There is human nature, both literally and figuratively speaking, in Wagner's method of setting a character to a tune of its own; for, although our lives can hardly be said to order themselves to one consistent measure, our days often do.
For months now, "When the orb of day departs," Schubert's song, had accompanied the Tenor. It had soothed him, it had irritated him; it had expressed passionate longing, it had been the utterance of despairing apathy; it had marked the vainest regret, and it had Suggested hope; it had wearied him, it had comforted him; but it had never left him. That Saturday morning, however, when he awoke, his mind was set to another measure. Schubert's song had gone as it had come, without conscious effort on his part; but it had left a substitute, for the Tenor, as he lingered over his morning's work, found himself continually murmuring whole phrases of a chant which he had heard once upon a time when he was staying in an old town in France, It was the Litany of the Blessed Virgin sung at Benediction by some unseen singer with a wonderfully sympathetic mezzo-soprano voice. The Tenor had gone again and again to hear her in this chant, the music of which suited her as well as it did the theme. The words of adoration, "Sancta Maria, Sancta Dei Genetrix, Sancta Virgo virginum," were uttered evenly on notes that admitted of the tenderest expression, while the supplication, the "Ora pro nobis," rose to the full compass of the singer's voice, and was delivered in tones of passionate entreaty. At the end, in the "Agnus Dei," the music changed, dropping into the minor with impressive effect, the effect of earnestness wearied by effort but still unshaken; and it was this final appeal in all its pathetic beauty that now recurred to the Tenor. He had not thought of the chant for years, nor had there been anything apparently to recall it now; but all that day it possessed him, and at intervals he caught himself involuntarily singing it aloud:
"Agnus Dei, qui tollis peccata mundi, parce nobis Domine,Agnus Dei, qui tollis peccata mimdi, exaudi nos Domine,Agnus Dei, qui tollis peccata mundi, miserere nobis."
He sang it while he was dressing; he whistled it with his hands in his pockets while he walked up and down the room waiting for his breakfast; and at breakfast, with the newspaper before him, he hummed it to himself steadily. He began it again as he crossed the road to enter the cathedral for the early morning service; he continued it while he was putting on his surplice; he marched to it in the procession, and he rapped it out on his music book when he had taken his seat in the choir. He opened the book to study his solo for the afternoon service, but before he was halfway through his mind was busily rendering, not the music before him, but
"Agnus Dei, qui tollis peccata mundi, parce nobis Domine."
The haunting strain had become an intolerable nuisance by this time, and he made a vigorous effort to get rid of it by giving his mind to what was going on around him, and interesting himself in the people as they entered and took their places in stall and choir, and canon's pew, chancel and transept. Being Saturday, there was a good attendance even at this early service. Strangers from a distance came in to see the cathedral, and people in the place came in to see the strangers; so that there was plenty to observe, especially for one who (unlike the Tenor) was a little behind the scenes or had peeped beneath the surface and beheld the various incidents of the life-dramas which were constantly being enacted in the sacred edifice itself from service to service in the midst and with the help of psalms and hymns and spiritual songs, prayers and sermons, under the dean's very nose, and often in the presence of the bishop. The world at worship is a worldly sight, and there was a certain appropriateness in the Tenor'smiserere; but he failed to apply it although it kept him company to the end, and was still faithful when he sallied forth from the gloom of the cathedral and went on his way with the rest in the sunshine and freshness of a glad new day.
As the time for the afternoon service approached, the people began again to flock to the cathedral, but in crowds now, for it had been rumoured that the Tenor was to sing.
The choir, from their lateral position on either side of the aisle, were able to look up and down the church, having on the one hand and opposite the distinguished visitors who were accommodated with seats in the stalls, the canon's and dean's pews; and on the other the officiating clergy and the congregation generally. It was an advantageous position for those who came to observe, but the Tenor had not hitherto been one of these. The music, when it was interesting, absorbed him; and when it was dull the monotony soothed him, so that he noticed nothing. It had done so this afternoon. During all the first part of the service he neither saw nor heard, but did his work mechanically like one in a dream; and in every pause of it the old chant recurred to him, filling his heart with a separate undercurrent of solemn supplication, now in French: "Agneau de Dieu, qui effacez les péchés du monde, ayez pitié de nous," and now in Latin: "Agnus Dei, qui tollis peccata mundi, miserere nobis."
The dean preached asermonetteon Saturday afternoon, which he took the precaution to deliver before the anthem, so that the people might still have something to look forward to and keep their seats. Thesermonetteover, the organ played the opening bars of the Tenor's solo, and the choir stood up.
While he waited for the note, the Tenor absently fixed his eyes on a lady in the canon's pew. The spell of the old chant was still upon him, and instead of preparing his mind for his task, he let it murmur on: "Agnus Dei, qui tollis peccata mundi, parce nobis Domine"—while a rapt silence fell upon the congregation—not a ribbon rustled; the expression of expectation was most intense. One would scarcely have expected the Tenor to take up the note at the right moment, his mind being preoccupied by another strain, but he did. The lady in the canon's pew held the music of the anthem before her, and had been following that; but when the first clear notes of the Tenor's voice rang through the building she looked up as if in surprise, their eyes met, and with a shock the Tenor awoke from his lethargy, faltered for a moment, and then stopped. The organ played on, however, and he quickly recovered; but the pause had been quite perceptible and the people were amazed. It was the first time that such a thing had happened with their Tenor, which made it a matter of moment; and the wonder of it grew, parties being formed, the one to excuse the slip and call it nothing, the other to blame him for his carelessness, as people who never disappoint us are blamed, with bitterness, if for once by chance they err.
That night the Tenor's restlessness grew to a head. He was engaged upon a piece of work he wished to finish, but he could not settle to it; and after making an ineffectual effort to concentrate his attention upon it, he took up his hat and strolled out.
It was a lovely moonlight night. The line of trees in the Close were in flower, and their sweetness was overpowering. He did not stay there, however, but wandered out into the city, with his hat pushed back from his forehead, and his hands in his pockets. The gas was not lighted in the streets as the moon was near the full; and beneath her rays, all common objects, however obtrusively vulgar by daylight, were refined into beauty for the moment.
"Pater de coelis Deus, miserere nobis;Fili Redemptor mundi Deus, miserere nobis,Spiritus sancte Deus, miserere nobis;Sancte Trinitas unus Deus, miserere nobis"—
the Tenor sang softly to himself as he slowly pursued his way.
He had some sort of a vague idea that he would like to go and look at the quaint old market-place by moonlight; and when he reached it, he stopped at the corner, interrupting his song to gaze in artistic appreciation at the silent scene before him, at the heavy masses of shade interspersed with intervals of mellow moonlight, and the angles of roof and spire and ornament cut clean as cameos against "the dark and radiant clarity of the beautiful night sky."
The market-place was an irregular square, picturesquely enclosed by tall houses of different heights and most original construction, among them the east end of a church and part of a public building of ancient date were crowded in; without incongruous effect, however, the moonlight, crisp, cool, and clear, having melted hue and form of all alike into one harmonious whole, to the charm of which even the covered stalls, used in the day's dealings and now packed in the middle of the square, and the deserted footways added something.
A tall, slender lad of sixteen or seventeen was standing on the edge of the pathway, just in front of the Tenor. He was the only other person about, and on that account the Tenor had looked at him a second time. As he did so, a young woman came suddenly round the corner, and accosted the boy.
"Qu'il est beau!" she exclaimed, laying her hand on his arm, and smiling up into his face admiringly.
The Boy stepped back to avoid her, with an unmistakable gesture of disgust, and in doing so, he accidentally stumbled up against the Tenor.
He turned round, and apologised confusedly.
The Tenor raised his hat, and answered courteously. They were standing together side by side now, and remained so for some seconds, silently surveying the scene; and then the Tenor all unconsciously began again to sing:
"Sancta Maria," he entreated, "Sancta Dei Genetrix, Sancta Virgo virginum, ora pro nobis."
The girl had been wandering off again, but at the first note of the supplication she stopped. A chord of memory stirred. She knew the words, she knew the tune. She had sung them both herself often and often at home in France. She was a Child of Mary then—and now?
As the Tenor finished the last note of the phrase and paused, she clasped her hands convulsively, and gasped: "O mon Dieu! mon Dieu! ayez pitié de moi!"
Her half-inarticulate cry did not reach the Tenor and the Boy, neither had they observed her distress, for just at that moment, the city clock struck one, and both had raised their heads involuntarily In expectation of the chime. And presently out upon the night it rolled, a great wave of sound, swelling and spreading, muffled by distance somewhat, but still distinctly sweet and insistent:
[Illustration: (musical notation); lyrics: He, watch-ing o-ver Is—ra—el, slumbers not, nor sleeps.]
"Do you believe it?" said the Boy, glancing toward the girl, and repeating the gesture of disgust with which he had shrunk from her when she accosted him.
The Tenor lifted his hat, and brushed his hand back over his hair. "Do I believe it in spite ofthat?you would say," he answered, considering the girl with quiet eyes, "Yes, I believe it," he declared, "in spite ofthat, which has puzzled older heads than yours."
With which he turned to retrace his steps, taking up the Litany of the Blessed Virgin once more as he went, the supplication: "Agnus Dei, qui tollis peccata mundi, miserere nobis," being audible long after he was out of sight.
The Boy remained as he had left him for some time, apparently lost in thought; and the girl still stood a little way off in a dejected attitude, her hands clasped before her, her eyes fixed on the ground. She looked ill and spiritless. The Boy, glancing at her carelessly, wondered at the intent expression of her face; he did not perceive that she was praying, but she was,
The midnight stillness deepened about those two; there was not another living creature to be seen. The irregular old buildings on every side looked ruinous in the shadowy moonlight, and the whole market-place presented to the Boy a picture of desolation which chilled him. He was about to turn away with a last cursory glance at the other solitary figure, when something suddenly occurred which arrested his attention. It seemed to startle him too, for he sprang back, with prompt agility, into a dark doorway behind him, from whence he watched what followed with the keenest interest, being careful, however, to conceal himself the while. He had not felt any movement of pity or kindly compassion for the girl; perfect indifference had succeeded the first sensation of repugnance; he would have left her there to any fate that might await her, and would have expected all right-minded people to do the same. It was therefore with unmitigated astonishment that he beheld the scene which was now being enacted before him. They were no longer alone. A tall and graceful lady of most dignified bearing, with a countenance of peculiar serenity and sweetness, had approached from the opposite direction, and was standing beside the girl, speaking to her evidently, but the Boy was too far off to hear what was said. He could see, however, that the girl's whole attitude had changed. She was no longer dejected, but eager: and she gazed in the lady's face as she listened to her words with an expression of admiration and wonder, one had almost said of adoration, upon her own, as though it were a heavenly visitant who had hailed her. The lady, as she spoke, pointed to a street opposite, and the girl cast a quick glance in that direction; she seemed to be measuring a distance she was impatient to traverse, and moved a step forward at the same time, uttering some short sentence with rapid gesticulation. The pantomime was perfectly intelligible to the Boy, who understood that she was feverishly anxious to carry out some intention on the instant. The lady seemed to hesitate, then, laying her beautiful white ungloved hand on the girl's shoulder, and looking into her face, she spoke again earnestly. The girl answered with passionate protestations, and then the lady smiled, satisfied apparently, and led the way in the direction to which she had pointed, the girl following in haste. Her hat had fallen back, her hair was loosened, her countenance beamed with enthusiasm, as the Boy observed. He was stealing softly after them, skipping from shadow to shadow, in great enjoyment of the whole adventure.
The lady took the girl to a long low rambling house beside a church, at the door of which she knocked. It was opened immediately by a singularly venerable looking old man, evidently a priest, with a fine though rugged face, instinct with zeal and benevolence. He had his hat in his hand, and was just coming out; but when he saw who had knocked, he stopped short, and bowed deferentially. The girl sank down upon the doorstep as if exhausted.
"I have brought Marie Cruchot home, father," the lady said.
"Ah, my daughter, is that you? We have been expecting you for many days," the old man exclaimed in French, taking the girl's hand and raising her gently as he spoke. "I have prayed for you day and night without ceasing, and only just now, as I passed the convent, I went to ask the night portress for tidings of our wandering sheep, and specially mentioned you. But enter. The good sisters are waiting for you, and will welcome you with joy."
One of two sisters of charity, who were standing behind the priest, now came forward and kissed the girl. The old man raised his hat, and, looking up into the clear depths of the quiet sky, murmured a blessing, and went his way. And then the door was closed.
"Humph!" said the Boy, who was lurking up an entry opposite. "So that is what they do at night, is it? and that is the young person who sold her sister Louise to Mosley Menteith. Now I am beginning to know the world; and what an extraordinary old world it is, to be sure! One half seems to be always kept busy mending the mischief the other half has made."
He peeped cautiously out of the entry, looking for the lady, but she had disappeared, and night and silence reigned supreme.
All that the Tenor had witnessed of the scene in the market-place made little or no impression on him, and he would probably never have thought of it again had he not encountered the Boy a few nights later, standing, idly observant as before, at the same time and almost in the same place.
The Tenor's first impulse was to pass on without speaking, but the Boy looked at him, and there was something in the look, half shy, half appealing, which caused him to stop, and having stopped, he was obliged to speak.
To his first commonplace remark the Boy answered nervously, and with quick glances instantly averted, as if he were afraid to meet the Tenor's eyes. The latter continued to talk, however, and after a little the Boy's timidity wore off, and his manner became assured.
"This is a curious old place, is it not?" he remarked; "and curiously named if you consider how very littlequestthere is formorninghere, for the new day which would bring the light of truth after the darkness of error."
"It never struck me that the name could have any allegorical significance," the Tenor answered prosaically. "I believe it used to be Morn and Quest. It stands at the junction of the two rivers, you know, or rather just below it. They run their united race from hence to the sea."
"I know," said the Boy. "But it really is a romantic old place, especially by moonlight; and it teems with historical associations, as the guidebook has it, with its cathedral, cloisters, castle, and close—the closest in England, they say. Don't you feel remote from the world when you get in there, and the four old gates are shut upon you? The water-gate is the most interesting to me."
"Two of the others are architecturally beautiful where they haven't been spoilt by restoration," the Tenor rejoined.
"Ah!" the Boy ejaculated, and then continued boyishly: "You're not a native evidently, or you wouldn't speak so moderately. The inhabitants boast themselves black in the face about everything in the city. They made me believe that the whole earth began here originally, and that it was also the point of departure for the sea. It did wash their walls on the southern side once upon a time; but the sinfulness of the people compelled it to retire ages ago, and it has since enjoyed a purer moral atmosphere twenty miles away."
"Indeed," said the Tenor. "I did not know that the sea was so fastidious!"
"Oh, yes, it is, naturally," the Boy declared; "but it cannot choose its position for itself always any more than we can. But people are more entertaining than places," he pursued; "don't you think so? Now these people, how Godfearing and orthodox they are, and how admirably they make religion part of their daily life in the matter of stretching a point and using the right of Christian charity to be lenient when a too rigorous adhesion to principle would injure their interest. Their chief confectioner retired from business the other day, but they would not give their custom to his successor at first because of his religious opinions. They forsook him for his atheism, in fact; but in a very short time they returned to him for his ice-creams, which are excellent. If you ever feel any doubt about life being worth living, go and get one. It will reassure you."
They had been strolling on as they talked, and now the Tenor turned to look at his companion, being about to answer him, when something in the Boy's face struck him as familiar, and he paused, knitting his brows in a perplexed effort to think what it was. Measured beside himself the Boy was rather taller than he looked, but very slender, and his hands and feet were too small. He had dark eyebrows, peculiarly light luxuriant hair, and, as a natural accompaniment, a skin of extreme fairness and delicacy. In fact, he was too fair for his age, it made him look effeminate; and had it not been for the dark eyebrows and eyelashes his colouring would have been insipid. As it was, however, there was no lack of character in his face; and you would have called him "a pretty boy" while thinking it high time he had grown out of his prettiness. This was the Tenor's reflection, but his too earnest gaze apparently disconcerted the Boy, who returned it with one quick anxious glance, then seemed to fake fright, and finally bolted, leaving the Tenor alone in the road. "That young rascal is out without leave, and is afraid of being recognized," he concluded.
It was some weeks before they met again, and during the interval the Tenor often thought of the Boy with curiosity and interest. There was something unusual in his manner and appearance which would have attracted attention even if his conversation had not been significant, and that it was significant the Tenor discovered by the continual recurrence to his mind of some one or other of the Boy's observations. He had not tried to find out who the Boy was, interest not having stirred his characteristic apathy in such matters to that extent, but he looked for him continually both by day and night, his thoughts being pretty equally divided between him and the lady whose brilliant glance had had such a magical effect upon him the first time he encountered it. She came to the cathedral regularly now, and always sat in the canon's pew; and always when he sang she looked at him, and he knew that the look was an expression of appreciation and thanks. He knew, too, that the day she did not come would be a blank day for him.
The moon had grown old, but the nights were still scented by the lime-trees when the Tenor met the Boy again. He had begun to believe that the Boy did not live in Morningquest; and, as often happens, he was thinking of him less than usual on this particular occasion, and hence he came upon him unawares.
The Boy was lolling against the iron railings that enclosed the grassy space round which the old lime-trees grew, in the middle of one arm of the Close. It was a bright, clear night, but chilly, and he was wrapped up in a greatcoat which lent a little substance to his slender figure. The Tenor would have passed him without recognizing him, but for his sandy hair, which shone out palely against the bark of one of the trees.
"I was waiting for you," the Boy said. "Why are you so late to-night?"
"How do you know I am later than usual to-night?" he asked.
"Because, generally, you come out about ten o'clock, and it is nearly twelve now."
"How do you happen to know I generally come out about ten o'clock?"
"Oh," the Boy answered coolly, "I watched you.' I have been studying your habits in order to find out what manner of man you are; and I think you'll do," he added patronizingly, with a wise shake of the head. "I guess you were looking for me too, weren't you?"
The Tenor smiled again, and, lifting his hat, brushed his hand back over his hair. "What makes you think so?" he asked.
"I am accustomed to that sort of thing," the Boy replied, with a twinkle in his eyes. "People who meet me once try, as a rule, to cultivate my acquaintance," with which he raised himself from his lolling posture, and added: "I'll walk up and down with you, if you like, but you must give me your arm. I require support."
"Why? are you tired? What have you been doing to-day?" the Tenor asked as he acquiesced, smiling in his grave way, for the Boy pleased him.
"Oh, well"—considering—"I got up this morning."
"That was a serious business!"
"It was"—with emphasis—"for I had to settle a serious question before I arose. I had to make up my mind about free will and predestination. If I could believe in predestination I thought I might have breakfast in bed without self-reproach; but if it were a matter of free will, I felt I should be obliged to get up."
"And how did you settle it?" The tenor asked.
"I didn't settle it," the Boy replied, "for just as I was coming to a conclusion the breakfast bell rang, and the force of habit compelled me to jump out of bed in a hurry. I don't callthatfree will! And I think, on the whole, predestination had the best of it, perhaps, for my breakfast was sent up to me after all, without any action on my part, and I partook of it in the silence and solitude of my own chamber, with an easy conscience, and the luxuries of an open window and a book. I suppose you can do that every day if you like? You have no one to interfere with you."
"I have no one to interfere with me," the Tenor repeated, thoughtfully,"Perhaps it would be better for me if I had."
"By better you mean happier," the Boy responded, clasping both hands round the Tenor's arm.
The latter looked down at him, wondering a little, but not displeased.
They were walking in the shadow of the houses just then, and could not see each other's faces, but the Tenor's heart warmed more and more to this curious Boy, and he pressed the hand that rested on his arm a little closer. It was a long time since the grave, large-hearted, earnest man had known anyone so young and spontaneous, or felt a touch of human sympathy, and in both he found refreshment—a something of that something which he knew he needed but could not name.
They took a turn up and down in silence, and then the Boy began again, boyishly: "I say, do you suffer from nerves? You made rather a bungle of it the other day, didn't you?"
"You mean when I broke down in that anthem? Were you there? Where did you sit?"
"With the distinguished strangers, of course."
"I did not see you."
"Did you look behind you?"
"No. But are you a stranger here?"
"Well, not exactly," said the Boy, with a great affectation of candour.
They had passed out into the open now, and the Tenor could see the Boy's face. He had glanced at him as we do at the person we speak to, but something he saw arrested his glance, and caused him to look again keenly and closely—the something that had perplexed him before.
The Boy returned his gaze smiling and unabashed. "She put you out, didn't she?" he asked with a grin. "Verily, she hath eyes—at least, I've been told so; but I am no judge of such things myself."
The puzzled look passed from the Tenor's face. "I know what it is," he said. "You are exactly like her."
The Boy laughed. "I meant to keep it a secret. I was going to make a mystery of myself," he said; "but faculties like yours are not to be baffled, and since you have observed so much, I might as well confess that there are two of us, twins. They call us the Heavenly Twins."
"What, signs of the Zodiac?" said the Tenor.
"No, signs of the times," said the Boy.
There was a little pause and then the Tenor observed: "I should hardly have thought you were twins, except for the likeness. Your sister looks older than you do."
"Well, you see, she's so much more depraved," said the Boy. "And her lovely name is Angelica—excuse me. I must laugh." He slipped his hand from the Tenor's arm, leant his back against a railing, and exploded. "Excuse me," he repeated, when he could contain himself. "I have suffered from this affliction all my life. I can't help laughing."
"So it seems," said the Tenor, "May I ask what provoked this last attack of your malady?"
Before he could answer, they were accosted by a respectable looking man, a small farmer from a distance probably, who was making the most of a rare opportunity by trying to see as much as he could of the cathedral in the dark.
"I beg your pardon, sir," he said—the Boy was all gravity in a moment—"but could you tell me what flying buttresses are."
"A sign of rain," said the Boy, whereupon the Tenor seized him by the scruff of the neck and shook him incontinently. For a moment after he was released, the Boy seemed to be overcome by astonishment; but this was rapidly succeeded by an attack of the malady he had declared to be congenital, apparently brought on by the shock of the chastisement, and the Tenor, who had walked on a little way with the countryman answering his questions, left him laughing all over. He waited, leaning against the railing, until the Tenor returned.
"You little wretch—" the latter began.
"That's right, don't make a stranger of me," the Boy interrupted. "Treat me like a younger brother. You make me feel that I have succeeded in establishing confidential relations between us, which is what I want."
The Tenor was about to reply, but his voice was drowned by a sudden clangour of the bells above them. The clock struck, the chime rang, and while they waited listening, the Tenor raised his hat. They were standing at the corner of the cloisters, looking up to the clock tower and its tapering spire, which surmounted the Norman façade and entrance to the south transept.
"I must go," the Boy said, when he could hear himself speak.
"Will you not come in—to my house—I am afraid I am very wanting in hospitality," the Tenor exclaimed. "I should have asked you before. I live close by. I should be so glad—"
"Not to-night," the Boy interrupted hastily; "another time. Good-bye!"
When next the Tenor saw Angelica after he had learnt that she was the Boy's sister, he felt that a new interest had been added to her attractions.
It was on a Saturday afternoon in the cathedral, as usual, and she came in late. But almost as soon as she had taken her seat she looked at the Tenor with an earnest, anxious glance that reminded him of her brother, and her colour deepened. The Boy had told her then, the Tenor thought, and he was glad she knew that they had met; it was a bond of union which seemed to bring her nearer.
He noticed now how like in feature the brother and sister were. The girl looked taller as well as older, and was altogether on a larger scale, her figure being amply developed for her age, while the Boy's was fragile to a fault; her hair was dark too, while his was light; but with these slight differences there was likeness enough to show that they were twins. They both had the same shaped eyes, the same straight, well-defined, dark eyebrows and long lashes, the same features, the same clear skin and even teeth; but the expression was different. There was never any devilment in the girl's face; it was always pale and tranquil, almost to sadness, as the Tenor saw it, standing out in fair relief against the dark oak carving of the stalls. Her movements were all made, too, with a certain quiet dignity that seemed habitual. In the Boy, on the contrary, there was no trace of that graceful attribute. He threw himself about, lolled, lollopped, and gesticulated, with as much delight in the free play of his muscles as if he were only let out to exercise them occasionally; and it seemed as if he must always be at daggers drawn with dignity. But such a slender intellectual creature could not without absurdity acquire the ponderous movements and weight of manner of smaller wits and duller brains. In the girl, quiescence was the natural outcome of womanly reserve; in the Boy, it would have been mere affectation. His lightness and brightness were his great charm at present, a charm, however, which was much enhanced by moments of thoughtfulness, which gave glimpses of another nature beneath, with more substantial qualities. The Tenor had soon perceived that he was not all mischief, romp, and boyishness; all that was on the surface; but beneath there was a strong will at work with some purpose, or the Tenor, was much mistaken; and there was daring, and there was originality. This was the Tenor's first impression, and further acquaintance only confirmed it.
Having formed his opinion of the Boy's abilities, the Tenor began to make plans for his future, and the selflessness of the man's nature showed itself in nothing more clearly, perhaps, than in the consideration he gave to the lad's career. His own had not cost him so much as a thought for years; but now he roused himself and became ambitious all at once for the Boy! He believed that there was the making of a distinguished man in him, and he allowed the hope of being able to influence him in some worthy direction to become as much a part of his daily life as another hope had become—a hope which was strongly felt but not yet acknowledged, except in so far as it took the form of a desire to see her, and made known its presence with force in the pang of disappointment which he suffered if by chance she failed to come as usual to the service on Saturday afternoon. He saw in the girl an ideal, and had found soul enough in the laughter-loving Boy to make him eager to befriend him.
And thus into the Tenor's life two new interests had found their way, and something which had hitherto been wanting to make the music of it perfect was heard at last in his wonderful voice when he sang.
About this time the weather changed; the nights were wet for a week, and when it cleared up the Tenor had begun to do some work for the dean which kept him at home in the evenings, so that he had no opportunity of seeing the Boy, who only seemed to come abroad at night, for some little time. He saw his sister, however, in the cathedral regularly once a week, and always she gave him a friendly glance, by which his days were rounded as by a blessing, and he felt content. His being so was entirely characteristic. Another man in his place would have lost the charm of the present in anxiety to reach some future which should be even more complete. But the Tenor took no thought for the morrow; each day as it came was a joy to him, and his hopes, if he had any, were a part of his peace.
The work he was doing for the dean was interesting. He was making drawings to illustrate a history of Anglo-Norman times which the dean was writing. He drew well and with great facility; but these drawings, many of which were architectural, required special care and accuracy, with the closest attention to detail, which made the work fatiguing, particularly as he had to do it at night, his only leisure time just then; and more than once he had tired himself out, and been obliged to put it away and rest. On one of these occasions, instead of going to bed, he stretched himself in an easy-chair beside the open French window which looked out upon the cathedral, and prepared to indulge in the quiet luxury of a pipe while he rested his weary eyes. The great cathedral towered above him, and from where he sat the Tenor caught a beautiful glimpse of it anglewise, of the south transept and tower and spire; the rich perpendicular windows of the clerestory, the bold span of the flying buttresses rising out of the plain but solid Norman base, every detail of which he knew and appreciated.
It was a fair, still, starry night without, and the light air that blew in upon him was sweet and refreshing. His mind wandered from subject to subject—a sleepy sign—as he smoked, and presently he put down his pipe and closed his eyes. He thought then that he had fallen asleep and was dreaming, and in his dream he fancied he heard himself sing. "This is a queer dream," he was conscious of saying. "That is my voice exactly. I have often wondered how it sounded to other people, and now I am listening to it myself, which is strange." But the strangest part of it was that the words to which the music shaped itself in his mind were not the words of any song he knew, but that expression of human nature which contains in itself some of the grandest harmony in the language:
"These our actors,As I foretold you, were all spirits, andAre melted into air, into thin air:And, like the baseless fabric of this vision,The cloud-capp'd towers, the gorgeous palaces,The solemn temples, the great globe itself;Yea, all which it inherit, shall dissolve;And, like this insubstantial pageant faded,Leave not a wreck behind. We are such stuffAs dreams are made on, and our little lifeIs rounded with a sleep."
The last words repeated themselves over and over again, on different notes and in another key each time, and with such powerful emphasis that at last it aroused the Tenor, upon whose sleepy brain the fact that it was not a voice but a violin to which he had been listening, dawned gradually, while his trained ear further recognized the tone of a rare instrument, and the touch of a master hand. He got up and went to the window. "Oh!" he exclaimed, "is it you?" and there was a world of pleasure in the exclamation. "Come in."
The Boy, who was standing in the road, opened the little garden gate, and entered. "I am glad you have relented," he said; "for I meant to play until I had softened your heart, and had persuaded you to take me in; and the hope deferred was making me sick."
"I was asleep," the Tenor answered. "Why didn't you come in? You must have known you would be welcome. Here is an easy-chair. Sit down. And, tell me, why do we only meet at night? What do you do with yourself all day?"
"I am not a daylight beauty," the Boy declared. "I look best at night."
"But seriously?" the Tenor persisted.
"Oh, my tutor, you know—Sandhurst—exams—and that kind of thing."
"You are going into the army then?"
But the Boy, smiling, put the question by. The easy, pleasure-loving, sensuous side of his nature was evidently uppermost, and when that was the case it was so natural for him to shirk a disagreeable subject, that the Tenor had not the heart to pursue it further.
"Won't you take your hat off?" he said presently.
The Boy put up both hands to it. "My head's a queer shape," he said, tapping it. "You won't want to examine it phrenologically, will you?"
"No," the Tenor answered, smiling. "Not if you object."
"I do object. I don't like to be touched."
The Tenor, still smiling, watched, him as he carefully removed his hat. His head was rather a peculiar shape. It was too broad at the back, and too large altogether for his slight frame, though probably the thickness of his fluffy light hair, which stood up all over it, innocent of parting as the Tenor's own, added considerably to this last defect. There was nothing so very extraordinary about it, however, and the Tenor did not see why he should be sensitive on the subject, and rather suspected that the boy was gravely poking fun at him; but as he could not be sure of this, and would not have hurt his feelings for the world, he forebore to make any remark.
The Boy glanced round the room. "What a wealthy luxurious fellow you are," he observed.
"These appearances of wealth, as you call it, are delusive," the Tenor answered. "I just happened to have money enough to furnish my house when I came here; but I am a very poor man now. I have little or nothing, in fact, but my salary for singing in the choir."
"Oh," said the Boy. "And you might be so rich with your voice."
The Tenor brushed his hand back over his hair.
"Are you lazy?" the Boy demanded.
"No." he answered, smiling again. The Boy kept him smiling perpetually.
"What is it, then? Why don't you work?"
"Well, I do work," the Tenor answered him.
"I mean, why don't you make money?"
"Oh—because I have no one to make it for."
"If you had"—and the Boy leant forward eagerly—"would you? Would you work for a lady who loved you if she gave herself to you?"
"I would work for my wife," said the Tenor.
"Are you engaged?" the Boy asked. There seemed no limit to his capacity for asking.
The Tenor shook his head, and shook the ashes out of his pipe at the same time.
"Are you in love?" the Boy persisted.
The Tenor made no reply to this impertinence, but a glow spread over his face, forehead and chin and throat.
The Boy, whom nothing escaped, leant back satisfied. "I know what it is," he said, "She's married, and you don't like to ask her to run away with you. I expect she would, you know, if you did."
The Tenor threw himself back in his chair and laughed.
His mirth seemed to jar on the Boy, who got up and began to pace about the room, frowning and dissatisfied.
"You look pale," the Tenor said. "Have you been ill since; I saw you?"
"No—yes," the Boy answered. "I had a bad cold. I was very sorry for myself."
The Tenor took up his violin, and examined it. "Where did you study?" he asked.
"Everywhere," was the ungraciously vague reply.
"I wish you would play again," the Tenor said, taking no notice of his ill-humour. "It would be a rare treat for a hermit like me."
"No," was the blunt rejoinder. "I don't want to make music. I want to explore."
"Well, make yourself at home," the Tenor said, humouring him good-naturedly.
"Makeme at home," the Boy replied. "Confidential relations, you know. You may smoke if you like."
"Oh, thank you," the Tenor answered politely, sitting down in his easy-chair, from which he had risen to look at the violin, and taking up his pipe again.
The Boy was rummaging about now, and, finding much to interest him, he presently recovered his temper, and began to banter his host. But even this outlet was scarcely sufficient for his superfluous life and energy, so he emphasized his remarks by throwing a stray cushion or two at the Tenor; he jumped over the chairs instead of walking round them, and performed an occasionalpas seul, or pirouette, in various parts of the room. When these innocent amusements palled upon him, he took up his violin and played a plaintive air, to which he chanted:
"There was a merry dromedaryWaltzing on the plain;Dromedary waltzing, dromedary prancing.And all the people said, it is a sign of rain,When they saw the good beast dancing;"
executing grotesque steps himself at the same time in illustration.
"Oh, Boy, forbear!" the Tenor exclaimed at last, "or you will be the death of me."
"That's it," the Boy responded cheerfully. "I mean to be life or death to you."
After this he sat down on a high-backed chair, with his hands in his pockets, his legs stretched out before him, and his chin on his chest, looking up from under his eyebrows at the Tenor thoughtfully. It was an interval of great gravity, and when he spoke again the Tenor looked for something serious.
"I say," he began at last.
The Tenor took his pipe from his mouth and waited, interrogatively.
"I say, I'm hungry."
The Tenor looked his dismay.
"Boys always are, you know," the youth added, encouragingly.
"And if there should be nothing in the house!" the poor Tenor ejaculated."I'll go and see."
He returned quite crestfallen. "Thereisnothing," he said; "at least nothing but bread—no butter even."
"I don't believe you," said the Boy, rousing himself from his indolent attitude.
"Boy, you mustn't say you don't believe me."
"But I don't," said the Boy. "I don't believe you know where to look. Are the servants out?"
"Yes, my solitary attendant doesn't sleep here."
"Then I'll go and look myself."
"Oh, do, if you like," said the Tenor, much amused. And thinking the Boy would enjoy himself best if he were left to rummage at his own sweet will, he took up a book, brushed his hand back over his shining hair, and was soon absorbed, But presently he was startled by a wild cry of distress from the kitchen, and, jumping up hastily, he went to see what was the matter.
He found the Boy standing at one end of the kitchen, clutching a vegetable dish, and gazing with a set expression of absolute horror at some object quite at the other end. The Tenor strained his own eyes in the same direction, but could not at first make anything out. At last, however, he distinguished a shining black thing moving, which proved to be a small cockroach.
"Well, youarea baby!" he exclaimed.
"I'm not," the Boy snapped. "It's an idiosyncrasy. I can't bear creepy crawly things. They give me fits."
"I begin to perceive, Boy, that you have a reason for everything," the Tenor observed, as he disposed of the innocent object of the Boy's abhorrence.
"Put it out of sight," the latter entreated, looking nauseated.
But as soon as the Tenor had accomplished his mandate, his good humour returned, and he began to beam again. "What a duffer you are!" he said, taking the lid off the dish he held in his hand. "You have no imagination. You never lifted a dish cover. Why, I've found a dozen eggs—fresh, for I broke one into a cup to see; and here are a whole lot of cold potatoes."
"It doesn't sound appetizing; cold potatoes and raw eggs!"
"Sound! It isn't sound you judge by in matters of this kind. Just you wait, and you shall see, smell, and taste."
"Well, if it please you," the Tenor answered lazily. "I see something already. You have lighted a fire."
"Yes, and I've used all the dry sticks," said the Boy, with great glee."Won't the old womanswearwhen she comes in the morning!"
The Tenor returned to his book, reflecting, as he prepared to resume it, on the wonderful provision of nature which endows the growing animal not only with such strong instincts of self-preservation, but with the power to gratify them, and to take itself off at the same time and be happy in so doing, thus saving those who have outgrown these natural proclivities from some of their less agreeable consequences.
Presently a hot red face appeared at the door. "Did you say you liked your eggs turned?" the Boy wanted to know.
"I didn't say; but I do, if you're frying them."
"And hard or soft?"
"Oh, soft."
"How many can you eat?"
"Half-a-dozen at least," the Tenor returned at random.
"And I can eat three"—with great gravity—"that will make nine, and leave three for your breakfast in the morning. I daresay you won't want more after such a late supper, I don't think I should myself."
"But do you mean me to understand that the voracity of the growing animal will be satisfied with less than I can eat?"
"Well, you see," the Boy explained apologetically, "the heat of the fire has taken a lot out of me."
"But the waste must be repaired."
"Yes, but the expenditure has been followed by a certain amount of exhaustion, and the power to repair the waste has yet to be generated; it will come as a sort of reaction of the organs which can only set in after a proper period of repose—a sort of interregnum of their energies, you know."
The Tenor threw back his golden head. "Oh, Boy!" he expostulated, "don't make me laugh again to-night, don't, please!"
The Boy was very busy for the next ten minutes, arranging the table, and quite in his element; cooing as he proceeded, and giving little muttered reasons to himself, in his soft contralto voice, for everything he did. That voice of his was wonderfully flexible; he could make it harsh, grating, gruffly mannish, and caressing as a woman's, at will, but the tone that seemed natural to it was the deep, mellow contralto into which he always relapsed when not thinking of himself. The Tenor thought it hardly rough enough for a boy of his age, but it was in harmony with his fragile form, and delicate, effeminate features.
"Whom the gods love die young," flashed through his mind as he watched him now, coming and going; and he sighed, it seemed so likely; and felt already that he should miss the Boy; and wondered, with retrospective self-pity, how he had managed to live at all with no such interest.
"A golden-headed, gray-eyed, white-toothed, fine-skinned son of the morning must be a sybarite," the Boy observed, entering the room at that moment; "so I bring flowers, and also salad, just cut and crisp."
"May I ask how you knew there was salad in my garden?"
"Well, you mayask," the Boy responded cheerfully; "but—let me see, though—perhaps I had better tell you. I found that out the last time I was here. Perhaps you don't know that I came? I wanted to discover the resources of the place, so I took advantage of your temporary absence on business one day, and inspected it."
"Where was I?" the Tenor asked.
"You were busy at the fire insurance office opposite."
"Do you mean the cathedral? Boy, I will not let you mock."
The Boy grinned. "It was the only time I could be at all sure of you," he pursued. "You were going to sing a solo. I saw it advertised in the paper, and laid my plans accordingly. But Iwasin a fright! I thought you might just happen to feel bad and be obliged to come out, and catch me. I felt that strongly when I was picking your flowers in the greenhouse."
He left the room before the Tenor recovered, and returned with a tray on which was the result of his enterprise.
"If you don't like eggs and potatoes fried as I fry them, you'll never like anything again in this world," he asserted confidently, helping the Tenor as he spoke. "The thing is to have the dripping boiling to begin with, you know," he continued—"(I'll only give you two eggs at a time)—then plunge them in, and as they brown take them off one by one and put them on a hot dish—I'm speaking of the potatoes now; but don't cover them up, it makes them flabby, and the great thing is to keep them crisp."
"They really are good," said the Tenor. But he had overestimated his capacity, and could only dispose of three of the eggs.
The Boy was disgusted. However, he said it did not matter, since he was there to sacrifice himself in the interests of science, and preserve the balance of nature by eating the rest himself, a feat he accomplished easily.
"Now this is what I call good entertainment for man and beast," he observed.
"May I ask which is the beast?" the Tenor ventured.
"Why, I am, of course," said the Boy. "Did you ever know a boy who wasn't half a beast?"
"Yes. It is all a matter of early association and surroundings."
"Well, if you knew the kind of moral atmosphere I have to breathe at home, you would know also how little you ought to expect of me. But what shall we drink?"
"There is some beer, I believe," the Tenor said dubiously.
"Burgundy is more in my line."
"Burgundy! A boy like you shouldn't know the difference.
"Aboylike me wouldn't, probably."
The Tenor smiled. "And what do you call yourself, pray? A man?" he asked.
"No; a bright particular spirit."
It was not inappropriate, the Tenor thought, and he got up. "It does not often happen so," he said; "but now I think of it I believe I have some Burgundy in the house. The dean sent me a dozen the last time I was out of sorts, and there is some left."
"I know," said the Boy. "It is in the cupboard under the stairs on the left hand side."
When the Tenor came back with the Burgundy the Boy settled himself in an easy-chair with a glass on the table beside him, and it was evident that his mood had changed. He was thoughtful for a little, sitting with solemn eyes, looking out at the cathedral opposite.
There was only one rose-shaded lamp left alight in the long low room, and the dimness within made it possible to see out into the clear night and distinguish objects easily.
"When I look out at that great pile and realize its antiquity, I suffer," the Boy said at last, "Do you know what it is, the awful oppression of the ages?"
The Tenor did not answer for a moment, then he said:
"I never see you at church."
"I should think not," the Boy replied, still speaking seriously. "You never see anyone but Angelica."
The Tenor flushed.
"Why do you never speak to that sweet young lady?" the Boy asked tentatively, after a little pause.
"I! How could I?"
"I fancy you ought to," the Boy went on, endeavouring to "draw" the Tenor."You can't expect her to make up to you, you know."
"Oh, Boy! how can you be so young!" the Tenor exclaimed, with a gesture of impatience, but still amused.
The Boy sipped his wine, and gazed into the glass, delighting in the rich deep colour. "I should think she would be delighted to make the acquaintance of so great an artist," he said.
The Tenor bowed ironically. "May I ask if you are pursuing your investigations as to what manner of man I am?" he asked.
"Well, yes," was the candid rejoinder; "I was. I suppose you think that you ought not to speak without an introduction. Well, say I gave you one."
The Tenor laughed. He felt that he ought to let the subject drop, and at the same time yielded to temptation.
"What would your introduction be worth?" he asked.
"Everything," the Boy rejoined. "I am on excellent terms with Angelica. We have always been inseparable, and I get on with her capitally; and she's not so easy to get on with, I can tell you," he added, as if taking credit to himself.
"When she is good she is very good indeed,But when she is naughty she is horrid.
"And just now she's mostly naughty. She isn't very happy."
The interest expressed in the Tenor's attitude was intensified, and inquiry came into his eyes.
"She is not very happy," the Boy pursued with extreme deliberation, "because you come no nearer."
"Boy, you are romancing," the Tenor said, with a shade of weariness in his voice.
"I am not," the Boy replied. "I know all that Angelica thinks, and it is of you—"
"Hush!" the Tenor exclaimed. "You must not tell me."
"But she—"
"I will not allow it."
"Well, there then, don't bite," said the Boy; "and I won't tell you against your will that she thinks a great deal about you"—thispresto, in order to get it out before the Tenor could stop him. "But I will tell you on my own account that I don't know the woman who wouldn't."
A vivid flush suffused the Tenor's face, and he turned away.
"I hope you never say things like that to your sister," he objected, after a time.
The Boy grinned. "Sometimes I do," he said, "only they're generally more so."
There was a long silence after this, during which the Tenor changed his attitude repeatedly. He was much disturbed, and he showed it. The Boy made a great pretence of sipping his wine, but he had not in reality taken much of it. He was watching the Tenor, and it was curious how much older he looked while so engaged. The Tenor must have noticed the change in him, which was quite remarkable, giving him an entirely different character, but for his own preoccupation. As it was, however, he noticed nothing.
"Boy," he began at last, in a low voice and hesitating, "I want you to promise me something." The Boy leant forward all attention. "I want you to promise that you will not say anything like that—anything at all about me to—"
"To Angelica?" The Boy seemed to think. "I will promise," he slowly decided, "if you will promise me one thing in return."
"What is it?"
"Will you promise to tell me everything you think about her."
The Tenor laughed.
"You might as well," the Boy expostulated. "I've got to look after you both and see that you don't make fools of yourselves. The youngness of people in love is a caution!" And I should like to see Angelica safely settled with you. A man with a voice like yours is a match for anyone. There are obstacles, of course; but they can be got over—if you will trust me."
"Oh, you impossible child!" the Tenor exclaimed.
"It is you who are impossible," the Boy said, in dudgeon. "You are too ideal, too content to worship from afar off as Dante worshipped Beatrice. I believe that was what killed her. If Dante had come to the scratch, as he should have done, she would have been all right."
"Beatrice was a married woman," the Tenor observed.
The Boy shrugged his shoulders, but just then the cathedral clock struck three, and he hastily finished his wine.
"I'll disperse," he said, when the chime was over. "Take care of my fiddle. You'll find the case under the sofa. I left it the last time I was here. By-the-bye, you should make the old woman stay at home to look after the place when you're out. Unscrupulous people might walk in uninvited, you know. Ta, ta," and the Tenor found himself alone.
It was no use to go to bed, he could not rest. His heart burned within him. It was no use to tell himself that the Boy was only a boy. He knew what he was saying, and he spoke confidently. He was one of those who are wiser in their generation than the children of light. And he had said—what was it he had said? Not much in words, perhaps, but he had conveyed an impression. He had made the Tenor believe that she thought of him. He believed it, and he disbelieved it. If she thought of him—he threw himself down on the sofa, and buried his face in the cushions. The bare supposition made every little nerve in his body tingle with joy. He ought not to indulge in hope, perhaps; but, as the Boy himself might have observed, you can't expect much sense from a man in that state of mind.
A few days later the Tenor saw his lady again in the canon's pew, and he was sure, quite sure, she tried to suppress a smile.
"That little wretch has told her, and she is laughing at my presumption," was his distressed conclusion. "I'll wring his neck for him when he comes again."
But when the service was over, and he had taken his surplice off, she passed him in the nave, so close that he might have touched her, and looked at him with eyes just like the Boy when he was shy; gave him a quick half-frightened look, and blushed vividly; gave him time to speak, too, had he chosen. But the Tenor was not the man to take advantage of a girlish indiscretion.
When he went home, however, he was glad. And he opened his piano and sang like one-inspired. "I am gaining more power in everything," he said to himself, "I could make a position for her yet."