The Klosterstrasse seemed deliciously quiet after the noise of the Marktplatz, and before her, at the end of the street, she could see one tall buttress of the cathedral, and a corner of the graveyard. She walked up the pathway between the tombs and pushed open the heavy church door. The cathedral nave was dark. Wilhelmine peered about and, thinking there was no one in the church, turned to go, when from the organ, far away near the high altar (or where the high altar had been before Protestant fury had torn it down), came a whisper like the awakening of the cathedral's soul; a long-drawn note which grew stronger and fuller, filling the whole building with a pulse of sound.
Wilhelmine paused, then, turning silently to one of the oaken pews, sat down. A wondrous melody crept through the air, strong, noble, uncomplicated; then followed chords growing each moment more the expression of a soul on fire. They rose stronger, they swelled and strove and implored, they wailed with the passion of finite hearts that yearn infinitely; then suddenly sank back into the solemn major key whence they started. And it was as the renunciation of some terrible striving, as though the organ chanted the litany of some perfect calm reached through an agony of endeavour and suffering. Wilhelmine's eyes were wet, while she leaned her head against the back of the oaken pew. To her music was the only form of prayer, and it never failed to move her to a vague aspiration, she herself knew hardly what. Her dreams of the world faded, and she was only cognisant of the dim church and the inspired improvisation of her beloved Monsieur Gabriel. This was his answer to her as yet unasked question. She had come to him for guidance, to beg his counsel concerning her brother's letter, and he had told her in his music all that he knew of the world. He had shown her the cruel agony of the worldly life, the unrest, the bootless seeking, the satiety of realised ambition, and the calmness, the peace of the renunciation of these things.
The organ was silent for a moment, and then through the stillness of the shadowy aisle floated the first notes of an 'Ave Maria,' which Wilhelmine knew well and had often sung when no disturbing element of disapproving Protestant burgherdom was near. Instinctively she came in at the appointed bar for the voice's commencement. 'Ave Maria gratia plena,' she sang, and her powerful notes echoed through the cathedral with all the sombre glory which lay in her great contralto voice. The player at the organ immediately softened his music to a mere accompanying whisper, which yet supported the voice, greeting it with the newly awakened soul of the organ. 'Ora pro nobis, peccatoribus,' she sang, and surely the Mother of God must have listened to so wonderful a tone prayer? 'Nunc et in hora mortis nostrae, Amen.' And the organ wandered on repeating the 'Amen' again and again in a solemn, dreamy deepening of chords, which the beautiful voice followed and answered with that certainty and ease which belong to a few of the world's singers when they sing to the accompaniment of one with whom they are in perfect musical and sympathetic understanding. The music came to an end and the church seemed doubly silent, with the painful stillness one sometimes feels when a song is ended; it is almost the same sudden forlorn feeling as when a beloved friend goes away, that sense of the departure of a beautiful presence, or it may be that our souls have returned to earth after soaring towards some beauteous mystic region. Wilhelmine passed up the nave, through a small door in the side of the carven wooden screen, and up a dark and narrow winding stair which led to the organ-loft. It was unusual to find an organ even in a cathedral in those days, but a pious Duke of Mecklemburg-Güstrow had given this one to the church as a thankoffering, and had caused it to be built by the famous organ-makers of Venice.
The organist's face and figure commanded attention. Tall and spare, with the scholar's stoop, a long narrow head broadening at the brow, a mass of iron-grey hair,—a thin, eager face lit by almost colourless eyes, which looked as though the blue of youth had been washed away by tears, or faded by vigils and patient suffering. This was the individual whom the townsfolk called the 'mad French schoolmaster, Monsieur Gabriel,' and whose youth they whispered had been spent at the court of France, till Madame de Maintenon had set his enemies upon him, and he, being proved a heretic, had fled for his life across the frontier and wandered northwards. The course of his wanderings brought him to Mecklemburg where, hearing that the schoolmaster at Güstrow had died, he had sought the post and it had been granted him, because of his proved learning and his skill as a musician. This uneventful calling he had followed for many years, and the people had ceased to wonder at his eccentricities, his silence, and his friendlessness. The children loved him, and his school became famous through the countryside, and on Sundays and feast days the citizens flocked to hear his organ playing, and the performance of the choir of youths and maidens he had trained to sing so well.
Pastor Müller, according to his coarse nature, was jealous of him and insolent to him, yet he feared the mild gaze of those faded eyes and the imperturbable courtesy of the old Frenchman's manner. The pastor would often question the schoolmaster sharply concerning the music he played. 'Chorales are all very fine,' he said, 'but surely oftentimes you play music from the abominable Mass, not fitting indeed in a holy place set apart for the worship of the Lord according to our pure faith?' 'Ah! Pastor, but the notes cannot contaminate,' Monsieur Gabriel would answer; 'Luther himself made use of the monk's melodies in his canticles.' And Pastor Müller retired to his dirty, airless house, feeling rebuked himself where he had wished to chide.
When Wilhelmine von Grävenitz appeared at the Güstrow school, a curly-haired child, Monsieur Gabriel had immediately fallen victim to her wayward charm, and had lavished much care on her studies. He taught her French thoroughly. 'I am told,' he was wont to say, 'that even in Germany no lady speaks aught save French, and you, my child, must be a great lady some day. Believe me, there is no more magnificent being than a true grande dame, and for this destiny the good God fashioned you.' He trained Wilhelmine in music, till thorough-bass, counterpoint, and the rest became to her an easy exercise. He read her of the history of France; taught her to know and love the Roman de la Rose, and the poems of the singers of La Pleïade. Often he would quote Malherbes, saying with a smile and a sigh as he looked at her radiant youth: 'Et rose, elle a vécu ce que vivent les roses, l'espace d'un matin; for,' he said, 'the flowers of the world fade quickly, and thou art surely a flower, my little one.' He read her the works of Racine, Corneille, Molière, all of which learning she assimilated rapidly, and with an accuracy which delighted the old scholar. Sometimes, of an evening, he would keep her with him long after school hours, and one winter he took it into his head that she must learn to dance. He tied an inky tablecloth to her shoulders to serve as a sweeping garment. It was infinitely droll to see the two, mincing, bowing, and pirouetting in front of the mirror. 'You must see yourself curtsey,' he said, 'if you would learn the real movement.' He taught her the gavotte, the pavane, and many other dances, playing the measures on an old violin the while. The school desks served for dummy dancers, and were arranged to give her a notion of the ordering of the figures. The aged recluse, in his musty coat, seemed transformed into a very courtly gentleman, but Wilhelmine always fancied that his eyes were more melancholy than usual after these mimic courts. One day she asked him if it saddened him to revoke the past. 'Ah! mon enfant!' he replied, 'que voulez-vous? un cœur profondément blessé ne guérit jamais; and the melodies of these dances remind me of my wound, which I thought had healed in your peaceful northern land. Ah! little one, there is no sadder music to the old than the dance-music of a vanished youth.'
While Wilhelmine read her brother's letter on that cold December morning, it was to Monsieur Gabriel she at once decided to confide its surprising contents. Her mother, she knew, would raise a dozen difficulties, and it were best to talk with Monsieur Gabriel and devise some means of procuring sufficient money to pay the cost of her journey to Wirtemberg. Then, if they could hit upon a scheme to propose to Frau von Grävenitz, there was more likelihood of gaining her consent. But the music had changed Wilhelmine's mind, and as she climbed up to the organ-loft she was almost prepared to abandon her intended journey.
'Monsieur Gabriel!' she said, 'I have great news, so strangely unexpected that I wonder if I am dreaming it! Read this letter of my brother's, and give me your advice.' The old man stretched out his left hand to take the paper, while his right hand remained on the organ keys, and as he read he played a few chords. 'Hélas!' he murmured as he refolded the letter, 'so the time has come when you must go forth into the world. Well, well—it is right; you are wasted here, though God knows it will be very dark without you.'
'But, Monsieur Gabriel,' she said, 'you talk as though I should start to-morrow! I have not told my mother yet, and I have come to you for advice. Where could I get the money to pay my journey? It will cost many gulden.'
The old man smiled. 'Money? your brother sends you none, of course? Your mother? she also has none. Does Friedrich think you can fly southward on a swallow's wing? And the swallows have gone to the south long ago,' he added dreamily.