“My God, my God, what has happened to me?” she sighed, and wrung her hands.
That evening she went to the Church of Our Lady, and prayed for a long while. Her prayer did not appease her, however; she came back home more disquieted than ever.
The door of the living room was open: Daniel and Eleanore were sitting by the lamp, reading together from a book. The baby began to move; Eleanore had left the door open so that she might be able to hear the child when it woke up. Gertrude took the child in her arms, quieted it, and returned to the door leading into the living room. Daniel and Eleanore had turned their backs to the door, and were so absorbed in their reading that they were not aware of Gertrude’s presence.
A light suddenly came into Gertrude’s heart: she became conscious of her guilt—the guilt she had been trying in vain to fathom now for so many cruel weeks.
She did not have enough of the power of love; therein lay her guilt. She had assumed an obligation that was quite beyond her power to fulfil: she had entered into marriage without having the requisite strength of heart.
Marriage had seemed to her like the Holy of Holies. Her union with the man she loved seemed to her to be of equal significance with the union with God. But when she saw that this bond had been broken, the world was plunged into an abyss immeasurably remote from God. And it was not her husband who seemed to her to be guilty of infidelity; nor did she look upon her sister as being the guilty one; it was she herself who had been unfaithful and guilty in their eyes. She had not stood the test; she had been tried and found wanting; her strength had not been equal to her presumptions; God had rejected her. This conviction became irrevocably rooted in her heart.
In her union with Daniel music had become something divine; and she saw, now this union had been broken, something in music that was perilous, something that was to be avoided: she understood why she was so unemotional, why her feelings had dried up and vanished.
But she wanted to make one more effort to see whether she was entirely right in the analysis of her soul. One morning she went to Daniel, and asked him to play a certain passage from the “Harzreise.” She said she would like to hear the close of the slow middle movement which had always made such an appeal to her. Her request was made in such an urgent, anxious tone that Daniel granted it, though he did not feel like playing. As Gertrude listened, she became paler and paler: her diagnosis was being corroborated with fearful exactness. What had once been a source of ecstasy was now the cause of intense torture. The tones and harmonies seemed to be eating into her very soul; the pain she felt was so overwhelming, that it was only with the greatest exertion that she mustered up sufficient self-control to leave the room unaided. Daniel was dismayed.
On her return to the kitchen, Gertrude heard a most peculiar noise in her bedroom. She went in only to see that little Agnes had crept into the corner of the room where the harp stood, and was striking the strings with a copper spoon, highly pleased with her actions. Gertrude was seized with a vague, nameless terror. She took the harp into the kitchen, removed the strings from the frame, rolled them up, put them in a drawer, and carried the stringless frame up to the attic.
“What can I do?” she whispered to herself, and looked around in the attic with an expression of complete helplessness. She longed for peace, and it seemed peaceful up where she was. She stayed a while, leaning up against one of the beams, her eyes closed.