A detachment of soldiers came towards her. Officers paced along by the side of the pavement; one of them jostled her slightly, as he passed, and said politely:
"I beg your pardon."
He was a very handsome man, and he gave himself no further concern on her account, which vexed her a little. And the thought came to her involuntarily: had he also a beloved? And suddenly she knew for a certainty that he had been with the girl he loved the previous night; also that he loved her only, and concerned himself with other women as little as Emil did.
She was now in front of the church. The notes of the organ came surging forth into the street. A carriage was standing there, and a footman was on the box. How came that carriage there? All at once, it was quite clear to Bertha that some definite connexion must have subsisted between it and Emil, and she resolved to leave the church before the conclusion of the Mass so as to see who might enter the carriage. She went into the crowded church. She passed forward between the rows of seats until she reached the High Altar, by which the priest was standing. The notes of the organ died away, the string orchestra began to take up the melody. Bertha turned her head in the direction of the choir. Somehow, it seemed strange to her that Emil should, incognito, so to speak, be playing the solo in a Haydn Mass here in the Lerchenfelder Church…. She looked at the female figures in the front seats. She noticed two—three—four young women and several old ladies. Two were sitting in the foremost row; one of them was very fashionably dressed in black silk, the other appeared to be her maid. Bertha thought that in any case the carriage must belong to that aristocratic old lady, and the idea greatly tranquillized her mind. She walked back again, half unconsciously keeping everywhere on the lookout for pretty women. There were still some who were passably good-looking; they all seemed to be absorbed in their devotions, and she felt ashamed that she alone was wandering about the church without any holy thoughts.
Then she noticed that the violin solo had already begun. He was now playing—he! he!… And at that moment she was hearing him play for the first time for more than ten years. And it seemed to her that it was the same sweet tone as of old, just as one recognized the voices of people whom one has not met for years. The soprano joined in. If she could only see the singer! It was a clear, fresh voice, though not very highly trained, and Bertha felt something like a personal connexion between the notes of the violin and the song. It was natural that Emil should know the girl who was now singing…. But was there not something more in the fact of their performing together in the Mass than appeared on the surface? The singing ceased, the notes of the violin continued to resound, and now they spoke to her alone, as though they wished to reassure her. The orchestra joined in, the violin solo hovered over the other instruments, and seemed only to have that one desire to come to an understanding with her. "I know that you are there," it seemed to say, "and I am playing only for you…."
The organ chimed in, but still the violin solo remained dominant over the rest. Bertha was so moved that tears rose to her eyes. At length the solo came to an end, as though engulfed in the swelling flood of sound from the other instruments, and it arose no more. Bertha scarcely listened, but she found a wonderful solace in the music sounding around her. Many a time she fancied that she could hear Emil's violin playing with the orchestra, and then it seemed quite strange, almost incredible, that she was standing there by a column, down in the body of the church and he was sitting at a desk up in the choir above, and the previous night they had been clasped in each other's arms, and all the hundreds of people there in the church knew nothing at all about it….
She must see him at once—she must! She wanted to wait for him at the bottom of the staircase…. She did not want to speak a word to him—no, but she wished to see him and also the others who came out—including the singer of whom she had been jealous. But she had got completely over that now; she knew that Emil could not deceive her….
The music had ceased; Bertha felt herself thrust forward towards the exit; she wanted to find the staircase, but it was at a considerable distance from her. Indeed, it was just as well that it was so … no, she would not have dared to do it, to put herself forward, to wait for him—what would he have thought of her? He certainly would not have liked it! No, she would disappear with the crowd, and would tell him in the evening that she had heard him play. She was now positively afraid of being observed by him. She stood at the entrance, walked down the steps, and went past the carriage, just as the old lady and her maid were getting into it. Bertha could not help smiling when she called to mind in what a state of apprehension the sight of that carriage had thrown her, and it seemed to her that her suspicion in regard to the carriage having been removed, all the others must necessarily flicker out! She felt as though she had passed through an extraordinary adventure and was standing now on the brink of an absolutely new existence. For the first time it seemed to her to have a meaning; everything else had been but a fiction of the imagination and became as nothing in comparison with the happiness which was streaming through her pulses, while she slowly sauntered from the church through the streets of the suburbs towards her hotel. It was not until she had nearly reached her destination that she noticed that she had gone the whole way as though lost in a dream and could scarcely remember which way she had taken and whether she had met any people or not.
As she was taking the key of her room the porter handed her a note and a bouquet of violets and lilac blossoms…. Oh, why had not she had a similar idea and sent Emil some flowers? But what could he have to write to her about? With a slight thrill of fear at her heart, she opened the letter and read: