Love and Life: An Old Story in Eighteenth Century CostumeYonge, Charlotte M. (Charlotte Mary)
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Love and Life: An Old Story in Eighteenth Century Costume
Yonge, Charlotte M. (Charlotte Mary)
English fiction -- 19th century
“O, sir, I have only nursery ditties, caught from our old German maid,”
cried Aurelia, in dismay.
“That might not diminish the charm to me,” he said. “In especial there
was one song whose notes Jumbo caught as you accompanied yourself on the
spinnet.”
And Jumbo, who seemed able to see in the dark, played a bar on his
violin, while Aurelia trembled with shyness.
“The Nightingale Song,” she said. “My dear mother learnt the tune
abroad. And I believe that she herself made the English words, when she
was asked what the nightingales say.”
“May I hear it? Nightingales can sing in the dark.” Refusal was
impossible, and Jumbo’s violin was a far more effective accompaniment
than her own very moderate performance on the spinnet; so in a sweet,
soft, pure, untrained and trembling voice, she sang--
“O Life and Light are sweet, my dear, O life and Light are sweet;
But sweeter still the hope and cheer
When Love and Life shall meet.
Oh! then it is most sweet, sweet, sweet, sweet, sweet, sweet.
“But Love puts on the yoke, my dear, But Love puts on the yoke;
The dart of Love calls forth the tear,
As though the heart were broke.
The very heart were broke, broke, broke, broke, broke, broke.
“And Love can quench Life’s Light, my dear, Drear, dark, and melancholy;
Seek Light and Life and jocund cheer,
And mirth and pleasing folly.
Be thine, light-hearted folly, folly, folly, folly, folly, folly.
“‘Nay, nay,’ she sang. ‘yoke, pain, and tear,
For Love I gladly greet;
Light, Life, and Mirth are nothing here,
Without Love’s bitter sweet.
Give me Love’s bitter sweet, sweet, sweet, sweet, sweet, sweet.’”
“Accept my fervent thanks, kind songstress. So that is the nightingale’s
song, and your honoured mother’s?”
“Yes, sir. My father often makes us sing it because it reminds him of
her.”
“Philomel could not have found a better interpreter,” said the grave
voice, sounding so sad that Aurelia wished she could have sung something
less affecting to his spirits.
“I gather from what you said that you are no longer blessed with the
presence of the excellent lady, your mother,” presently added Mr.
Belamour.
“No, sir. We lost her seven years ago.”
“And her husband mourns her still. Well he may. She was a rare creature.
So she is gone! I have been so long in seclusion that no doubt time has
made no small havoc, and my friends have had many griefs to bewail.”
Aurelia knew not what answer to make, and was relieved when he collected
himself and said:--
“I will trespass no longer on my fair visitor’s complaisance, but if she
have not found the gloom of this apartment insupportable, it would be a
charitable action to brighten it once more with her presence.”
“O sir, I will come whenever you are pleased to send for me,” she
exclaimed, all her doubts, fears, and scruples vanishing at his tone of
entreaty. “My father would be so glad. I will practise my best song to
sing to you to-morrow.”
Public-domain text, read in full here on John Shaqi.
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