The Translation of a Savage, Complete

by Gilbert Parker

This was a song which in the later days at Greyhope, Lali had sung for Marion, first in her own language, with the few notes of an Indian chant, and afterwards, by the help of the celebrated musician who had taught her both music and singing, both of which she had learned but slowly, it was translated and set to music. Lali looked Marion steadily in the eyes for a moment and then rose. It cost her something to do this thing, for while she had often talked much and long with Richard about that old life, it now seemed as if she were to sing it to one who would not quite understand why she should sing it at all, or what was her real attitude towards her past—that she looked upon it from the infinite distance of affectionate pity, knowledge, and indescribable change, and yet loved the inspiring atmosphere and mystery of that lonely North, which once in the veins never leaves it—never. Would he understand that she was feeling, not the common detail of the lodge and the camp-fire and the Company’s post, but the deep spirit of Nature, filtering through the senses in a thousand ways—the wild ducks’ flight, the sweet smell of the balsam, the exquisite gallop of the deer, the powder of the frost, the sun and snow and blue plains of water, the thrilling eternity of plain and the splendid steps of the hills, which led away by stair and entresol to the Kimash Hills, the Hills of the Mighty Men?

She did not know what he would think, and again on second thought she determined to make him, by this song, contrast her as she was when he married her, and now—how she herself could look upon that past unabashed, speak of it without blushing, sing of it with pride, having reached a point where she could look down and say: “This was the way by which I came.”

She rose, and was accompanied to the piano by General Armour, Frank admiring her soft, springing steps, her figure so girlish and lissom. She paused for a little before she began. Her eyes showed for a moment over the piano, deep, burning, in-looking; then they veiled; her fingers touched the keys, wandered over them in a few strange, soft chords, paused, wandered again, more firmly and very intimately, and then she sang. Her voice was a good contralto, well balanced, true, of no great range, but within its compass melodious, and having some inexpressible charm of temperament. Frank did not need to strain his ears to hear the words; every one came clear, searching, delicately valued:

“In the flash of the singing dawn,
At the door of the Great One,
The joy of his lodge knelt down,
Knelt down, and her hair in the sun
Shone like showering dust,
And her eyes were as eyes of the fawn.
And she cried to her lord,
‘O my lord, O my life,
From the desert I come;
From the hills of the Dawn.’
And he lifted the curtain and said,
‘Hast thou seen It, the Yellow Swan?’
“And she lifted her head, and her eyes
Were as lights in the dark,
And her hands folded slow on her breast,
And her face was as one who has seen
The gods and the place where they dwell;
And she said: ‘Is it meet that I kneel,
That I kneel as I speak to my lord?’
And he answered her: ‘Nay, but to stand,
And to sit by my side;
But speak, thou hast followed the trail,
Hast thou found It, the Yellow Swan?’
“And she stood as a queen, and her voice
Was as one who hath seen the Hills,
The Hills of the Mighty Men,
And hath heard them cry in the night,
Hath heard them call in the dawn,
Hath seen It, the Yellow Swan.
And she said: ‘It is not for my lord;’
And she murmured, ‘I cannot tell,
But my lord must go as I went,
And my lord must come as I came,
And my lord shall be wise.’
“And he cried in his wrath,
‘What is thine, it is mine,
And thine eyes are my eyes
Thou shalt speak of the Yellow Swan!’
But she answered him: ‘Nay, though I die.
I have lain in the nest of the Swan,
I have heard, I have known;
When thine eyes too have seen,
When thine ears too have heard,
Thou shalt do with me then as thou wilt!’
“And he lifted his hand to strike,
And he straightened his spear to slay,
But a great light struck on his eyes,
And he heard the rushing of wings,
And his long spear fell from his hand,
And a terrible stillness came.
And when the spell passed from his eyes,
He stood in his doorway alone,
And gone was the queen of his soul,
And gone was the Yellow Swan.”

Frank Armour listened as in a dream. The song had the wild swing of savage life, the deep sweetness of a monotone, but it had also the fine intelligence, the subtle allusiveness of romance. He could read between the lines. The allegory touched him where his nerves were sensitive. Where she had gone he could not go until his eyes had seen and known what hers had seen and known; he could not grasp his happiness all in a moment; she was no longer at his feet, but equal with him, and wiser than he. She had not meant the song to be allusive when she began, but to speak to him through it by singing the heathen song as his own sister might sing it. As the song went on, however, she felt the inherent suggestion in it, so that when she had finished it required all her strength to get up calmly, come among them again, and listen to their praises and thanks. She had no particular wish to be alone with Frank just yet, but the others soon arranged themselves so that the husband and wife were left in a cosey corner of the room.

Lali’s heart fluttered a little at first, for the day had been trying, and she was not as strong as she could wish. Admirably as she had gone through the season, it had worn on her, and her constitution had become sensitive and delicate, while yet strong. The life had almost refined her too much. Always on the watch that she should do exactly as Marion or Mrs. Armour, always so sensitive as to what was required of her, always preparing for this very time, now that it had come, and her heart and mind were strong, her body seemed to weaken. Once or twice during the day she had felt a little faint, but it had passed off, and she had scolded herself. She did not wish a serious talk with her husband to-night, but she saw now that it was inevitable.

He said to her as he sat down beside her: “You sing very well indeed. The song is full of meaning, and you bring it all out.”

“I am glad you like it,” she responded conventionally. “Of course it’s an unusual song for an English drawing-room.”

“As you sing it, it would be beautiful and acceptable anywhere, Lali.”

“Thank you again,” she answered, closing and unclosing her fan, her eyes wandering to where Mrs. Armour was. She wished she could escape, for she did not feel like talking, and yet though the man was her husband she could not say that she was too tired to talk; she must be polite. Then, with a little dainty malice: “It is more interesting, though, in the vernacular—and costume!”