disappointment. 'T is a great thing to be able to sing such verses as if you were eye-witnesses of what you repeat. That is precisely what you do. Now you may go. Go quietly."
She looked at them all as she spoke; it was a broad, comprehensive glance, but they all felt individualized by it. Then they came, the six lads, with their bright, handsome faces, pride of a mother's heart every one, and took her hand, and carried away, each one, her kiss upon his forehead. Not one of them but had been blest beyond expression in the few half-hours they had been gathered under the instruction of the organist. So they went off, carrying her precious praise with them.
They had scarcely gone, and the organist was yet searching for a sheet of music, when a step was in the aisle, noiseless, rapid, and a young girl came into the singers' seat.
"Am I too early?" she asked,—for her welcome was not immediate, and her courtesy was not just now of the quality that overlooked a seeming lack of it in others. Miss Ives was slightly out of tune.
"Not at all," was the answer. Still it was spoken in a very preoccupied way that might have been provoking,—that would depend on the mood of the person addressed; and that mood, as we know, was not sun-clear or marble-smooth. The organist had now found the music she was looking for, and proceeded to play it from the first page to the last, without vouchsafing an instant's recognition of the singer's presence.
When she had finished, she sat a moment silent; then she turned straight toward Miss Ives, and smiled, and it was a smile that could atone for any amount of seeming incivility.
But not even David, by mere sweep of harp-string, soothed self-beleaguered Saul.
Teacher and pupil did not seem to understand each other as it was best such women should. For, let the swaying, surging hosts throughout the valley deliver themselves as they can from the confusion of tongues, the wanderers among the mountains ought to understand the signals they see flaring from crag and gorge and pinnacle.
Too many shadowy folds were in the mystery that hung about each of these women to satisfy the other: reticence too cold, independence too extreme, self-possession too entire. Why was neither summoned, in a frank, impulsive way, to take up the burden of the other? Was nothing ever to penetrate the seven-walled solitude in which the organist chose to intrench herself? Was nobody ever to bid roses bloom on the colorless face of the singer, and bring smiles, the veritable smiles of youth, and of happiness, into those large, steady, joyless eyes?
But now, while the organist played, and Sybella sat down, supposing she was not wanted yet, she found herself not withdrawn into the indifference she supposed. Presently far more was given than she either looked for or desired.
The music that was being played was indeed wonderful. This was not for the delight of children: no happy sprite with dancing feet could maintain this measure. It was music for the most advanced, enlightened intelligence,—for the soul that music had quickened to far depths,—for the heart that had suffered, triumphed, and gained the kingdom of calm,—for a wisdom riper even than Sybella's.
An audience of a hundred souls would infallibly have gabbled their way through the silence that would naturally gather round those tones. Put Sybella in the midst of such an audience, and you would understand her better than I hope now to make her understood; for the torture of the moment would have been of the quality that has demonstration.
As it was, she now sat silently, as silently as the organist sat in her place; but when all was over, she turned to look at the magician. Sybella had passed through fearful agitation in the beginning and throughout the greater part of the performance, but now she quietly said,—
"That is the one sole composition of its author."
"Why do you say so?" asked the organist, whom people in general called Miss Edgar.
"Because, of course, everything is in it,—I mean the best of everything that could be in one soul. If the composer wrote more, it was fragmentary and repetitious. If you played it, Miss Edgar, to put me in a better voice for singing than I had when I came in, I think you have succeeded. I can almost imagine how Jenny Lind felt, when her voice came back to her."
"We shall soon see that. I don't know that the music has ever been played on an organ before. But you see it is a rare production,—little known,—a book of the Law not read out of the sacred place. Let us try that prayer again. You will sing it differently to-day,—I see it in your face."
"Thou that takest away the sins of the world, have mercy upon us!"
Something had happened to the voice that sang. Never had the organist heard such tones from it before; there was volume, depth, purity, such as had been unheard by those who thought they knew the quality and compass of Sybella's voice.
The organist could not forbear turning and looking at her as she sang. Great, evidently, was her emotion. This nature that had been in bonds manifestly had eschewed the bondage. Was the organist glad thereat? Whose praise would be on everybody's lips on Sunday, if Sybella sang like this? Are women and men generally pleased to hear the praises of a rival? You have had full hearing, generous, more than patient; do you feel a thrill of the old rapture, a kindling of the old enthusiasm, when you hear the praises of the young new-comer, who has reached you with a stride, and will pass you at a bound? Since this may be in human nature, say "Yes" to the catechist. For the organist returned to her duties with a brightened face, she touched the keys with new power. Then, again,—
"Thou that sittest at the right hand of God the Father!"
Had this girl the vision—"Not far from any one of us"?
"I thought so," said the organist. "You come forth at last. This is what I expected, when I overheard you instructing the children in the Sunday-school. Now all that is justified, but you have been a long while about it,—or I have. It seems the right chord wasn't struck. I made these adaptations on purpose for the voice I expected of you."
"Is not the arrangement a new one, Mrs. Edgar?" asked a voice from one of the aisles. "It is perfect."
"It is a new adaptation, Mr. Muir, and I think Miss Ives will hardly improve on her first rendering. It is getting late also. It is time to look at the hymn."
Mr. Muir, who was the rector of the church, now passed along the aisle until he was beyond the voices of the ladies in the choir, and then he stood, during the rehearsal of the Easter hymn,—
"Christ the Lord is risen to-day."
One repetition of these verses, and the rehearsal was at an end. Never was such before in that place. Never before in reality had organist of St. Peter's attempted so much. When the choir came together for an hour's practice, this would be understood. Miss Ives already understood it.
"Now indulge me," she said, "if I have been so fortunate as to satisfy—satisfy you."
In consequence of this request the organist kept her place till night had actually descended. Out of all oratorios, and from many an opera, she brought the immortal graces, and all conceivable renderings of passions, fears, and aspirations of men. At last, and as it seemed quite suddenly, she broke off, closed the organ-doors and locked them, then rose from her place.
A dark figure at the same moment passed up the aisle from the church to the vestry-room in the rear, and organist and singer left the church.
III
"I believe," said Sybella, as they went, venturing now, while aglow with the music, on what heretofore had been forbidden ground to her,—"I believe, if you would sing, I should be struck dumb,
