Many years ago a young composer was sitting in a garden. All around bloomed beautiful roses, and through the gentle evening air the swallows flitted, twittering cheerily. The young composer neither saw the roses nor heard the evening music of the swallows; his heart was full of sadness and his eyes were bent wearily upon the earth before him.
"Why," said the young composer, with a sigh, "should I be doomed to all this bitter disappointment? Learning seems vain, patience is mocked,—fame is as far from me as ever."
The roses heard his complaint. They bent closer to him and whispered, "Listen to us,—listen to us." And the swallows heard him, too, and they flitted nearer him; and they, too, twittered, "Listen to us,—listen to us." But the young composer was in no mood to be beguiled by the whisperings of the roses and the twitterings of the birds; with a heavy heart and sighing bitterly he arose and went his way.
It came to pass that many times after that the young composer came at evening and sat in the garden where the roses bloomed and the swallows twittered; his heart was always full of disappointment, and often he cried out in anguish against the cruelty of fame that it came not to him. And each time the roses bent closer to him, and the swallows flew lower, and there in the garden the sweet flowers and little birds cried, "Listen to us,—listen to us, and we will help you."
And one evening the young composer, hearing their gentle pleadings, smiled sadly, and said: "Yes, I will listen to you. What have you to say, pretty roses?"
"Make your songs of us," whispered the roses,—"make your songs of us."
"Ha, ha!" laughed the composer. "A song of the roses would be very strange, indeed! No, sweet flowers,—it is fame I seek, and fame would scorn even the beauty of your blushes and the subtlety of your perfumes."
"You are wrong," twittered the swallows, flying lower. "You are wrong, foolish man. Make a song for the heart,—make a song of the swallows and the roses, and it will be sung forever, and your fame shall never die."
But the composer laughed louder than before; surely there never had been a stranger suggestion than that of the roses and the swallows! Still, in his chamber that night the composer thought of what the swallows had said, and in his dreams he seemed to hear the soft tones of the roses pleading with him. Yes, many times thereafter the composer recalled what the birds and flowers had said, but he never would ask them as he sat in the garden at evening how he could make the heart-song of which they chattered. And the summer sped swiftly by, and one evening when the composer came into the garden the roses were dead, and their leaves lay scattered on the ground. There were no swallows fluttering in the sky, and the nests under the eaves were deserted. Then the composer knew his little friends were beyond recall, and he was oppressed by a feeling of loneliness. The roses and the swallows had grown to be a solace to the composer, had stolen into his heart all unawares,—now that they were gone, he was filled with sadness.
"I will do as they counselled," said he; "I will make a song of them,—a song of the swallows and the roses. I will forget my greed for fame while I write in memory of my little friends."
Then the composer made a song of the swallows and the roses, and, while he wrote, it seemed to him that he could hear the twittering of the little birds all around him, and scent the fragrance of the flowers, and his soul was warmed with a warmth he had never felt before, and his tears fell upon his manuscript.
When the world heard the song which the composer had made of the swallows and the roses, it did homage to his genius. Such sentiment, such delicacy, such simplicity, such melody, such heart, such soul,—ah, there was no word of rapturous praise too good for the composer now: fame, the sweetest and most enduring kind of fame, had come to him.
And the swallows and the roses had done it all. Their subtle influences had filled the composer's soul with a great inspiration,—by means like this God loves to speak to the human heart.
"We told you so," whispered the roses when they came again in the spring. "We told you that if you sang of us the world would love your song."
Then the swallows, flying back from the south, twittered: "We told you so; sing the songs the heart loves, and you shall live forever."
"Ah, dear ones," said the composer, softly; "you spoke the truth. He who seeks a fame that is immortal has only to reach and abide in the human heart."
The lesson he learned of the swallows and the roses he never forgot. It was the inspiration and motive of a long and beautiful life. He left for others that which some called a loftier ambition. He was content to sit among the flowers and hear the twitter of birds and make songs that found an echo in all breasts. Ah, there was such a beautiful simplicity,—such a sweet wisdom in his life! And where'er the swallows flew, and where'er the roses bloomed, he was famed and revered and beloved, and his songs were sung.
Then his hair grew white at last, and his eyes were dim and his steps were slow. A mortal illness came upon him, and he knew that death was nigh.
"The winter has been long," said he, wearily. "Open the window and raise me up that I may see the garden, for it must be that spring is come."
It was indeed spring, but the roses had not yet bloomed. The swallows were chattering in their nests under the eaves or flitting in the mild, warm sky.
"Hear them," he said faintly. "How sweetly they sing. But alas! where are the roses?"
Where are the roses? Heaped over thee, dear singing heart; blooming on thy quiet grave in the Fatherland, and clustered and entwined all in and about thy memory, which with thy songs shall go down from heart to heart to immortality.
This is to tell of our little Mistress Merciless, who for a season abided with us, but is now and forever gone from us unto the far-off land of Ever-Plaisance. The tale is soon told; for it were not seemly to speak all the things that are in one's heart when one hath to say of a much-beloved child, whose life here hath been shortened so that, in God's wisdom and kindness, her life shall be longer in that garden that bloometh far away.
You shall know that all did call her Mistress Merciless; but her mercilessness was of a sweet, persuasive kind: for with the beauty of her face and the music of her voice and the exceeding sweetness of her virtues was she wont to slay all hearts; and this she did unwittingly, for she was a little child. And so it was in love that we did call her Mistress Merciless, just as it was in love that she did lord it over all our hearts.
Upon a time walked she in a full fair garden, and there went with her an handmaiden that we did call in merry wise the Queen of Sheba; for this handmaiden was in sooth no queen at all, but a sorry and ill-favored wench; but she was assotted upon our little Mistress Merciless and served her diligently, and for that good reason was vastly beholden of us all. Yet, in a jest, we called her the Queen of Sheba; and I make a venture that she looked exceeding fair in the eyes of our little Mistress Merciless: for the eyes of children look not upon the faces but into the hearts and souls of others. Whilst these two walked in the full fair garden at that time they came presently unto an arbor wherein there was a rustic seat, which was called the Siege of Restfulness; and hereupon sate a little sick boy that, from his birth, had been lame, so that he could not play and make merry with other children, but was wont to come every day into this full fair garden and content himself with the companionship of the flowers. And, though he was a little lame boy, he never trod upon those flowers; and even had he done so, methinks the pressure of those crippled feet had been a caress, for the little lame boy was filled with the spirit of love and tenderness. As the tiniest, whitest, shrinking flower exhaleth the most precious perfume, so in and from this little lame boy's life there came a grace that was hallowing in its beauty.
Since they never before had seen him, they asked him his name; and he answered them that of those at home he was called Master Sweetheart, a name he could not understand: for surely, being a cripple, he must be a very sorry sweetheart; yet, that he was a sweetheart unto his mother at least he had no doubt, for she did love to hold him in her lap and call him by that name; and many times when she did so he saw that tears were in her eyes,—a proof, she told him when he asked, that Master Sweetheart was her sweetheart before all others upon earth.
It befell that our little Mistress Merciless and Master Sweetheart became fast friends, and the Queen of Sheba was handmaiden to them both; for the simple, loyal creature had not a mind above the artless prattle of childhood, and the strange allegory of the lame boy's speech filled her with awe, even as the innocent lisping of our little Mistress Merciless delighted her heart and came within the comprehension of her limited understanding. So each day, when it was fair, these three came into the full fair garden, and rambled there together; and when they were weary they entered into the arbor and sate together upon the Siege of Restfulness. Wit ye well there was not a flower or a tree or a shrub or a bird in all that full fair garden which they did not know and love, and in very sooth every flower and tree and shrub and bird therein did know and love them.
When they entered into the arbor, and sate together upon the Siege of Restfulness, it was Master Sweetheart's wont to tell them of the land of Ever-Plaisance, for it was a conceit of his that he journeyed each day nearer and nearer to that land, and that his journey thitherward was nearly done. How came he to know of that land I cannot say, for I do not know; but I am fain to believe that, as he said, the exceeding fair angels told him thereof when by night, as he lay sleeping, they came singing and with caresses to his bedside.
I speak now of a holy thing, therefore I speak truth when I say that while little children lie sleeping in their beds at night it pleaseth God to send His exceeding fair angels with singing and caresses to bear messages of His love unto those little sleeping children. And I have seen those exceeding fair angels bend with folded wings over the little cradles and the little beds, and kiss those little sleeping children and whisper God's messages of love to them, and I knew that those messages were full of sweet tidings; for, even though they slept, the little children smiled. This have I seen, and there is none who loveth little children that will deny the truth of this thing which I have now solemnly declared.
Of that land of Ever-Plaisance was our little Mistress Merciless ever fain to hear tell. But when she beset the rest of us to speak thereof we knew not what to say other than to confirm such reports as Master Sweetheart had already made. For when it cometh to knowing of that far-off land,—ah me, who knoweth more than the veriest little child? And oftentimes within the bosom of a little, helpless, fading one there bloometh a wisdom which sages cannot comprehend. So when she asked us we were wont to bid her go to Master Sweetheart, for he knew the truth and spake it.
It is now to tell of an adventure which on a time befell in that full fair garden of which you have heard me speak. In this garden lived many birds of surpassing beauty and most rapturous song, and among them was one that they called Joyous, for that he did ever carol forth so joyously, it mattered not what the day soever might be. This bird Joyous had his home in the top of an exceeding high tree, hard by the pleasant arbor, and here did he use to sit at such times as the little people came into that arbor, and then would he sing to them such songs as befitted that quiet spot, and them that came thereto. But there was a full evil cat that dwelt near by, and this cruel beast found no pleasure in the music that Joyous did make continually; nay, that music filled this full evil cat with a wicked thirst for the blood of that singing innocent, and she had no peace for the malice that was within her seeking to devise a means whereby she might comprehend the bird Joyous to her murderous intent. Now you must know that it was the wont of our little Mistress Merciless and of Master Sweetheart to feed the birds in that fair garden with such crumbs as they were suffered to bring with them into the arbor, and at such times would those birds fly down with grateful twitterings and eat of those crumbs upon the greensward round about the arbor. Wit ye well, it was a merry sight to see those twittering birds making feast upon the good things which those children brought, and our little Mistress Merciless and little Master Sweetheart had sweet satisfaction therein. But, on a day, whilst thus those twittering birds made great feasting, lo! on a sudden did that full evil cat whereof I have spoken steal softly from a thicket, and with one hideous bound make her way into the very midst of those birds and seize upon that bird Joyous, that was wont to sing so merrily from the tree hard by the arbor. Oh, there was a mighty din and a fearful fluttering, and the rest flew swiftly away, but Joyous could not do so, because the full evil cat held him in her cruel fangs and claws. And I make no doubt that Joyous would speedily have met his death, but that with a wrathful cry did our little Mistress Merciless hasten to his rescue. And our little Mistress belabored that full evil cat with Master Sweetheart's crutch, until that cruel beast let loose her hold upon the fluttering bird and was full glad to escape with her aching bones into the thicket again. So it was that Joyous was recovered from death; but even then might it have fared ill with him, had they not taken him up and dressed his wounds and cared for him until duly he was well again. And then they released him to do his plaisance, and he returned to his home in the tree hard by the arbor and there he sung unto those children more sweetly than ever before; for his heart was full of gratitude to our little Mistress Merciless and Master Sweetheart.
Now, of the dolls that she had in goodly number, that one which was named Beautiful did our little Mistress Merciless love best. Know well that the doll Beautiful had come not from oversea, and was neither of wax nor of china; but she was right ingeniously constructed of a bed-key that was made of wood, and unto the top of this bed-key had the Queen of Sheba superadded a head with a fair face, and upon the body and the arms of the key had she hung passing noble raiment. Unto this doll Beautiful was our little Mistress Merciless vastly beholden, and she did use to have the doll Beautiful lie by her side at night whilst she slept, and whithersoever during the day she went, there also would she take the doll Beautiful, too. Much sorrow and lamentation, therefore, made our little Mistress Merciless when on an evil day the doll Beautiful by chance fell into the fish-pond, and was not rescued therefrom until one of her beauteous eyes had been devoured of the envious water; so that ever thereafter the doll Beautiful had but one eye, and that, forsooth, was grievously faded. And on another evil day came a monster ribald dog pup and seized upon the doll Beautiful whilst she reposed in the arbor, and bore her away, and romped boisterously with her upon the sward, and tore off her black-thread hair, and sought to destroy her wholly, which surely he would have done but for the Queen of Sheba, who made haste to rescue the doll Beautiful, and chastise that monster ribald dog pup.
Therefore, as you can understand, the time was right busily spent. The full fair garden, with its flowers and the singing birds and the gracious arbor and the Siege of Restfulness, found favor with those children, and amid these joyous scenes did Master Sweetheart have to tell each day of that far-off land of Ever-Plaisance, whither he said he was going. And one day, when the sun shone very bright, and the full fair garden joyed in the music of those birds, Master Sweetheart did not come, and they missed the little lame boy and wondered where he was. And as he never came again they thought at last that of a surety he had departed into that country whereof he loved to tell. Which thing filled our little Mistress Merciless with wonder and inquiry; and I think she was lonely ever after that,—lonely for Master Sweetheart.
I am thinking now of her and of him; for this is the Christmas season,—the time when it is most meet to think of the children and other sweet and holy things. There is snow everywhere, snow and cold. The garden is desolate and voiceless: the flowers are gone, the trees are ghosts, the birds have departed. It is winter out there, and it is winter, too, in this heart of mine. Yet in this Christmas season I think of them, and it pleaseth me—God forbid that I offend with much speaking—it pleaseth me to tell of the little things they did and loved. And you shall understand it all if, perchance, this sacred Christmas time a little Mistress Merciless of your own, or a little Master Sweetheart, clingeth to your knee and sanctifieth your hearthstone.
When of an evening all the joy of day was done, would our little Mistress Merciless fall aweary; and then her eyelids would grow exceeding heavy and her little tired hands were fain to fold. At such a time it was my wont to beguile her weariness with little tales of faery, or with the gentle play that sleepy children like. Much was her fancy taken with what I told her of the train that every night whirleth away to Shut-Eye Town, bearing unto that beauteous country sleepy little girls and boys. Nor would she be content until I told her thereof,—yes, every night whilst I robed her in her cap and gown would she demand of me that tale of Shut-Eye Town, and the wonderful train that was to bear her thither. Then would I say in this wise:—
At Bedtime-ville there is a train of cars that waiteth for you, my sweet,—for you and for other little ones that would go to quiet, slumbrous Shut-Eye Town.
But make no haste; there is room for all. Each hath a tiny car that is snug and warm, and when the train starteth each car swingeth soothingly this way and that way, this way and that way, through all the journey of the night.
Your little gown is white and soft; your little cap will hold those pretty curls so fast that they cannot get away. Here is a curl that peepeth out to see what is going to happen. Hush, little curl! make no noise; we will let you peep out at the wonderful sights, but you must not tell the others about it; let them sleep, snuggled close together.
The locomotive is ready to start. Can you not hear it?
"Shug-chug! Shug-chug! Shug-chug!" That is what the locomotive is saying, all to itself. It knoweth how pleasant a journey it is about to make.
"Shug-chug! Shug-chug! Shug-chug!"
Oh, many a time hath it proudly swept over prairie and hill, over river and plain, through sleeping gardens and drowsy cities, swiftly and quietly, bearing the little ones to the far, pleasant valley where lieth Shut-Eye Town.
"Shug-chug! Shug-chug! Shug-chug!"
So sayeth the locomotive to itself at the station in Bedtime-ville; for it knoweth how fair and far a journey is before it.
Then a bell soundeth. Surely my little one heareth the bell!
"Ting-long! Ting-a-long! Ting-long!"
So soundeth the bell, and it seemeth to invite you to sleep and dreams.
"Ting-long! Ting-a-long! Ting-long!"
How sweetly ringeth and calleth that bell.
"To sleep—to dreams, O little lambs!" it seemeth to call. "Nestle down close, fold your hands, and shut your dear eyes! We are off and away to Shut-Eye Town! Ting-long! Ting-a-long! Ting-long! To sleep—to dreams, O little cosset lambs!"
And now the conductor calleth out in turn. "All aboard!" he calleth, "All aboard for Shut-Eye Town!" he calleth in a kindly tone.
But, hark ye, dear-my-soul, make thou no haste; there is room for all. Here is a cosey little car for you. How like your cradle it is, for it is snug and warm, and it rocketh this way and that way, this way and that way, all night long, and its pillows caress you tenderly. So step into the pretty nest, and in it speed to Shut-Eye Town.
"Toot! Toot!"
That is the whistle. It soundeth twice, but it must sound again before the train can start. Now you have nestled down, and your dear hands are folded; let your two eyes be folded, too, my sweet; for in a moment you shall be rocked away, and away, away into the golden mists of Balow!
"Ting-long! Ting-a-long! Ting-long!"
"All aboard!"
"Toot! Toot! Toot!"
And so my little golden apple is off and away for Shut-Eye Town!
Slowly moveth the train, yet faster by degrees. Your hands are folded, my beloved, and your dear eyes they are closed; and yet you see the beauteous sights that skirt the journey through the mists of Balow. And it is rockaway, rockaway, rockaway, that your speeding cradle goes,—rockaway, rockaway, rockaway, through the golden glories that lie in the path that leadeth to Shut-Eye Town.
"Toot! Toot!"
So crieth the whistle, and it is "down-brakes," for here we are at Ginkville, and every little one knoweth that pleasant waking-place, where mother with her gentle hands holdeth the gracious cup to her sleepy darling's lips.
"Ting-long! Ting-a-long! Ting-long!" and off is the train again. And swifter and swifter it speedeth,—oh, I am sure no other train speedeth half so swiftly! The sights my dear one sees! I cannot tell of them—one must see those beauteous sights to know how wonderful they are!
"Shug-chug! Shug-chug! Shug-chug!"
On and on and on the locomotive proudly whirleth the train.
"Ting-long! Ting-a-long! Ting-long!"
The bell calleth anon, but fainter and evermore fainter; and fainter and fainter groweth that other calling—"Toot! Toot! Toot!"—till finally I know that in that Shut-Eye Town afar my dear one dreameth the dreams of Balow.
This was the bedtime tale which I was wont to tell our little Mistress Merciless, and at its end I looked upon her face to see it calm and beautiful in sleep.
Then was I wont to kneel beside her little bed and fold my two hands,—thus,—and let my heart call to the host invisible: "O guardian angels of this little child, hold her in thy keeping from all the perils of darkness and the night! O sovereign Shepherd, cherish Thy little lamb and mine, and, Holy Mother, fold her to thy bosom and thy love! But give her back to me,—when morning cometh, restore ye unto me my little one!"
But once she came not back. She had spoken much of Master Sweetheart and of that land of Ever-Plaisance whither he had gone. And she was not afeared to make the journey alone; so once upon a time when our little Mistress Merciless bade us good-by, and went away forever, we knew that it were better so; for she was lonely here, and without her that far-distant country whither she journeyed were not content. Though our hearts were like to break for love of her, we knew that it were better so.
The tale is told, for it were not seemly to speak all the things that are in one's heart when one hath to say of a much-beloved child whose life here hath been shortened so that, in God's wisdom and kindness, her life shall be longer in that garden that bloometh far away.
About me are scattered the toys she loved, and the doll Beautiful hath come down all battered and grim,—yet, oh! so very precious to me, from those distant years; yonder fareth the Queen of Sheba in her service as handmaiden unto me and mine,—gaunt and doleful-eyed, yet stanch and sturdy as of old. The garden lieth under the Christmas snow,—the garden where ghosts of trees wave their arms and moan over the graves of flowers; the once gracious arbor is crippled now with the infirmities of age, the Siege of Restfulness fast sinketh into decay, and long, oh! long ago did that bird Joyous carol forth his last sweet song in the garden that was once so passing fair.
And amid it all,—this heartache and the loneliness which the years have brought,—cometh my Christmas gift to-day: the solace of a vision of that country whither she—our little Mistress Merciless—hath gone; a glimpse of that far-off land of Ever-Plaisance.
All who knew the beautiful and accomplished Aurora wondered why she did not marry. She had now reached the mature age of twenty-five years, and was in full possession of those charms which are estimated by all men as the choicest gifts a woman can possess. You must know that Aurora had a queenly person, delightful manners, an extensive education, and an amiable disposition; and, being the only child of wealthy parents, she should not have lacked the one thing that seemed necessary to perfect and round out her usefulness as a member of society.
The truth was, Aurora did not fancy the male sex. She regarded men as conveniences that might come handy at times when an escort to the theatre was required, or when a partner in a dance was demanded, when a fan was to be picked up, or when an errand was to be run; but the idea of marrying any man was as distasteful to Aurora as the proposition to marry a hat-rack or any other piece of household furniture would have been.
The secret of this strange aversion might have been traced to Aurora's maiden aunt Eliza, who had directed Aurora's education, and had from her niece's early youth instilled into Aurora's mind very distinct notions touching the masculine sex.
Aurora had numerous admirers among the young gentlemen who moved in the same elevated social circle as herself and frequently called at her father's house. Any one of them would gladly have made her his wife, and many of them had expressed a tender yearning for her life companionship. But Aurora was quick to recognize in each suitor some objectionable trait or habit or feature which her aunt Eliza had told about, and which imperatively prohibited a continuance of the young gentleman's attentions.
Aurora's father could not understand why his daughter was so hypercritical and fastidious in a matter which others of her sex were so apt to accept with charitable eyes. "They are bright, honest fellows," he urged, "worthy of any girl's love. Receive their advances kindly, my child, and having chosen one among them, you will be the happier for it."
"Never mind, Aurora," said Aunt Eliza. "Men are all alike. They show their meanness in different ways, but the same spirit of evil is in 'em all. I have lived in this world forty-six years, and during that time I have found men to be the most unfeeling and most untrustworthy of brutes."
So it was that at the age of twenty-five Aurora was found beautiful, amiable, and accomplished, but thoroughly and hopelessly a man-hater. And it was about this time that she became involved in that unhappy affair which even to this day is talked of by those who knew her then.
On the evening of a certain day Aurora attended the opera with her father and mother and Morgan Magnus, the young banker. Their box at the opera was so close to the orchestra that by reaching out her hand Aurora could have touched several of the instruments. Now it happened that a bassoon was the instrument nearest the box in which Aurora sat, and it was natural therefore that the bassoon attracted more of Aurora's attention than any other instrument in the orchestra. If you have never beheld or heard a bassoon you are to understand that it is an instrument of wood, of considerable more length than breadth, provided with numerous stops and keys, and capable of producing an infinite variety of tones, ranging from the depth of lugubriousness to the highest pitch of vivacity. This particular bassoon was of an appearance that bordered upon the somber, the polished white of his keys emphasizing the solemn black of his long, willowy body. And, as he loomed up above the serene bald head of the musician that played him, Aurora thought she had never seen a more distingué object.
The opera was "Il Trovatore," a work well calculated to call in play all that peculiar pathos of which the bassoon is capable. When Aurora saw the player raise the bassoon and apply the tiny tube thereunto appertaining to his lips, and heard him evoke from the innermost recesses of the bassoon tones that were fairly reeking with tears and redolent of melancholy, she felt a curious sentiment of pity awakened in her bosom.
Aurora had seen many an agonized swain at her feet, and had heard his impassioned pleadings for mercy; she had perused many a love missive wherein her pity was eloquently implored, but never had she experienced the tender, melting sentiment that percolated through her breast when she heard the bassoon mingling his melancholy tones with Manrico's plaints. The tears welled up into Aurora's eyes, her bosom heaved convulsively, and the most subtile emotions thrilled her soul.
In vain did young Magnus, the banker, seek to learn the cause of her agitation, and it seemed like a cruel mockery when Aurora's mother said: "You must remember, dear, that it is not real; it is only a play." After this memorable evening, wherein an unexpected and indescribable sweetness had crept into the young woman's life, Aurora more frequently insisted upon going to the opera. A strange fascination attracted her thither, and on each succeeding evening she found some new beauty in the bassoon, some new phase in his kaleidoscopic character to wonder at, some new accomplishment to admire. On one occasion—it was at the opera bouffe—this musical prodigy exhibited a playfulness and an exuberance of wit and humor that Aurora had never dreamed of. He ran the gamut of vocal conceit, and the polyglot fertility of his fancy simply astounded his rapt auditor. She was dazed, enchanted, spellbound. So here we find the fair Aurora passing from the condition of pity into the estate of admiration.
And now, having first conceived a wondrous pity for the bassoon, and then having become imbued with an admiration of his wit, sarcasm, badinage, repartee, and humor, it followed naturally and logically that Aurora should fall desperately in love with him; for pity and admiration are but the forerunners of the grand passion.
"Aunt Eliza," said Aurora one day, "you have instilled into my sensitive nature an indelible aversion to men, compared with which all such deleble passions as affection and love are as inconsequential as summer zephyrs. I believe men to be by nature and practice gross, vulgar, sensual, and unworthy; and from this opinion I feel that I shall never recede. Yet such a clinging and fragile thing is woman's heart that it must needs have some object about which it may twine, even as the gentle ivy twines about the oak. Now, as you know, some women there are who, convinced of the utter worthlessness of the opposite sex, dedicate their lives to the adoration of some art or science, lavishing thereupon that love which women less prudent squander upon base men and ungrateful children; in the painting of pictures, devotion to the drama, the cultivation of music, pursuit of trade, or the exclusive attention to a profession, some women find the highest pleasure. But you and I, dear aunt, who are directed by even higher and purer motives than these women, scorn the pursuits of the arts and sciences, the professions and trades, and lay our hearts as willing sacrifices upon the altars of a tabby cat and a bassoon. What could be purer or more exalted than a love of that kind?"
Having uttered this eloquent preface, which was, indeed, characteristic of the fair creature, Aurora told Aunt Eliza of the bassoon, and as she spoke of his versatile accomplishments and admirable qualities her eyes glowed with an unwonted animation, and a carmine hue suffused her beautiful cheeks. It was plain that Aurora was deeply in love, and Aunt Eliza was overjoyed.
"It is gratifying," said Aunt Eliza, "to find that my teachings promise such happy results, that the seeds I have so carefully sown already show signs of a glorious fruition. Now, while it is true that I cannot conceive of a happier love than that which exists between my own dear tabby cat and myself, it is also true that I recognize your bassoon as an object so much worthier of adoration than mankind in general, and your male acquaintances in particular, that I most heartily felicitate you upon the idol you have chosen for your worship. Bassoons do not smoke, nor chew tobacco, nor swear, nor bet on horse-races, nor play billiards, nor do any of those horrid things which constitute the larger part of a man's ambitions and pursuits. You have acted wisely, my dear, and heaven grant you may be as happy in his love as I am in tabby's."
"I feel that I shall be," murmured Aurora; "already my bassoon is very precious to me."
With the dawn of this first passion a new motive seemed to come into Aurora's life—a gentle melancholy, a subdued sentiment whose accompaniments were sighings and day-dreamings and solitary tears and swoonings.
Quite naturally Aurora sought Aunt Eliza's society more than ever now, and her conversation and thoughts were always on the bassoon. It was very beautiful.
But late one night Aurora burst into Aunt Eliza's room and threw herself upon Aunt Eliza's bed, sobbing bitterly. Aunt Eliza was inexpressibly shocked, and under a sudden impulse of horror the tabby sprang to her feet, arched her back, bristled her tail, and uttered monosyllables of astonishment.
"Why, Aurora, what ails you?" inquired Aunt Eliza, kindly.
"Oh, auntie, my heart is broken, I know it is," wailed Aurora.
"Come, come, my child," said Aunt Eliza, soothingly, "don't take on so. Tell auntie what ails you."
"He was harsh and cruel to me to-night, and oh! I loved him so!" moaned Aurora.
"A lovers' quarrel, eh?" thought Aunt Eliza; and she got up, slipped her wrapper on, and brewed Aurora a big bowl of boneset tea. Oh, how nice and bitter and fragrant it was, and how Aunt Eliza's nostrils sniffed, and how her eyes sparkled as she sipped the grateful beverage.
"There, drink that, my dear," said Aunt Eliza, "and then tell me all about it."
Aurora quaffed the bowl of boneset tea, and the wholesome draught seemed to give her fortitude, for now she told Aunt Eliza the whole story. It seems that Aurora had been to the opera as usual, not for the purpose of hearing and seeing the performance, but simply for the sake of being where the beloved bassoon was. The opera was Wagner's "Die Walküre," and the part played by the bassoon in the orchestration was one of conspicuous importance. Fully appreciating his importance, the bassoon conducted himself with brutal arrogance and superciliousness on this occasion. His whole nature seemed changed; his tones were harsh and discordant, and with malevolent obstinacy he led all the other instruments in the orchestra through a seemingly endless series of musical pyrotechnics. There never was a more remarkable exhibition of stubbornness. When the violins and the 'cellos, the hautboys and the flutes, the cornets and the trombones, said "Come, let us work together in G minor," or "Let us do this passage in B flat," the bassoon would lead off with a wild shriek in D sharp or some other foreign key, and maintain it so lustily that the other instruments—e. g., the violins, the 'cellos, the hautboys, and all—were compelled to back, switch, and wheel into the bassoon's lead as best they could.
But no sooner had they come into harmony than the bassoon—oh, melancholy perversity of that instrument—would strike off into another key with a ribald snicker or coarse guffaw, causing more turbulence and another stampede. And this preposterous condition of affairs was kept up the whole evening, the bassoon seeming to take a fiendish delight in his riotous, brutal conduct.
At first Aurora was mortified; then her mortification deepened into chagrin. In the hope of touching his heart she bestowed upon him a look of such tender supplication that, had he not been the most callous creature in the world, he must have melted under it. To his eternal shame, let it be said, the bassoon remained as impervious to her beseeching glances as if he had been a sphinx or a rhinoceros. In fact, Aurora's supplicating eyes seemed to instigate him to further and greater madness, for after that he became still more riotous, and at many times during the evening the crisis in the orchestra threatened anarchy and general disintegration.
Aurora's humiliation can be imagined by those only who have experienced a like bitterness—the bitterness of awakening to a realization of the cruelty of love. Aurora loved the bassoon tenderly, deeply, absorbingly. The sprightliness of his lighter moods, no less than the throbbing pathos of his sadder moments, had won her heart. She had given him her love unreservedly, she fairly worshipped him, and now she awakened, as it were, from a golden dream, to find her idol clay! It was very sad. Yet who that has loved either man or bassoon does not know this bitterness?
"He will be gentler hereafter," said Aunt Eliza, encouragingly. "You must always remember that we should be charitable and indulgent with those we love. Who knows why the bassoon was harsh and wayward and imperious to-night? Let us not judge him till we have heard the whys and wherefores. He may have been ill; depend upon it, my dear, he had cause for his conduct."
Aunt Eliza's prudent words were a great solace to Aurora. And she forgave the bassoon all the pain he had inflicted when she went to the opera the next night and heard him in "I Puritani," a work in which the grand virility of his nature, its vigor and force, came out with telling effect. There was not a trace of the insolence he had manifested in "Die Walküre," nor of the humorous antics he had displayed in "La Grande Duchesse"; divested of all charlatanism, he was now a magnificent, sonorous, manly bassoon, and you may depend upon it Aurora was more in love with him than ever.
It was about this time that, perceiving a marked change in his daughter's appearance and demeanor, Aurora's father began to question her mother about it all, and that good lady at last made bold to tell the old gentleman the whole truth of the matter, which was simply that Aurora cherished a passion for the bassoon. Now the father was an exceedingly matter-of-fact, old-fashioned man, who possessed not the least bit of sentiment, and when he heard that his only child had fallen in love with a bassoon, his anger was very great. He summoned Aurora into his presence, and regarded her with an austere countenance.
"Girl," he said, in icy tones, "is it true that you have been flirting with a bassoon?"
"Father," replied Aurora, with dignity, "I have never flirted with anybody, and you grievously wrong the bassoon when you intimated that he, too, is capable of such frivolity."
"It is nevertheless true," roared the old gentleman, "that you have conceived a passion for this bassoon, and have cherished it clandestinely."
"Itistrue, father, that I love the bassoon," said Aurora; "it is true that I admire his wit, vivacity, sentiment, soul, force, power, and manliness, but I have loved in secret. We have never met; he may know I love him, and he may reciprocate my love, but he has never spoken to me nor I to him, so there is nothing clandestine in the affair."
"Oh, my child! my child!" sobbed the old man, breaking down; "how could you love a bassoon, when so many eligible young men are suitors for your hand?"
"Don't mention him in the same breath with those horrid creatures!" cried Aurora, indignantly. "What scent of tobacco or odor of wines has ever profaned the purity of his balmy breath? What does he know of billiards, of horse-racing, of actresses, and those other features of brutal men's lives? Father, he is pure and good and exalted; seek not to debase him by naming him in the category of man!"
"These are Eliza's teachings!" shrieked the old gentleman; and off he bundled to vent his wrath on the maiden aunt. But it was little satisfaction he got from Aunt Eliza.
After that the old gentleman kept a strict eye on Aurora, and very soon he became satisfied of two things: First, that Aurora was sincerely in love with the bassoon; and, second, that the bassoon cared nothing for Aurora. That Aurora loved the bassoon was evidenced by her demeanor when in his presence—her steadfast eyes, her parted lips, her heaving bosom, her piteous sighs, her flushed cheeks, and her varying emotions as his tones changed, bore unimpeachable testimony to the sincerity of her passion. That the bassoon did not care for Aurora was proved by his utter disregard of her feelings, for though he might be tender this moment he was harsh the next—though pleading now he spurned her anon; and so, variable and fickle and false as the winds, he kept Aurora in misery and hysterics about half the time.
One morning the old gentleman entered the theatre while the orchestra was rehearsing.
"Who plays the bassoon?" he asked, in an imperative tone.
"Ich!" said a man with a bald head and gold spectacles.
"Your name?" demanded the old gentleman.
"Otto Baumgarten," replied he of the bald head and gold spectacles.
"Then, Otto Baumgarten," said the father, "I will give you one hundred dollars for your bassoon."
"Mein Gott!" said Herr Baumgarten, "dat bassoon gost me not half so much fon dot!"
"Never mind!" replied the old gentleman. "Take the money and give me the bassoon."
Herr Baumgarten did not hesitate a moment. He clutched at the gold pieces, and while he counted them Aurora's father was hastening up the street with the bassoon under his arm. Aurora saw him coming, and she recognized the idol of her soul; his silver-plated keys were not to be mistaken. With a cry of joy she met her father in the hallway, snatched the bassoon to her heart, and covered him with kisses.
"He makes no answer to your protestations!" said her father. "Come, give over a love that is hopeless; cast aside this bassoon, who is hollow at heart, and whose affection at best is only platonic!"
"You speak blasphemies, father," cried Aurora, "and you yourself shall hear how he loves me, for when I but put my lips to this slender mouthpiece there shall issue from my worshipped bassoon tones of such ineffable tenderness that even you shall be convinced that my passion is reciprocated."
With these words Aurora glued her beauteous lips to the slender blowpipe of the bassoon, and, having inflated her lungs to their capacity, breathed into it a respiration that seemed to come from her very soul. But no sound issued from the cold, hollow, unresponsive bassoon. Aurora repeated the effort with increased vigor. There came no answer at all.
"Aha!" laughed her father. "I told you so; he loves you not."
But then, with a last superhuman effort, Aurora made her third attempt; her eyeballs started from their sockets, big, blue veins and cords stood out on her lovely neck, and all the force and vigor of her young life seemed to go out through her pursed lips into the bassoon's system. And then, oh then! as if to mock her idolatry and sound the death knell of her unhappy love, the bassoon recoiled and emitted a tone so harsh, so discordant, so supernatural, that even Aurora's father drew back in horror.
And lo! hearing that supernatural sound that told her of the hopelessness of love, Aurora dropped the hollow, mocking scoffer, clutched spasmodically at her heart, and, with an agonizing shriek, fell lifeless to the floor.