Will Deverill, too, had risen, and, with a friendly nod, was gazing out appreciation at his unknown accompanists. Florian turned to him, all amazement. “They must have practised it before,” he cried. “They must know it all of old. It must certainly be one of their own national pieces.”
“Oh, no,” the poet replied in a very confident voice. “They can’t possibly have heard it. It’s quite, quite new. I’m sure about that. It’s never yet been published.”
“But, my dear fellow,” Florian exclaimed, with much argumentative heat, “I assure you, none but the most instructed musicians could possibly take up the right chords like that, and sing them second and third, without having practised them beforehand. Allow me to know something of the musical art. Even Patti herself——”
“Why, the song’s my own,” Will broke in, much amused, and unable to restrain himself. “I ought to know; it was I who wrote it.”
“The words! ah, yes, to be sure; the words are nothing. They didn’t sing them, of course; ’twas the melody they caught at. And the melody, I venture to assert, without fear of contradiction—the melody, from the peculiar way it modulates into the sub-dominant, must certainly be one of their own love songs.”
“But I composed the tune too,” Will made answer with a quiet smile. “It’s never been played before. It came up into my head in the railway carriage yesterday, and seeing this old fiddle in the cupboard this morning, I thought I’d try it over before scoring it down, just to hear how it sounded.”
“You wrote it!” Florian repeated, dazzled and stunned at the news. “You compose as well as rhyme! You set your own songs to music, do you? Well, upon my soul, Deverill, I hadn’t till this moment the slightest idea you had such an accomplishment.”
“Oh, I’m only a beginner,” Will answered, with a faint blush, laying down the violin,—“or rather an amateur, for I’ve always dabbled in it. But I’ve only published one song. I just strum to amuse myself. Good morning, Herr Hausberger; what an exquisite day! We’d better take advantage of it for a climb up the Rauhenkopf.”
The landlord, dish in hand, bowed his courteous and courtly bow. There was deference in it, without a tinge of servility. Florian noted with approbation that mixture of independence and a just self-respect which formed a component part of his preconceived idea of the Tyrolese character. Andreas Hausberger was “right,” because he was very much as Florian would have pictured him. “Yes; a very good day for the ascent,” the landlord said, quietly. “We will put up some lunch—cold meat and Pilsener. You’ll get a fine view, if you start in good time, over the Zementhal glaciers.”
Florian sat down to the table, a trifle crestfallen; but the poached eggs were excellent, and the coffee fragrant; and he consoled himself for the cow-bells and the mishap about the song by the reflection that, after all, these idyllic milkmaids, with the voice of a prima donna and the manners of Arcadia, were in exact accordance with the operatic ideal of his own imagined Tyrol. They sang like the Chorus of Happy Peasants; they behaved as the mountain lass of poetry ought always to behave, and as the mountain lass of reality often utterly fails to do.