In three years, by screwing and scraping, sou by sou, they had succeeded in getting the sum together. It was a great joy to them. Antoinette went to the Poyets one evening. She was coldly received, for they thought she had come to ask for help. They thought it advisable to take the initiative: and reproached her for not letting them have any news of them: and not having even told them of the death of her mother, and not coming to them when she wanted help. She cut them short calmly by telling them that she had no intention of incommoding them: she had come merely to return the money which had been borrowed from them: and she laid two banknotes on the table and asked for a receipt. They changed their tone at once, and pretended to be unwilling to accept it: they were feeling for her that sudden affection which comes to the creditor for the debtor, who, after many years, returns the loan which he had ceased to reckon upon. They inquired where she was living with her brother, and how they lived. She did not reply, asked once more for the receipt, said that she was in a hurry, bowed coldly, and went away. The Poyets were horrified at the girl's ingratitude.
Then, when she was rid of that obsession, Antoinette went on with the same sparing existence, but now it was entirely for her brother's sake. Only she concealed it more to prevent his knowing it: she economized on her clothes and sometimes on her food, to keep her brother well-dressed and amused, and to make his life pleasanter and gayer, and to let him go every now and then to a concert, or to the opera, which was Olivier's greatest joy. He was unwilling to go without her, but she would always make excuses for not going so that he should feel no remorse: she would pretend that she was too tired and did not want to go out: she would even go so far as to say that music bored her. Her fond quibbles would not deceive him: but his boyish selfishness would be too strong for him. He would go to the theater: once inside, he would be filled with remorse, and it would haunt him all through the piece, and spoil his pleasure. One Sunday, when she had packed him off to the Châtelet concert, he returned half an hour later, and told Antoinette that when he reached the Saint Michel Bridge he had not the heart to go any farther: the concert did not interest him: it hurt him too much to have any pleasure without her. Nothing was sweeter to Antoinette, although she was sorry that her brother should be deprived of his Sunday entertainment because of her. But Olivier never regretted it: when he saw the joy that lit up his sister's face as he came in, a joy that she tried in vain to conceal, he felt happier than the most lovely music in the world could ever have made him. They spent the afternoon sitting together by the window, he with a book in his hand, she with her work, hardly reading at all, hardly sewing at all, talking idly of things that interested neither of them. Never had they had so delightful a Sunday. They agreed that they would never go alone to a concert again: they could never enjoy anything alone.
She managed secretly to save enough money to surprise and delight Olivier with a hired piano, which, on the hire-purchase system became their property at the end of a certain number of months. The payments for it were a heavy burden for her to shoulder! It often haunted her dreams, and she ruined her health in screwing together the necessary money. But, folly as it was, it did assure them both so much happiness. Music was their Paradise in their hard life. It filled an enormous place in their existence. They steeped themselves in music so as to forget the rest of the world. There was danger in it too. Music is one of the great modern dissolvents. Its languorous warmth, like the heat of a stove, or the enervating air of autumn, excites the senses and destroys the will. But it was a relaxation for a creature forced into excessive, joyless activity as was Antoinette. The Sunday concert was the only ray of light that shone through the week of unceasing toil. They lived in the memory of the last concert and the eager anticipation of the next, in those few hours spent outside Paris and out of the vile weather. After a long wait outside in the rain, or the snow, or the wind and the cold, clinging together, and trembling lest all the places should be taken, they would pass into the theater, where they were lost in the throng, and sit on dark uncomfortable benches. They were crushed and stifling, and often on the point of fainting from the heat and discomfort of it all:—but they were happy, happy in their own and in each other's pleasure, happy to feel coursing through their veins the flood of kindness, light, and strength, that surged forth from the great souls of Beethoven and Wagner, happy, each of them, to see the dear, dear face light up—the poor, pale face worn by suffering and premature anxieties. Antoinette would feel so tired and as though loving arms were about her, holding her to a motherly breast! She would nestle in its softness and warmth: and she would weep quietly. Olivier would press her hand. No one noticed them in the dimness of the vast hall, where they were not the only suffering souls taking refuge under the motherly wing of Music.
Antoinette had her religion to support her. She was very pious, and every day never missed saying her prayers fervently and at length, and every Sunday she never missed going to Mass. Even in the injustice of her wretched life she could not help believing in the love of the divine Friend, who suffers with you, and, some day, will console you. Even more than with God, she was in close communion with the beloved dead, and she used secretly to share all her trials with them. But she was of an independent spirit and a clear intelligence: she stood apart from other Catholics, who did not regard her altogether favorably: they thought her possessed of an evil spirit: they were not far from regarding her as a Free Thinker, or on the way to it, because, like the honest little Frenchwoman she was, she had no intention of renouncing her own independent judgment: she believed not from obedience, like the base rabble, but from love.
Olivier no longer believed. The slow disintegration of his faith, which had set in during his first months in Paris, had ended in its complete destruction. He had suffered cruelly: for he was not of those who are strong enough or commonplace enough to dispense with faith: and so he had passed through crises of mental agony. But he was at heart a mystic: and, though he had lost his belief, yet no ideas could be closer to his own than those of his sister. They both lived in a religious atmosphere. When they came home in the evening after the day's parting their little flat was to them a haven, an inviolable refuge, poor, bitterly cold, but pure. How far removed they felt there from the noise and the corrupt thoughts of Paris!…
They never talked much of their doings: for when one comes home tired one has hardly the heart to revive the memory of a painful day by the tale of its happenings. Instinctively they set themselves to forget it. Especially during the first hour when they met again for dinner they avoided questions of all kinds. They would greet each other with their eyes: and sometimes they would not speak a word all through the meal. Antoinette would look at her brother as he sat dreaming, just as he used to do when he was a little boy. She would gently touch his hand:
"Come!" she would say, with a smile. "Courage!"
He would smile too and go on eating. So dinner would pass without their trying to talk. They were hungry for silence. Only when they had done would their tongues be loosed a little, when they felt rested, and when each of them in the comfort of the understanding love of the other had wiped out the impure traces of the day.
Olivier would sit down at the piano. Antoinette was out of practice from letting him play always: for it was the only relaxation that he had: and he would give himself up to it wholeheartedly. He had a fine temperament for music: his feminine nature, more suited to love than to action, with loving sympathy could catch the thoughts of the musicians whose works he played, and merge itself in them and with passionate fidelity render the finest shades,—at least, within the limitations of his physical strength, which gave out before the Titanic effort of Tristan, or the later sonatas of Beethoven. He loved best to take refuge in Mozart or Gluck, and theirs was the music that Antoinette preferred.
Sometimes she would sing too, but only very simple songs, old melodies. She had a light mezzo voice, plaintive and delicate. She was so shy that she could never sing in company, and hardly even before Olivier: her throat used to contract. There was an air of Beethoven set to some Scotch words, of which she was particularly fond: Faithful Johnnie: it was calm, so calm … and with what a depth of tenderness!… It was like herself. Olivier could never hear her sing it without the tears coming to his eyes.