Darkness and Dawn Part 95

With trembling fingers Stern slit the canvas wrappings.

"What a treasure! What a find!" he exulted. "Look, Beta--see what fortune has put into our hands!"

Even as he spoke he was lifting the great phonograph from the s.p.a.ce where, absolutely uninjured and intact, it had reposed for ten centuries. A silver plate caught his eye. He paused to read:

METROPOLITAN OPERA HOUSE, New York City.

This Phonograph and these Records were immured in the vault of this building September 28, 1918, by the Philavox Society, to be opened in the year 2000.

Non Pereat Memoria Musicae Nostrae.

"Let not the memory of our music perish!" he translated. "Why, I remember well when these records were made and deposited in the Metropolitan! A similar thing was done in Paris, you remember, and in Berlin. But how does this machine come _here?_"

"Probably the expedition reached New York, after all, and decided to transfer this treasure to a safer place where it might be absolutely safe and dry," she suggested. "It's here, anyhow; that's the main thing, and we've found it. What fortune!"

"It's lucky, all right enough," the man a.s.sented, setting the magnificent machine down on the floor of the crypt. "So far as I can see, the mechanism is absolutely all right in every way. They've even put in a box of the special fiber needles for use on the steel plates, Beta. Everything's provided for.

"Do you know, the expedition must have been a much larger one than we thought? It was no child's play to invade the ruins of New York, rescue all this, and transport it here, probably with savages d.o.g.g.i.ng their heels every step. Those certainly were determined, vigorous men, and a goodly number at that. And the fight they must have put up in the cathedral, defending their cache against the enemy, and dying for it, must been terrifically dramatic!

"But all that's done and forgotten now, and we can only guess a bit of it here and there. The tangible fact is this machine and these records, Beatrice. They're real, and we've got them. And the quicker we see what they have to tell us the better, eh?"

She clapped her hands with enthusiasm.

"Put on a record, Allan, quick! Let's hear the voices of the past once more--human voices--the voices of the age that was!" she cried, excited as a child.

CHAPTER VIII

TILL DEATH US DO PART

"All right, my darling," he made answer. "But not here. This is no place for melody, down in this dark and gloomy crypt, surrounded by the relics of the dead. We've been buried alive down here altogether too long as it is. _Brrr!_ The chill's beginning to get into my very bones! Don't you feel it, Beta?"

"I do, now I stop to think of it. Well, let's go up then. We'll have our music where it belongs, in the cathedral, with sunshine and air and birds to keep it company!"

Half an hour later they had transported the magnificent phonograph and the steel records out of the crypt and up the spiral stairway, into the vast, majestic sweep of the transept.

They placed their find on the broad concrete steps that in the old days had led up to the altar, and while Allan minutely examined the mechanism to make sure that all was right, the girl, sitting on the top step, looked over the records.

"Why, Allan, here are instrumental as well as vocal masterpieces," she announced with joy. "Just listen--here's Rossini's 'Barbier de Seville,' and Grieg's 'Anitra's Dance' from the 'Peer Gynt Suite,' and here's that most entrancing 'Barcarolle' from the 'Contes d'Hoffman'--you remember it?"

She began to hum the air, then, as the harmony flowed through her soul, sang a few lines, her voice like gold and honey:

Belle nuit, o nuit d'amour, souris a nos ivresses!

Nuit plus douce que le jour, o belle nuit d'amour!

Le temps fuit et sans retour emporte nos tendresses; Loin de cet heureux sejour le temps fuit sans retour!

Zephyrs embrases, versez-nous vos caresses!

Ah! Donnez-nous vos baisers!

The echoes of Offenbach's wondrous air, a crystal stream of harmony, and of the pa.s.sion-pulsing words, died through the vaulted heights. A moment Allan sat silent, gazing at the girl, and then he smiled.

"It lives in you again, the past!" he cried. "In you the world shall be made new once more! Beatrice, when I last heard that 'Barcarolle'

it was sung by Farrar and Scotti at the Metropolitan, in the winter of 1913. And now--you waken the whole scene in me again!

"I seem to behold the vast, clear-lighted s.p.a.ce anew, the tiers of gilded galleries and boxes, the thousands of men and women hanging eagerly on every silver note--I see the marvelous orchestra, many, yet one; the Venetian scene, the moonlight on the Grand Ca.n.a.l, the gondolas, the merrymakers--I hear Giulietta and Nicklausse blending those perfect tones! My heart leaps at the memory, beloved, and I bless you for once more awakening it!"

"With my poor voice?" she smiled. "Play it, play the record, Allan, and let us hear it as it should be sung!"

He shook his head.

"No!" he declared. "Not after you have sung it. Your voice to me is infinitely sweeter than any that the world of other days ever so much as dreamed of!"

He bent above her, caressed her hair and kissed her; and for a little while they both forgot their music. But soon the girl recalled him to the work in hand.

"Come, Allan, there's so much to do!"

"I know. Well now--let's see, what next?"

He paused, a new thought in his eyes.

"Beta!"

"Well?"

"You don't find Mendelssohn's 'Wedding March,' do you? Look, dearest, see if you can find it. Perhaps it may be there. If so--"

She eyed him, her gaze widening.

"You mean?"

He nodded.

"Just so! Perhaps, after all, you and I can--"

"Oh, come and help me look for it, Allan!" she cried enthusiastic as a child in the joy of his new inspiration. "If we only _could_ find it, wouldn't that be glorious?"

Eagerly they searched together.

"'Ich Grolle Nicht,' by Schumann, no," Stern commented, as one by one they examined the records. "'Ave Maria,' Arcadelt-Liszt--no, though it's magnificent. That's the one you sing best of all, Beta. How often you've sung it to me! Remember, at the bungalow, how I used to lay my head in your lap while you played with my Samsonesque locks and sang me to sleep? Let's see--Brahms's 'Wiegenlied.' Cradle-song, eh? A little premature; that's coming later. Eh? Found it, by Jove! Here we are, the March itself, so help me! Shall I play it now?"

"Not yet, Allan. Here, see what _I've_ found!"

She handed him a record as they sat there together in a broad ribbon of mid-morning sunlight that flooded down through one of the clearstory windows.

"'The Form of the Solemnization of Matrimony, by Bishop Gibson,'" he read. And silence fell, and for a long minute their eyes met.

"Beatrice!"