As he spoke thus, he stepped towards the little window, which, as the turret projected considerably from the principal line of the building, not only commanded a very pretty garden, of some extent, belonging to the inn, but overlooked, beyond its boundary, a pleasant grove of those very mulberry-trees, which Maitre Pierre was said to have planted for the support of the silk-worm. Besides, turning the eye from these more remote objects, and looking straight along the wall, the turret of Quentin was opposite to another turret, and the little window at which he stood commanded a similar little window, in a corresponding projection of the building. Now, it would be difficult for a man twenty years older than Quentin, to say why this locality interested him more than either the pleasant garden or the grove of mulberry-trees; for, alas! eyes which have been used for forty years and upwards, look with indifference on little turret-windows, though the lattice be half open to admit the air, while the shutter is half closed to exclude the sun, or perhaps a too curious eye – nay, even though there hang on the one side of the casement a lute, partly mantled by a light veil of sea-green silk. But, at Durward's happy age, such accidents, as a painter would call them, form sufficient foundation for a hundred airy visions and mysterious conjectures, at recollection of which the full-grown man smiles while he sighs, and sighs while he smiles.
As it may be supposed that our friend Quentin wished to learn a little more of his fair neighbour, the owner of the lute and veil, – as it may be supposed he was at least interested to know whether she might not prove the same whom he had seen in humble attendance on Maitre Pierre, it must of course be understood, that he did not produce a broad staring visage and person in full front of his own casement. Durward knew better the art of bird-catching; and it was to his keeping his person skilfully withdrawn on one side of his window, while he peeped through the lattice, that he owed the pleasure of seeing a white, round, beautiful arm, take down the instrument, and that his ears had presently after their share in the reward of his dexterous management.
The maid of the little turret, of the veil, and of the lute, sung exactly such an air as we are accustomed to suppose flowed from the lips of the highborn dames of chivalry, when knights and troubadours listened and languished. The words had neither so much sense, wit, or fancy, as to withdraw the attention from the music, nor the music so much of art, as to drown all feeling of the words. The one seemed fitted to the other; and if the song had been recited without the notes, or the air played without the words, neither would have been worth noting. It is, therefore, scarcely fair to put upon record lines intended not to be said or read, but only to be sung. But such scraps of old poetry have always had a sort of fascination for us; and as the tune is lost for ever – unless Bishop happens to find the notes, or some lark teaches Stephens to warble the air – we will risk our credit, and the taste of the Lady of the Lute, by preserving the verses, simple and even rude as they are.
"Ah! County Guy, the hour is nigh,
The sun has left the lea,
The orange flower perfumes the bower,
The breeze is on the sea.
The lark, his lay who thrill'd all day,
Sits hush'd his partner nigh;
Breeze, bird, and flower, confess the hour,