Sandra Belloni Part 61

CHAPTER x.x.xVIII

"My voice! I have my voice!"

Emilia had cried it out to herself almost aloud, on the journey from Devon to London. The landscape slipping under her eyes, with flas.h.i.+ng grey pools and light silver freshets, little glades, little copses, farms, and meadows rounding away to spires of village churches under blue hills, would not let her sink, heavy as was the spirit within her, and dead to everything as she desired to be. Here, a great strange old oak spread out its arms and seemed to hold the hurrying train a minute.

When gone by, Emilia thought of it as a friend, and that there, there, was the shelter and thick darkness she had hoped she might be flying to. Or the reach of a stream was seen, and in the middle of it one fair group of clouds, showing distance beyond distance in colour. Emilia shut her sight, and tried painfully to believe that there were no distances for her. This was an easy task when the train stopped. It was surprising to her then why the people moved. The whistle of the engine and rush of the scenery set her imagination anew upon the horror of being motionless.

"My voice! I have my voice!" The exclamation recurred at intervals, as a quick fear, that bubbled up from blind sensation, of her being utterly abandoned, and a stray thing carrying no light, startled her. Darkness she still had her desire for; but not to be dark in the darkness. She looked back on the recent night as a lake of fire, through which she had plunged; and of all the faculties about her, memory had suffered most, so that it could recall no images of what had happened, but lay against its black corner a shuddering bundle of nerves. The varying fields and woods and waters offering themselves to her in the swiftness, were as wine dashed to her lips, which could not be dead to it. The wish to be of some worth began a painful quickening movement. At first she could have sobbed with the keen anguish that instantaneously beset her.

For--"If I am of worth, who looks on me?" was her outcry, and the darkness she had previously coveted fell with the strength of a mace on her forehead; but the creature's heart struggled further, and by-and-by in despite of her the pulses sprang a clear outlook on hope. It struck through her like the first throb of a sword-cut. She tried to blind herself to it; the face of hope was hateful.

This conflict of the baffled spirit of youth with its forceful flood of being continued until it seemed that Emilia was lifted through the fiery circles into daylight; her last cry being as her first: "I have my voice!"

Of that which her voice was to achieve for her she never thought. She had no thought of value, but only an eagerness to feel herself possessor of something. Wilfrid had appeared to her to have taken all from her, until the recollection of her voice made her breathe suddenly quick and deep, as one recovering the taste of life.

Despair, I have said before, is a wilful business, common to corrupt blood, and to weak woeful minds: native to the sentimentalist of the better order. The only touch of it that came to Emilia was when she attempted to penetrate to Wilfrid's reason for calling her down to Devon that he might renounce and abandon her. She wanted a reason to make him in harmony with his acts, and she could get none. This made the world look black to her. But, "I have my voice!" she said, exhausted by the pa.s.sion of the night, tearless, and only sensible to pain when the keen swift wind, and the flying squares of field and meadow prompted her nature mysteriously to press for healthy action.

A man opposite to her ventured a remark: "We're going at a pretty good pace now, miss."

She turned her eyes to him, and the sense of speed was reduced in her at once, she could not comprehend how. Remembering presently that she had not answered him, she said: "It is because you are going home, perhaps, that you think it fast."

"No, miss," he replied, "I'm going to market. They can't put on steam too stiff for me when I'm bound on business."

Emilia found it impossible to fathom the sensations of the man, and their common desire for speed bewildered her more. She was relieved when the train was lightened of him. Soon the skirts of red vapour were visible, and when the guard took poor Braintop's return-ticket from her petulant hand, all of the journey that she bore in mind was the sight of a butcher-boy in blue, with a red cap, mounted on a white horse, who rode gallantly along a broad highroad, and for whom she had struck out some tune to suit the measure of his gallop.

She accepted her capture by the Marinis more calmly than Merthyr had been led to suppose. The butcher-boy's gallop kept her senses in motion for many hours, and that reckless equestrian embodied the idea of the vivifying pace from which she had dropped. He went slower and slower.

By degrees the tune grew dull, and jarred; and then Emilia looked out on the cold grey skies of our autumn, the rain and the fogs, and roaring London filled her ears. So had ended a dream, she thought. She would stand at the window listening to street-organs, whose hideous discord and clippings and drawls did not madden her, and whose suggestion of a lovely tune rolled out no golden land to her. That treasure of her voice, to which no one in the house made allusion, became indeed a buried treasure.

In the South-western suburb where the Marinis lived, plots of foliage were to be seen, and there were lanes not so black but that they showed the hues of the season. These led to the parks and to n.o.ble gardens.

Emilia daily went out to keep the dying colours of the year in view, and walked to get among the trees, where, with Madame attendant on her, she sat counting the leaves as each one curved, and slid, and spun to earth, or on a gust of air hosts went aloft; but it always ended in their coming down; Emilia verified that fact repeatedly. However high they flew, the ground awaited them. Madame entertained her with talk of Italy, and Tuscan wine, and Lombard bread, and Turin chocolate.

Marini never alluded to his sufferings for the loss of these cruelly interdicted dainties, never! But Madame knew how his exile affected him.

And in England the sums one paid for everything! "One fancies one pays for breath," said Madame, s.h.i.+vering.

One day the ex-organist of Hillford Church pa.s.sed before them. Emilia let him go. The day following he pa.s.sed again, but turned at the end of the alley and simulated astonishment at the appearance of Emilia, as he neared her. They shook hands and talked, while Madame zealously eyed any chance person promenading the neighbourhood. She wrote for instructions concerning this gentleman calling himself Sir Purcell Barrett, and receiving them, she permitted Emilia to invite him to their house. "He is an Englishman under a rope, ready for heaven," Madame described him to her husband, who, though more at heart with Englishmen, could not but admit that this one wore a look that appeared as a prognostication of sadness.

Sir Purcell informed Emilia of his accession to t.i.tle; and in reply to her "Are you not glad?" smiled and said that a mockery could scarcely make him glad; indicating nevertheless how feeble the note of poverty was in his grand scale of sorrow. He came to the house and met them in the gardens frequently. With some perversity he would a.n.a.lyze to herself Emilia's spirit of hope, partly perhaps for the sake of probing to what sort of thing it might be in its nature and defences; and, as against an accomplished disputant she made but a poor battle, he injured what was precious to her without himself gaining any good whatever.

"Why, what do you look forward to?" she said wondering, at the end of one of their arguments, as he courteously termed this play of logical foils with a baby.

"Death," answered the grave gentleman, striding on.

Emilia pitied him, thinking: "I might feel as he does, if I had not my voice." Seeing that calamity very remote, she added: "I should!"

She knew of his position toward Cornelia: that is, she knew as much as he did: for the want of a woman's heart over which to simmer his troubles was urgent within him and Emilia's, though it lacked experience, was a woman's regarding love. And moreover, she did not weep, but practically suggested his favourable chances, which it was a sad satisfaction to him to prove baseless, and to knock utterly over.

The grief in which the soul of a human creature is persistently seeking (since it cannot be thrown off) to clothe itself comfortably, finds in tears an irritating expression of sympathy. Hints of a brighter future are its nourishment. Such embryos are not tenacious of existence, and when destroyed they are succulent food for a s.p.a.ce to the moody grief I am describing.

The melancholy gentleman did Emilia this good, that, never appearing to imagine others to know misery save himself, he gave her full occupation apart from the workings of her own mind. As to her case, he might have offered the excuse that she really had nothing of the aspect of a lovesick young lady, and was not a bit sea-green to view, or lamentable in tone. He was sufficiently humane to have felt for anyone suffering, and the proof of it is, that the only creature he saw under such an influence he pitied so deplorably, as to make melancholy a habit with him. He fretted her because he would do nothing, and this spectacle of a lover beloved, but consenting to be mystified, consentingly paralyzed:--of a lover beloved--!

"Does she love you?" said Emilia, beseechingly.

"If the truth is in her, she does," he returned.

"She has told you she loves you?--that she loves no one else?"

"Of this I am certain."

"Then, why are you downcast? my goodness! I would take her by the hand 'Woman; do you know yourself? you belong to me!'--I would say that; and never let go her hand. That would decide everything. She must come to you then, or you know what it is that means to separate you. My goodness! I see it so plain!"

But he declined to look thus low, and stood pitifully smiling:--This spectacle, together with some subtle spur from the talk of love, roused Emilia from her lethargy. The warmth of a new desire struck around her heart. The old belief in her power over Wilfrid joined to a distinct admission that she had for the moment lost him; and she said, "Yes; now, as I am now, he can abandon me:" but how if he should see her and hear her in that hushed hour when she was to stand as a star before men?

Emilia flushed and trembled. She lived vividly though her far-projected sensations, until truly pity for Wilfrid was active in her bosom, she feeling how he would yearn for her. The vengeance seemed to her so keen that pity could not fail to come. Thus, to her contemplation, their positions became reversed: it was Wilfrid now who stood in the darkness, unselected. Her fiery fancy, unchained from the despotic heart, illumined her under the golden future.

"Come to us this evening, I will sing to you," she said, and the 'Englishman under a rope' bowed a.s.sentingly.

"Sad songs, if you like," she added.

"I have always thought sadness more musical than mirth," said he.

"Surely there is more grace in sadness!"

Poetry, sculpture, and songs, and all the Arts, were brought forward in mournful array to demonstrate the truth of his theory.

When Emilia understood him, she cited dogs and cats, and birds, and all things of nature that rejoiced and revelled, in support of the opposite view.

"Nay, if animals are to be your ill.u.s.tration!" he protested. He had been perhaps half under the delusion that he spoke with Cornelia, and with a sense of infinite misery, he compressed the apt distinction that he had in his mind; which was to show where humanity and simple nature drew a line, and wherein humanity claimed the loftier seat.

"But such talk must be uttered to a soul," he phrased internally, and Emilia was denied what belonged to Cornelia.

Hitherto Emilia had refused to sing, and Madame Marini, faithful to her instructions, had never allowed her to be pressed to sing. Emilia would brood over notes, thinking: "I can take that; and that; and dwell on such and such a note for any length of time;" but she would not call up her voice; she would not look at her treasure. It seemed more to her, untouched; and went on doubling its worth, until doubtless her idea of capacity greatly relieved her of the burden on her breast, and the reflection that she held a charm for all, and held it from all, flattered one who had been cruelly robbed.

On their way homeward, among the chrysanthemums in the long garden-walk, they met Tracy Runningbrook, between whose shouts of delight and Emilia's reserve there was so marked a contrast that one would have deemed Tracy an offender in her sight. She had said to him entreatingly, "Do not come," when he volunteered to call on the Marinis in the evening; and she got away from him as quickly as she could, promising to be pleased if he called the day following. Tracy flew leaping to one of the great houses where he was tame cat. When Sir Purcell as they pa.s.sed on spoke a contemptuous word of his soft habits and idleness, Emilia said: "He is one of my true friends."

"And why is he interdicted the visit this evening?"

"Because," she answered, and grew pale, "he--he does not care for music.

I wish I had not met him."

She recollected how Tracy's flaming head had sprung up before her--he who had always prophesied that she would be famous for arts unknown to her, and not for song just when she was having a vision of triumph and caressing the idea of her imprisoned voice bursting its captivity, and soaring into its old heavens.

"He does not care for music!" interjected Sir Purcell, with something like a frown. "I have nothing in common with him. But that I might have known. I can have nothing in common with a man who is not to be impressed by music."

"I love him quite as well," said Emilia. "He is a quick friend. I am always certain of him."

"And I imagine also that you are quits with your quick friend," added Sir Purcell. "You do not care for verse, or he for voices!"

"Poetry?" said Emilia; "no, not much. It seems like talking on tiptoe; like animals in cages, always going to one end and back again...."

"And making the same noise when they get at the end--like the bears!"

Sir Purcell slightly laughed. "You don't approve of the rhymes?"