The hearty “aye, aye, sir” of the male respondents, and the softer modulated, but firmly expressed “ai toi” of dames Jones or Smith, closed the involved nomenclature of the ceremony. The Dosch remarked, after regaining the ear of Mr. Welson, that although the courtship had been conducted in the entire absence of an understanding speech communication, their auramentors were fully assured that there existed a stronger instinctive attachment, in nearer approach to an independence from bodily influence, than is usually attained by civilized reciprocants from the advantage of a common language, inasmuch as it restrained the tongue from its “yarned” propensity for exaggeration, peculiar to its use with sailors, and the more decided truthful negation by the votaries of fashionable society. The assembly, at the conclusion of the second improvised marriage scene, joined in the recitative invocation and song of thanksgiving sub-transcribed:—
“In gladness we to our Creator raise
This grateful song, in everlasting praise,
That through Manatitla’s atomic life
He has ope’d a way to end human strife,
That in ‘wedlock,’ domestic joy
Shall brighter glow and never cloy.”
At the close of the hymn of invocation the Dosch dictated the advisory sanction adopted by the Manatitlans, which we give as rendered by the prætor: “In the full belief of your loving sincerity, we joyfully confirm this union with that of our children, hopefully believing that your affection will increase in fervor until death relieves you of your bodies’ encumbrance for the full consummation of a joyous immortality.”
The buzz and genealogical curators of sound were highly delighted with the harmony of the musical composition, declaring that its peculiar adaptation attested to the affectionate talent of a master spirit. The former, in enthusiastic approval, offered his warmest commendations to Manito, the Maniculan prætor; at the same time congratulating the Manatitlans in having possession of a musician of such eminent ability. Great was his chagrin and surprise, when Manito not only disclaimed the authorship, but stated that the merit of the poetical composition and musical adaptation belonged solely to his pupil, Mistress Correliana, of whose advancement and talent he was justly proud. The perturbed expression of Pettynose bespoke the revived memory of his former criticism, causing the padre to chuckle audibly from the recollection of the dogmatic snap he had received, when his suggested variation had abruptly closed the dulcetina improvisation. The blushing attention of Correliana was too much absorbed with the admiring surprise of her husband to heed the professor’s confusion. In explanation to him, she whispered that Manito had taught her how to use the dulcetina with the aid of the tympano-microscope, unbeknown to the members of the corps, and had also instructed her in the art of composition. Captain Greenwood had a strong passion for music, without vocal capacity for its expression. To compensate for his own deficiency, it had been his abiding desire to possess a wife with the talent he lacked, that she might impart its sympathetic solace for the relief of anxious care. This desire Correliana had intuitively discovered, which added a strong incentive for application, with the purpose of imparting her improvement to her people.
After the marriage confirmation by the prætor, Manito, through Mr. Welson, proposed to adjourn from the fora to the auriculum. On the way the Dosch passed to the ear of Captain Greenwood; his salutation caused a sudden start, with the motion of raising his hand, which Correliana detained; aware of the cause from the divergence of his eyes, she asked: “Do you recognize the voice of an old familiar?”