“I do.”
And truly beneath all the flippancy his heart-was heavy—and as lead.
III
It was Sunday morning. Philip pushed into the church as the congregation streamed out through the wide doors. He made his way up to the choir loft where a man had just risen from his seat before the organ. This was Franz Becker.
“You are late, Franz,” he observed.
“It is Communion Sunday,” Becker said in a deep beautiful voice. “That makes it late.”
“See here,” said Philip, “I wish you would ask me to dinner with you. Anson's home and I want to avoid him if possible.”
“Certainly,” answered Becker,—“by all means come with me.”
They went down and out of the church: Philip, light and active in all his movements; Becker, ponderous and slow—but masterful always, a man for the big things of his art. A warm friendship existed between the two. Philip had an intense admiration for the musician, who seemed to dwell in a state pretty evenly divided between abject despondency and settled rage. He respected this temperamental constancy. They were both friendless in a marked degree, neither of them being calculated to invite an extensive or varied acquaintance. Few people enjoyed Philip's conversation. Indeed, it was a special point with him that they should not. Nor did Becker rejoice in any great popularity. He was wholly repellent in his attitude toward the small world in which he moved—with a savage pride that was ever on the alert. He might have been in a primitive sort of way something of a social lion, but his taming was too imperfect to admit of it. His rudeness and barbarities comprised the most interesting anecdotes the town could furnish. Becker came of a class where poverty was the unvarying rule—meanness and commonness had been his earliest companions and in a moderated form these two kept their place at his side, chaining and crippling him, running him to the earth where he would have soared—a clog upon his steps forever.
Just how he had acquired his mastery of music none could tell. It was part instinct—part study—that in its feverish intensity was all but incomprehensible. His father had been a musician of more than passing note in the little German capital where he had lived, hoped and died, leaving the promise of his genius unfulfilled. There, his mother, after a brief widowhood, had married again, a man much beneath her in every respect. The marriage was followed by a speedy emigration to America, where a brother of her second husband had settled. Franz's stepfather was a shoemaker and had wished Franz to follow his trade; but as the boy grew and as inclination became purpose, and purpose in turn work, that which was locked up within him found expression. He could think and feel and dream. Best of all, perhaps, he discovered that his rare talent had a moneyed value that he was quick to profit by—then came the rush of ambition that was to carry him on and place him with the masters. It spent itself and he was left where it had found him—exhausted and wearied by the fruitless effort he had made. He could only go so far and no farther—circumstances drew in like a narrow circle about him. He was a giant set to do a dwarf's labor. From the start his mother and stepfather had strenuously opposed him on every hand.