, and crackling twigs, and dry leaves of last year, and on the bluest of blue violets that bloomed bathed in the noon sunshine. He plunged into a by-path, and came to a brook that fled as though pursued. It stumbled dizzily over shining pebbles, glided with suspended breath around grassy curves; it was all a-tremble with inextricably tangled sunshine and shadow; it gushed here and there into sweet complaining; it leaped with white feet down the rocks. Verheyden threw himself upon the bank beside it. He had played such dances, measures that made the dancers giddy, and sent the ladies dazed and laughing to their seats.
"Does he think we are dervishes? Do take me into the air."
Verheyden laughed; and the fingers in Dr. Herne's glass jar behind the skeleton played a caprice as saucy as Puck plunging with headlong somersaults and alighting on tiptoe. Then, with a groan, he recollected.
As he crouched there, half wishing the water were deep enough to drown him, be heard a low-voiced singing near by, and, taking a step presently, he saw a picture among the pine shadows. Alice Rothsay, with a red rose in her bosom, sat in the moss, and the green, thready grasses, looking fair as Titania, her small figure showing smaller by the boles and branches of the trees. She was hushing herself silent and smiling, her lucent eyes intent on a humming-bird that wandered in the flickering shade and shine of the woods. It foraged for a moment among the shrinking blossoms, the bold little robber! it snapped at a round bright drop dashed up by the fretted waters, and got a sip, half spray, half sunshine, that turned it clean tipsy; then it made a dart at the red rose in Alice Rothsay's bosom, and hung there, a little blue buzz with a long bill. The rose trembled over the girl's suppressed laughter, and the winged mite flung itself petulantly breast deep in the fragrant petals. Then it reeled away, scared at the bound her heart gave; for, looking up, she saw Verheyden. It was the first time they had met since his accident.
"I dare not pity you," she said; "the hand of God shows too plainly." But the moistened eyes, and the unsteadiness of her soft, loitering voice, contradicted the words she spoke.
He looked at her in a dazed, lost way, wondering who then might be deserving of pity.
"We miss you at church," she went on. "We have a different organist every Sunday, and I am not used to their accompaniments. I broke down last Sunday.Mrs. Wilder played, and at thesucipethat you always playedlegato, she threw in half a dozen bars of explosives. The 'deprecationem' was fired off, every syllable of it, as from a mortar. I jumped as if I'd been blown up. So few know how to accompany. It will be better when Laurie comes. But we want to see you at church, Verheyden."
His face lost its momentary gentleness. "I don't go to church now," he said; "that is, to what we call church. I've been invoking 'black spirits and white, blue spirits and gray'—all but the white. I've been calling back the soul of Mesmer. I could tell stories that would frighten you."
"Oh! no, you couldn't," she said. "'If armies in camp should stand together against me, my heart shall not fear.' I might fear for you, though. I have reason to fear for you when you give thought to such delusions."
Verheyden began defending himself with the impatience of one who knows his position to be weak, going over that hackneyed talk about progress and freedom of thought. "Ah!" she sighed, "there are heights and heights; and Babel is not Pisgah."
The fragment of woods in which they had been walking belonged to the estate of Monsieur Leon, at whose house Alice was visiting; and, as she saw the two approaching, madame herself came out to meet them. An amiable, worldly woman, a patroness of the arts, graceful, cordial, and full of charming little enthusiasms. Not least among her aesthetic devotions was that to the toilette, by the help of which she managed to appear forty instead or sixty.
She stepped to meet Verheyden with both her hands extended, tears swimming in her fine dusky eyes. "My dear friend!" she said. "At last you remember us. You are welcome. Where have you been all summer?"
"Summer?" repeated Verheyden. "I haven't seen any summer."
And truly the three months had for him been beautiful in vain. He had not seen their glad, pelting showers, their dim, soft rains, nor the glory of their sunshine, and their moonlights had been to him as spilt wine.
He could not help being soothed by these friends. There was no obtrusive sympathy, no condolence hard to answer to, no affected reserve concerning his affliction. He was free to speak of it or not, as he should choose. They went on with some trifling employment while they talked to him; or, if silent, he felt their kindly, homelike presence. Then the large, cool house was refreshing after the dust and heat of the city.
Silence was sweetest in that sultry noon; and, presently perceiving it, they did not speak. But the oaks outside rustled like oaks of Dodona, and what had seemed silence grew to be fullest sound. There was a stir of plants uneasy with growing, multitudinous tiny voices of insects in the grasses, bee and bird and the murmur of waters, the wings of doves that half flew, half dropped, in purple flocks from the eaves, the fall of an over-ripe peach, the shrill cicala, the fond sighing of the brooding air in whose bosom all these sounds nestled.
Alice rose to lower the crimson curtain over an intrusive sunbeam, (madame kept her crimson draperies up all summer, knowing that her complexion needed deep, warm lights,) and out of revenge the brightness poured through the tissue, its gold changed to a rosy fire. Pausing in that light to listen, she stood aglow, her pale-brown hair, her clear eyes, her white dress.
"It is a Guido!" whispered Verheyden, with a flash of light across his face.
"No," said madame; "it is the Charity for which Ruskin longed, floating all pink and beautiful down to earth, the clouds blushing as she passes."
The sun went lingeringly down the west, a breeze fluttered up from the south, and they roused themselves to open the windows.
A piano drew Verheyden by all his aching heart-strings. He seated himself before it and played the base of Rossini's Cujus Animam. As he played, a fair hand stole to the keys at his right and played the Aria.
"It kills me! Alice, it kills me!" he moaned out, turning his haggard face toward her.
"Verheyden," she said, "do something heroic: submit!"
"To writhe on the rack is not to resist," he said bitterly.
"But how sublime," she urged, "if, instead of writhing, one could, in the midst of pain, wear a serene face, and rejoice in a serene heart."
"It is easy for you to talk of serenity," he said impatiently. "You have all you want. You live in music as I lived in it. And what an enchanted life we lived together! Do you remember the first time I saw you? Three years ago, it was, on the eve of the Assumption. You sat on the steps of the altar and listened while Laurie played. I told him you looked like a soprano, and he said you were one, that you had a voice like a violin. Do you remember how I called you up?"
"Yes," she said, smiling at the remembrance. "No one ever accompanied like you. The voice went floating on your music like a shallop on the water. Your interludes were nothing more than spray or little wavelets, or like a half-hushed bubbling laughter underneath the bows."
"And you," he said, "you never learned: you sing of nature, and 'tis art that tries to reach you. Laurie always said yourrouladeswere as if you couldn't help them; that he had to look at the score to be sure you didn't make them up as you went along. Come, now, let us try."
In the act of turning eagerly to the piano, he recollected and stopped.
She touched his arm with an earnest hand. "Delight is dear," she said; "but never so dear as when we find it in dark places. Let me speak to you of myself, Verheyden, as I have never spoken to anyone else. You think my life has been a tranquil one, but you mistake. None, or but few, knowing, I have gone through tragedies that would delight a romance writer. What I read is dull to what I have experienced. If I am calm, it is because I have nothing left to suffer. At twenty-five—you didn't think me so old because I am small and blonde—at twenty five I have exhausted the pains of life. And, Verheyden, believe me, contradictory as it may sound, the highest rapture that earth can give is distilled from its sharpest pains. It is true, even here, that those who weep are blessed. When the strong man, Jesus, rends this ravenous nature of ours, after some days we find sweetness. O Verheyden! go to the Lord with your burden, and he will give you rest. Do not fill your soul with discord because your hand can no more awaken harmony. That loftier harmony nothing can disturb without your consent. Is it not beautiful to think of—the security of the soul? Remember, Verheyden, the lightnings may strike us, but our souls shall not be smitten; and they shall not be drowned though the waters cover us; the earth may burn, but our souls shall not be consumed; and they shall not be crushed though the heavens fall on us. When I think of these things, I laugh at fear of anything save sin; I am lifted; my body seems dissolving like frost in fire. I cannot comprehend the sadness of your face. I am glad! I am glad!"
He looked at her as she stood there pale and shining, then stretched his hand, and, at a venture, touched the scarf she wore. It didn't scorch him.
Monsieur Léon came home at sunset, and with him Auguste, the son of the house. Monsieur was one of his wife's enthusiasms. "He is a misanthrope," she would say delightedly. "What a listless air! he cares for nothing. How mournful and hopeless his eyes! And though his hair is white, he is but little over fifty. He is full of poetry and sublimity and learning; but it is frozen in. His early days were unfortunate—a poor gentleman, you know—and all his life till he was forty was a struggle for bread.At forty be inherited his property. Then he thought to live, my poor Auguste! We went to Paris, which we had left as children. Ah! well. But he had aspirations, and pressed on toward Italy. There was the Medean chaldron, he said. He was ill when we reached there, and saw nothing till one evening he was convalescent, and I took him by the hand and led him out on to our balcony. It was a May-moonlight in Venice. The earth can do nothing more. He stood and looked till I thought he had lost his breath, then clasped his hands over his heart as though he had a great pang, and cried out, 'O my lost youth!' He would look no more. He went in and sat with his face hidden in his hands. It was too late. The next day we started and came back. He looked at nothing as we passed, but sat in the gondola or carriage with his face hidden. He said it was like setting a feast before the corpse of a man who had died of starvation. So romantic!" sighs madame, smoothing the lace ruffles from her little hands.
Presently, when evening deepened, Auguste put his head in at the window and called them out to see an eclipse of Venus.
They stood in the dewy dusk and fragrance of the garden, and watched the star hover, moth-like, near and nearer to the moon, seeming to grow larger and more brilliant as it approached extinction, shining in audacious beauty. Then it touched, trembled, and disappeared.
"Served her right!" cried Auguste, fresh from the classics.
"But, Alice, where is Verheyden?" asked madame.
"He recollected Laurie's concert, and would go. I tried to detain him, but could not."
Verheyden hurried into town to the concert-hall, though by no means certain he might not be tempted to fling himself over the balcony. Avoiding acquaintances, he took a seat high up and apart, and looked down upon the audience. Such crowds had flocked to hear him in that lost life of his. Was it indeed lost, or did he dream?
Presently there was music. There came his fugues rolling in like overlapping billows. How he had played them when his mood had been to plunge in such a surge, he solitary, everything else washed away like sea-weed! He would never breast that tide again! Symphonies sailed over his head; but he could no more reach to touch their pinions. There was one he had named St. Michael's, from a sharp brightness that swung through it, sword-like. How he had wrestled with those angels!
Then Laurie, being loudly called, stood out, blushing before their praises.
Bless the boy! Only that day, bursting into tears, he had clasped Verheyden around the neck, saying: "Dear friend, my success hurts me like failure when I think of you."
To an encore he played "Comin' through the Rye," improvising variations in which the lovely melody hovered like Undine in the fountain, half veiled in that spray of music: an arch, enchanting thing.
As Laurie stood up again, his friend leaned over the balcony and looked down on the young, lifted brow. For one instant their eyes met; then Verheyden started up and fled out into the night.
Father Vinton sat alone in his room meditating on a text which was gradually expanding, budding, and blossoming into a sermon. He tried not to be vexed when some one knocked at his door at that late hour, and was just controlling his voice to give a charitable summons when the door opened, and Verheyden, or his ghost, came in, and, without a word of greeting, fell on his knees beside the priest, dropping his face to the arm of the chair.
"My poor friend," said the father, "have you not yet forgiven God for loving you better than you can understand?"