IV
The prayer was a long one. It lasted, in various forms, for more than a year. At dawn, she would wake, and find offerings of fruit and flowers left at her door by her faithful worshiper; and often she would talk with him on the beach, telling him of her own country, about which he daily thirsted to hear more; for the more he learned, the more he seemed to share her own exile. Music, too, they shared, that universal language whose very spirituality is its chief peril; for it is emotion unattached to facts, and it may mean different things to different people; so that you may accompany the sacking of cities by the thunders of Wagner, or dream that you see angels in an empty shrine. Sometimes, in the evening, Rua would steal like a shadow from the shadows around her hut, where he had been waiting to see her pass, and would beg her to play the music of her own country. Then she would sing, and he would stand in the doorway listening, with every pulse of his body beating time, and one brown foot tapping in the dust.
One night, she had been wandering with Tinovao and Amaru by the lagoon, in which the reflected stars burned so brightly that one might easily believe the island hung in mid-heaven. She looked at them for a long time; then, with her arms round the two girls, who understood her words only vaguely, she murmured to herself: "What does it matter? What does anything matter when one looks up there? And life is going ... life and youth."
She said good-night to her friends, and laughingly plucked the red hibiscus flower from behind the shell-like ear of Tinovao as they parted. When she neared her door, a shadow stole out of the woods, and stood before her on the threshold. His eyes were shining like dark stars, the eyes of a fawn. "Music," he pleaded, "the music of your country."
Then he saw the red flower that she wore behind her ear, exactly as Tinovao had worn it. He stared at her, as Endymion must have stared at Diana among the poppies of Latmos, half frightened, half amazed. He dropped to his knees, as on that night when she had saved him. He pressed his face against her bare feet. They were cold and salt from the sea. But she stooped now, and raised him.
"In my country, in our country," she said, "love crowns a man. Happy is the love that does not bring the woman to the dust."
There followed a time when she was happy, or thought herself happy. It must have lasted for nearly seven years, the lifetime of that dancing ray of sunlight, the small son, whom she buried with her own hands under a palm-tree. Then Rua deserted her, almost as a child forsakes its mother. He was so much younger than herself, and he took a younger wife from among the islanders. When she first discovered his intention, Rachel laughed mockingly at herself, and said—also to herself, for she knew that she had somehow lost the power to make Rua understand her,—"Have you, too, become an advanced thinker, Rua?"
But Rua understood that it was some kind of mockery; and, as her mockery was keeping him away from his new fancy, and he was an undisciplined child, he leapt at her in fury, seized her by the throat, and beat her face against the ground. When she rose to her feet, with the blood running from her mouth, he saw that he had broken out two of her teeth. This effectively wrecked her beauty, and convinced him, as clearly as if he had indeed been an advanced thinker, that love must be free to develop its own life, and that, in the interests of his own soul, he must get away as quickly as possible. Thereafter, he avoided her carefully, and she led a life of complete solitude, spending all her days by the little grave under the palm-tree.
She lost all count of time. She only knew that the colors were fading from things, and that while she used to be able to watch the waves breaking into distinct spray on the reef, she could only see now a blur of white, from her place by the grave. She was growing old, she supposed, and it was very much like going to sleep, after all. The slow pulse of the sea, the voice of the eternal, was lulling her to rest.
When the schooner Pearl, with its party of irresponsible European globe-trotters, dropped anchor off the island, it was the first ship that had been seen there since the arrival of the Seamew, the first that had ever been seen there by many of the young islanders.
The visitors came ashore, shouting and singing, the men in white duck suits, with red and blue pareos fastened round their waists; the women in long flowing lava-lavas of yellow and rose and green, which they had bought in Tahiti, for they were going to do the thing properly. The lady in yellow had already loosened her hair and crowned herself with frangipanni blossoms. The islanders flocked around them, examining everything they wore, and decorating them with garlands of flowers, just as they had done with Rachel's party. The new arrivals feasted on the white beach of the lagoon, in what they believed to be island fashion; and when the stars came out, and the banjos were tired, they called on the islanders for the songs and dances of the South Seas. The lady in yellow tittered apprehensively, and remarked to her neighbor in green, that she had heard dreadful things about some of those dances. But she was disappointed on this occasion. The plaintive airs rose and fell around them, like the very voice of the wind in the palm trees; and the dancers moved as gracefully as the waves broke on the shore.
When the islanders had ended their entertainment, amidst resounding applause, one of the young native women called out a name that seemed to amuse her companions. They instantly echoed it, and one of them snatched a banjo from the hands of a white man. Then they all flew, like chattering birds, towards a hut, which had kept its door closed throughout the day.
They clamored round it, gleefully nudging each other, as if in expectation of a huge joke. At last, the door opened, and a gray, bent old woman appeared. She was of larger build than most of the islanders, and there was something in her aspect that silenced the chatterers, even though they still nudged each other slyly. The native with the banjo offered it to her almost timidly, and said something, to which the old woman shook her head.
"They say she is a witch," said the Captain of the Pearl, who had been listening to the conversation of the group nearest to him. "They want her to give us some of her music. She used to sing songs, apparently, before her man drove her out of his house, in the old days, but she has not sung them since. They think she might oblige our party, for some strange reason. Evidently, they've got some little joke they want to play on us. You know these Kanakas have a pretty keen sense of humor."
The visitors gathered round curiously. An island witch was certainly something to record in their diaries. The old woman looked at them for a moment, with eyes like burning coals through her shaggy elf-locks. They seemed to remind her of something unpleasant. A savage sneer bared her broken teeth. Then she took the banjo in her shaking hands. They were queerly distorted by age or some disease and they looked like the claws of a land-crab. She sat down on her own threshold, and touched the strings absently with her misshapen fingers. The faint sound of it seemed to rouse her, seemed to kindle some sleeping fire within her, and she struck it twice, vigorously.
The banjo is not a subtle instrument, but the sound of those two chords drew the crowd to attention, as a master holds his audience breathless when he tests his violin before playing.
"Holy smoke!" muttered the owner of the banjo, "where did the old witch learn to do that?"
Then the miracle began. The decrepit fingers drew half a dozen chords that went like fire through the unexpectant veins of the Europeans, went through them as a national march shivers through the soul of a people when its armies return from war. The haggard burning eyes, between the tattered elf-locks, moistened and softened like the eyes of a Madonna, and the withered mouth, with its broken teeth, began to sing, very softly and quaveringly, at first, but, gathering strength, note by note, the words that told of the love of a soldier who fought in Flanders more than a hundred years ago:
"Maxwelton's braes are bonnie, where early fa's the dew,
And it's there that Annie Laurie gi'ed me her promise true."
"But it's a white woman," said the lady in the yellow lava-lava, who had expected only the islanders to shock her, "a white woman gone native! How disgustin'!"
"Ssh!" said somebody else, "she's going to give us more."
The old witch hardly seemed conscious of their presence now. The slumbering sea of music within her was breaking up the ice which had sealed and silenced it for so long. She nodded at them, with shining eyes, and muttered thickly, an almost childlike boast:
"Oh, but I could do better than that once. My fingers are stiff. Wait!"
She went into her hut, and returned with the violin. Tremblingly, she opened a little packet of violin strings.
"It's my last," she said. "I've kept it very carefully; but it won't be as good as it used to be."
The throng watched her breathlessly, as she made ready, and the trade-wind hushed itself to sleep among the palms.
"When I was in Europe last," she said, "it seemed to me there was darkness coming. People had forgotten the meaning of music like this. They wanted discord and blood and wickedness. I didn't understand it. But you could see it coming everywhere. Horrible pictures. Women like snakes. Books like lumps of poison. Hatred everywhere. Even the musicians hated each other; and if they thought any one had genius, O ever so little of that—do you know—I think they wanted to kill. Of course, I chose wrong. I ought to have stayed and fought them. It's too late now. But you know the meaning of this? It's the cry over the lost city, before the windows were darkened and the daughters of music brought low."
"Crazy as a loon!" whispered the lady in the yellow lava-lava.
The old woman stood upright in the shadow of a tall palm-tree, a shadow that spread round her on the milk-white beach like a purple star. Then her violin began to speak, began to cry, through the great simple melody of the Largo of Handel, like the soul of an outcast angel.
At the climax of its infinite compassion, two strings snapped in quick succession, and she sank to the ground with a sob, hugging the violin to her breast, as if it were a child.
"That was the last," she said.
They saw her head fall over on her shoulder, as she lay back against the stem of the palm, an old, old woman asleep in the deep heart of its purple star of shadow; and they knew, instinctively, even before the Captain of the Pearl advanced to make quite sure, that it was indeed the last.