The Unknown Quantity: A Book of Romance and Some Half-Told Tales

by Henry Van Dyke

She smiled as she turned around to him, for she had learned to understand his abrupt ways. "No right, dear master," she said, "only perhaps it is because I happen to know a little of the meaning of happiness."

"But you play the sad music too," he continued, "and you let it all come out."

"That is because I am not afraid of sadness," she answered, with her clear brown eyes looking quietly up at him.

His voice grew gentle and he laid his hand on her shoulder. "You have the secret, my child—to know the meaning of happiness, and not to be afraid of sadness, but to pour it all into the music. That is the secret, and it will make you a musician,—it will carry you far, I think,—provided you don't neglect your practising," he added brusquely.

She shook her head and laughed. "I wouldn't dare do that with such a tyrant as you, dear master."

"Next week," he went on, giving a new upward twist to his moustache, "I shall expect you to be letter-perfect with that G major concerto of Beethoven—no more drum-beats, remember. And mind, you are not to think of playing in public, at a concert, until I tell you. It may be a long time,—a year, perhaps,—but I am not going to let them spoil my sweetest rose by forcing her into bloom too soon."

"Despot," she laughed back as he patted her hand at the door, "if you only had a kind heart I should love you—a little!"

On the way home to her tiny apartment in the Rue de Grenelle, where she lived with her aunt and her younger sister, who was a student of drawing, she walked through the Garden of the Luxembourg, thinking about a concert. Not one of those which the master had forbidden to her, but a very simple and foolish and far-away little concert in the old hotel beside the Delaware. And the deep beauty of the forest came back to her, and the long-shining reaches of the river, and the hours of good comradeship with a boy who perfectly shared her joy of living, and the breath of the pine-trees and the sweetness of the wild grape! Did she really smell them now? No, it was only the faint fragrance of the formal beds of hyacinths and tulips and jonquils on the terraces behind the old palace. In the broad walks, children were running and playing. Old men were smoking on the benches in a drowsy peace. In the shady paths under the tall trees, evidently amatory couples were strolling or sitting close together. Carola enjoyed it all—but there was a look in her face, half sad, half smiling, as if she remembered something better.

When she reached home, she laid aside her hat and scarf, and went into the little salon. She sat down at the piano and let her fingers run idly over the keys, wandering from fragment to fragment of soft music. Then with a firmer touch she began to play the humoreske of Dvor̆ák, but with a new phrasing, a new expression. It was full of an infinite tenderness, a great longing, a sweetness of distant and remembered joy. It seemed to be singing over again the favourite song of some one who had died—singing very clearly and distinctly so as not to lose a single note, a single movement, of the unforgotten melody of happiness.

The delicate dusk of a May evening gathered slowly in the room. The windows were wide open. In the narrow, curving street below, already half-deserted, a young man who was passing with long aimless steps, as if he felt that he must be going somewhere but did not know exactly where, stopped suddenly when he heard the music above him, and stood listening until its last note trembled into silence. Then he strode away, but in the opposite direction, as if he had changed his mind.