Weeks passed and brought the returning seventh day of rest. The little child, who caused homemade rainbows to flicker over the father’s poem, lay very ill, and the anxious parents feared that this beautiful vision of innocence might soon pass away from the earth. The shadows of a Madeira-vine now and then waved across the window, and the chamber was filled with the delicate perfume of its blossoms. No sound broke the Sabbath stillness, except the little bird in the Althea bush, whose tones were sad as the voice of memory. The child heard it, and sighed unconsciously, as he put his little feverish hand within his mother’s, and said, “Please sing me a hymn, dear mother.” With a soft, clear voice, subdued by her depth of feeling, she sang Schubert’s Ave Maria. Manifold and wonderful are the intertwining influences in the world of spirits! What was it that touched the little bird’s heart, and uttered itself in such plaintive cadences? They made the child sigh for a hymn; and bird and child together woke Schubert’s prayerful echoes in the mother’s bosom. And now from the soul of the composer in that far-off German land, the spirit of devotion comes to the father, wafted on the wings of that beautiful music. Ernest bowed his head reverently, and sank kneeling by the bed-side. While he listened thus, Touchu glided softly into his bosom and laid her wand upon his heart. When the sweet beseeching melody had ceased, Ernest pressed the hand of the singer to his lip, and remained awhile in silence. Then the strong necessity of supplication came over him, and he poured forth an ardent prayer. With fervid eloquence, he implored for themselves an humble and resigned spirit, and for their little one, that, living or dying, good angels might ever carry him in their protecting arms. As they rose up, his wife leaned her head upon his shoulder, and with tearful eyes whispered:
“God help us, this and every day,
To live more nearly as we pray.”
* * * * * * *
That same morning, Alfred rode to church in his carriage, and a servant waited with the horses, till he had performed his periodical routine of worship. Many-coloured hues from the richly-stained windows of the church glanced on wall and pillar, and imparted to silk and broadcloth the metallic lustre of a peacock’s plumage. Gorgeous in crimson mantle, with a topaz glory round his head, shone the meek son of Joseph the carpenter; and his humble fishermen of Galilee were refulgent in robes of purple and gold. The fine haze of dust, on which the sunbeams fell, gleamed with a quivering prismatic reflection of their splendour. From the choir descended the heavenly tones of Schubert’s Ave Maria. They flowed into Alfred’s ear, but no Touchu was with him to lay her wand upon his heart. To a visitor, who sat in his cushioned pew, he whispered that they paid the highest price for their music, and had the best that money could command. The sermon urged the necessity of providing some religious instruction for the poor; for otherwise there could be no security to property against robbery and fire. Alfred resolved within himself to get up a subscription immediately for that purpose, and to give twice as much as Mr. Duncan, whatever the sum might be. Utouch, who had secretly suggested the thing to him, turned somersaults on the gilded prayer-book, and twisted diabolical grimaces. But Alfred did not see him; nor did he hear a laugh under the carriage, when, as they rolled home, he said to his wife, “My dear, why didn’t you wear your embroidered shawl? I told you we were to have strangers in the pew. In so handsome a church, people expect to see the congregation elegantly dressed, you know.”
But though Utouch was a mocking spirit, Alfred could not complain that he had been untrue to his bargain. He had promised to bestow any thing he craved from his kingdom of the outward. He had asked for honour in the church, influence at the exchange, a rich handsome wife, and superb horses. He had them all. Whose fault was it, that he was continually looking round anxiously to observe whether others had more of the goods he coveted? He had wished for a luxurious table, and it stood covered with the rarest dainties of the world. But with a constrained smile he said to his guests, “Is it not provoking to be surrounded with luxuries I cannot eat? That pie-crust would torment my sleep with a legion of nightmares. It is true, I do not crave it much; for I sit at a loaded table ‘half-famished for an appetite,’ as the witty Madame de Sevigné used to say. Again and again, he asked himself, why all the fruit that seemed so ripe and tempting on the outside was always dry and dusty within. And if he was puzzled to understand why he seemed to have all things, and yet really had nothing, still more was he puzzled to explain how Ernest seemed to have so little, and yet in reality possessed all things. One evening, at a concert, he happened to sit near Ernest and his wife, while they listened to the beautiful Symphony by Spohr, called the Consecration of the Tones. Delighted as children were they, when they began to hear the winds murmur through the music, the insects pipe, and one little bird after another chirp his notes of gladness. How expressively they looked at each other, during the tender lulling Cradle-Song! and how the expression of their faces brightened and softened, as the enchanting tones passed through the lively allegro of the Dance, into the exquisite melody of the Serenade! But when Cradle-Song, Dance, and Serenade all moved forward together in delightful harmony, a three-fold chord of lovely melodies, the transparent countenance of Ernest became luminous with his inward joy. It was evident that Touchu had again laid her thrilling wand upon his heart.
“How the deuce does he contrive always to delight himself?” thought Alfred. “I wonder whether the music really is any thing uncommon.”
In order to ascertain, he turned from Ernest to watch the countenance of a musical critic near by; one of those unfortunate men, who enjoy music as the proof-reader enjoys the poetry he corrects in a printing-office. How can a beautiful metaphor please him, while he sees a comma topsy-turvy, or a period out of place? How can he be charmed by the melodious flow of the verse, while he is dotting an i, or looking out for an inverted s? The critic seemed less attentive to his business than the proof-reader; for he was looking round and whispering, apparently unconscious that sweet sounds filled the air. Nevertheless, Utouch whispered to Alfred that the critic was the man to inform him whether he ought to be delighted with the music, or not. So, at the close of the Symphony, he spoke to him, and took occasion to say, “I invited a French amateur to come here this evening, in hopes he would receive a favourable impression of the state of music in America. You are an excellent judge of such matters. Do you think he will be satisfied with the performance?”
“He may be pleased, sir, but not satisfied,” replied the critic. “The composition is a very fine one, but he has doubtless heard it in Paris; and until you have heard a French orchestra, sir, you can have no conception of music. Their accuracy in rhythmical time, amounts to absolute perfection.”
“And do you think the orchestra have played well to-night?”
“Tolerably well, sir. But in the Cradle-Song the clarionet lagged a little, once or twice; and the effect of the Serenade was injured, because the violoncello was tuned one-sixteenth of a note too low.”