Bildungsromans; Christian fiction; London (England) -- Fiction
Walter was charmed. The singing, and the song through the singing,
altogether exceeded his expectation. He had feared he should not be able
to laud heartily, for he had not lost his desire to be truthful--but she
was an artist! There was indeed nothing original in her music; it was
mainly a reconstruction of common phrases afloat in the musical
atmosphere; but she managed the slight dramatic element in the lyric
with taste and skill, following tone and sentiment with chord and
inflection; so that the music was worthy of the verses--which is not
saying very much for either; while the expression the girl threw into
the song went to the heart of the youth, and made him foolish.
She ceased; he was silent for a moment, then fervent in thanks and
admiration.
“The verses are mine no more,” he said. “I shall care for them now!”
“You won’t mind if I publish them with the music?”
“I shall feel more honored than I dare tell you. But how _am_ I to go to
my work after this taste of paradise! It was too cruel of you, Lady
Lufa, to make me come in the morning!”
“I am very sorry!”
“Will you grant me one favor to make up?”
“Yes.”
“Never to sing the song to any one when I am present. I could not bear
it.”
“I promise,” she answered, looking up in his face with a glance of
sympathetic consciousness.
There was an acknowledged secret between them, and Walter hugged it.
“I gave you a frozen bird,” he said, “and you have warmed it, and made
it soar and sing.”
“Thank you; a very pretty compliment!” she answered--and there was a
moment’s silence.
“I am so glad we know each other!” she resumed. “You could help me so
much if you would! Next time you come, you must tell me something about
those old French rhymes that have come into fashion of late! They say a
pretty thing so much more prettily for their quaint, antique, courtly
liberty! The _triolet_ now--how deliriously impertinent it is! Is it
not?”
Walter knew nothing about the old French modes of versifying; and,
unwilling to place himself at a disadvantage, made an evasive reply, and
went. But when at length he reached home, it was with several ancient
volumes, among the rest “Clement Marot,” in pockets and hands. Ere an
hour was over, he was in delight with the variety of dainty modes in
which, by shape and sound, a very pretty French something was carved out
of nothing at all. Their fantastic surprises, the ring of their
bell-like returns upon themselves, their music of triangle and cymbal,
gave him quite a new pleasure. In some of them poetry seemed to approach
the nearest possible to bird-song--to unconscious seeming through most
conscious art, imitating the carelessness and impromptu of warblings as
old as the existence of birds, and as new as every fresh individual joy;
for each new generation grows its own feathers, and sings its own song,
yet always the feathers of its kind, and the song of its kind.
The same night he sent her the following _triolet_
Public-domain text, read in full here on John Shaqi.
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