The Open Window: Tales of the MonthsWright, Mabel Osgood
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The Open Window: Tales of the Months
Wright, Mabel Osgood
American fiction -- 20th century; Short stories, American
Poor old young Professor! He went back to his work that autumn more
fully convinced than ever that in it lay all that life had to offer him.
Winter had never seemed so long as this, in which his fortieth birthday
was creeping toward him with the spring and May. Some of his associates
planned a little festival to celebrate the birthday, quite among
themselves, arranging that Adela Heyl, a sister of one of the number,
who had a fine voice and was coming to pass the spring in the town,
should sing some of his songs, that she, without knowing more than the
initials of the author, had found sympathetic and had set to music. For
as a reflex to the serious student side of the man, he had both a vein
of romance in him and a love of nature so exquisite and so delicately
keyed that it was in itself an art.
It was a little late when Professor Hewlett entered the Heyls’ cosey,
unpretentious house, and while he was touched by the comradeship that
was the motive of the festival, yet he at once drew within himself and
became diffident at sight of the feminine element that had been
introduced in what he had expected was to be a sort of bachelor
gathering; for, seated at the piano was a young woman clad in white with
a cluster of the white “Poet’s Narcissus” set against her low-coiled
dark hair. Shoulder curve and cheek told of the glory of a perfect
development; the chin was dimple cleft and dark lashes veiled the colour
of the eyes that were fixed on the keys of the instrument, as the
accompaniment trickled through her fingers, and her throat began to
quiver with song like the vibratory prelude of the wood-thrush.
“In Arden where the twilight lingers,
Love may dream but never sleeps,”
ran the words.
John Hewlett, who had drawn himself into a niched doorway on seeing the
singer, hearing his own words written long ago and almost forgotten,
half started forward and paused with both hands resting on the end of
the piano, looking across its length at the singer, who at his motion
raised her eyes unconsciously to his. They were a deep violet-blue in
colour, but he did not know this then; what he saw was the woman’s heart
that lay behind, that seemed at once to awaken and spring to meet his
own.
The first song glided into a second, and when, at the end of half an
hour, Adela stopped and let her hands drop to her knees, the pallor of
emotion rather than fatigue replaced her rich colour; and when her
brother presented his friend Hewlett as the writer of the words to which
her music had given new meaning, there was not one among the onlookers
but who realized in some degree what this birthday festival
foreshadowed.
Public-domain text, read in full here on John Shaqi.
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