“The first trouble in changing one’s residence,” she said, “is to make people remember one’s address. Fortunately, our number, 96, is peculiar. It is the only created thing I know, except the planets, which is not changed nor disconcerted by being turned upside down. Turn it as you will, stand on your head and look at it, tear the house down, still the number 96 smiles on you unchanged, and as changeless as a star. It is a very proper number to have on a house.”
They all sat and looked at her, smiling slightly, glad to be amused.
“The next thing is,” she pursued, “to prevent our friends going to extremes in making their new estimate of us. They must be made to comprehend that, though we have positively renounced the German, we are not Puritans nor ascetics; and that, though we have written, do write, and mean to write in future, and to put ourselves in print whenever we feel so disposed, we do not set up as geniuses. Papa,” she said, suddenly interrupting herself, “why is not the plural of genius genii? I always want to say genii.”
“They mean about the same thing,” Mr. Yorke remarked; and there was silence again for a while.
The night was calm, the street quiet, but there was that unmistakable feeling that a great press of human life is near. It was not the presence which one feels in the woods, where nature is obedient to its Maker, and the soul is lifted by the constantly ascending homage that surrounds it, but a lateral influence, electrical and exciting, of contending human wills.
Clara was again the one to break silence. “Trees, and toads, and mosses, and no market, are all very charming for a change,” she said. “But if one does not live in the city, the city should be near. A man or a woman without society is no better than a vegetable. You remember, papa, how Bolingbroke took root among his trees. And what delights one has in the city! There is music. O the violins!—the soprano witch among instruments! If Pan invented the pipe, the original of the organ, then Æolus invented this instrument of airy octaves. Those old painters were right who put violins into the hands of their musical angels. Give a violin time enough, and the music of it will gradually eat up the whole body, or etherealize it, till some day the musician, touching carefully his precious film of a Cremona, will find it melt in his hands, and disappear in a harmonious sigh. Ladies and gentlemen, I should like to hear this moment a whirlwind of violins, ten thousand, say, blowing through a vast hall with clustered pillars, and dusky nooks and reaches, and arches everywhere, and a sultry, fragrant dimness through it all, and an immense crowd holding their breaths to listen, and, away up in the roof, little birds perched, as they are in Notre Dame, at Paris, and trembling with fear and wonder through all their downy feathers. And when it was over, people would look at each other, and some would smile, and some laugh out with delight; and the birds would venture two or three little silvery peeps, then flutter about as though nothing had happened. Yes, the city is the place to live in.”
“And then,” said Edith, “one can always go to church.”
Clara immediately gave her cousin an enthusiastic embrace. “Oh! you darling little bigoted Papist!” she exclaimed.
Melicent, sitting in the chimney-corner, was engrossed in her own thoughts. She was, perhaps, meditating on that romance of which Clara had written to Edith. A villainously ugly, but tenderly-beloved Scotch terrier lay on the hearth-rug, his eyes fixed on the fire, and seemed to muse. Mrs. Yorke bent toward him, touched him lightly, and quoted Champfleuri, apropos of cats: “‘A quoi pense l’animal qui pense?’” and added a definition she had heard somewhere: “‘The brute creation is a syllogism, of which the conclusion is in the mind of God.’”
This brought them to the point to which their thoughts naturally tended that evening. God, and the meanings of God, claimed their attention.