It was neither of those things; it was nothing that Edward could have understood at that time, though later he did. It was the grief of rainy forests, and the moan of stormy water; the muffled complaint of driven leaves; the keening—wild and universal—of life for the perishing matter that it inhabits.
Hazel expressed things that she knew nothing of, as a blackbird does. For, though she was young and fresh, she had her origin in the old, dark heart of earth, full of innumerable agonies, and in that heart she dwelt, and ever would, singing from its gloom as a bird sings in a yew-tree. Her being was more full of echoes than the hearts of those that live further from the soil; and we are all as full of echoes as a rocky wood—echoes of the past, reflex echoes of the future, and echoes of the soil (these last reverberating through our filmiest dreams, like the sound of thunder in a blossoming orchard). The echoes are in us of great voices long gone hence, the unknown cries of huge beasts on the mountains; the sullen aims of creatures in the slime; the love-call of the bittern. We know, too, echoes of things outside our ken—the thought that shapes itself in the bee's brain and becomes a waxen box of sweets; the tyranny of youth stirring in the womb; the crazy terror of small slaughtered beasts; the upward push of folded grass, and how the leaf feels in all its veins the cold rain; the ceremonial that passes yearly in the emerald temples of bud and calyx—we have walked those temples; we are the sacrifice on those altars. And the future floats on the current of our blood like a secret argosy. We hear the ideals of our descendants, like songs in the night, long before our firstborn is begotten. We, in whom the pollen and the dust, sprouting grain and falling berry, the dark past and the dark future, cry and call—we ask, Who is this Singer that sends his voice through the dark forest, and inhabits us with ageless and immortal music, and sets the long echoes rolling for evermore?
The audience, however, did not notice that there were echoes in Hazel, and would have gaped if you had proclaimed God in her voice. They looked at her with critical eyes that were perfectly blind to her real self. Mrs. Marston thought what a pity it was that she looked so wild; Martha thought it a pity that she did not wear a chenille net over her hair to keep it neat; and Abel, peering up at her through the strings of the harp and looking—with his face framed in wild red hair—like a peculiarly intelligent animal in a cage, did not think of her at all.
But Edward made up for them, because he thought of her all the time. Before the end of the concert he had got as far as to be sure she was the only girl he would ever want to marry. His ministerial self put in a faint proviso, 'If she is a good girl'; but it was instantly shouted down by his other self, who asserted that as she was so beautiful she must be good.
During the last items on the programme—two vociferous glees rendered by a stage-full of people packed so tightly that it was marvellous how they expanded their diaphragms—Edward was in anguish of mind lest the cornet should monopolize Hazel at supper. The said cornet had become several shades more purple each time Hazel sang, so Edward was prepared for the worst. He was determined to make a struggle for it, and felt that though his position denied him the privilege of scuffling, he might at least use finesse—that has never been denied to any Church.
'My dear,' whispered Mrs. Marston, 'have you an unwelcome guest?'
This was her polite way of indicating a flea.
'No, mother.'
'Well, dear, there must be something preying on your mind; you have kept up such a feeling of uneasiness that I have hardly had any nap at all.'
'What do you think of her, mother?'