The Devourers Part 49

"Do you love me very much?" he asked.

"Dreadfully," said Nancy, looking up at him helplessly through her tears.

He sat down beside her.

"And do you know that I love you very much?"

"Yes, I know," sobbed Nancy.

There was a short silence. Then he said: "In one of your letters long ago you wrote: 'This love across the distance, without the aid of any one of our senses, this is the Blue Rose of love, the mystic marvel blown in our souls for the delight of Heaven.' Shall we pluck it, Nancy, and wear it for our own delight?"

The gra.s.ses curtseyed and the river ran. He took her hand from her face.

Nancy looked at him, and the tears brimmed over.

"Then," she said brokenly, "it would not be the Blue Rose any more."

"True," he said.

"Then it would be a common, everyday, pink-faced flower like every other."

"True," he said again.

She withdrew her hand from his. Then his hand remained on his knee in the sunshine, a large brown hand, strong, but lonely.

"Oh, dear Unknown!" said Nancy; and she bent forward and kissed the lonely hand. "Do not let us throw our blue dream-rose away!"

"Very well," he said--"very well, dear little Miss Brown." And he kissed her forehead for the second time.

That evening he went back to his mines.

XX

The following winter, when Nancy had been in Prague nearly a year, the Professor said:

"Next month Anne-Marie will give an orchestral concert."

"Oh, Herr Professor!" gasped Nancy. "Was giebt's?" asked the Professor.

"Was giebt's?" asked Anne-Marie.

"She is only nine years old."

"Well?" said the Professor.

"Well?" said Anne-Marie.

Who can describe the excitement of the following days? The excitement of Bemolle over the choice of a programme! The excitement of Fraulein over the choice of a dress! The excitement of Nancy, who could close no eye at night, who pictured Anne-Marie breaking down or stopping in the middle of a piece, or beginning to cry, or refusing to go on to the platform, or catching cold the day before! Everyone was febrile and overwrought except Anne-Marie herself, who seemed to trouble not at all about it.

She was to play the Max Bruch Concerto? _Gut!_ And the Fantasia Appa.s.sionata? All right. And the Paganini variations on the G string?

Very well. And now might she go out with Schop? For Schopenhauer, long-bodied and ungainly, had come with them to Europe, and was now friends with all the gay dogs of Prague.

"I will order the pink dress," said Fraulein.

"Oh no! Let it be white," said Nancy.

"I want it blue," said Anne-Marie.

So blue it was.

One snowy morning Anne-Marie went to her first rehearsal with the orchestra. There was much friendly laughter among the strings and wind, the bra.s.s and reeds, when the small child entered through the huge gla.s.s doors of the Rudolfinum, followed by Bemolle carrying the violin, Nancy carrying the music, Fraulein carrying the dog, and the Professor in the rear, with his hat pulled down deeply over his head, and a large unlit cigar twisting in his fingers. Anne-Marie was introduced to the Bohemian chef d'orchestre, and was hoisted up to the platform by Fraulein and the Professor. Violins and violas tapped applause on their instruments.

And now Jaroslav Kalas raps his desk with the baton and raises his arm. Then he remembers something. He stops and bends down to Anne-Marie.

Has she the A? Yes, thank you. And the little girl holds the fiddle to her ear and plucks lightly and softly at the strings. She raises it to her shoulder, and stands in position.

Again the conductor taps and raises his arms. B-r-r-r-r-r roll the drums. Re-do-si, re-do-si, re-e, whisper the clarinets. A pause.

Anne-Marie lifts her right arm slowly, and strikes the low G--a long vibrating note, like the note of a 'cello. Then she glides softly up the cadenza, and ends on the long pianissimo high D. Bemolle, who has been standing up, sits down suddenly. The Professor, who has been sitting down, stands up. Now Anne-Marie is purling along the second cadenza.

Fraulein, beaming in her lonely stall in the centre of the empty hall, nods her head rapidly and continuously. Nancy has covered her face with her hands. But the little girl, with her cheek on the fiddle, plays the concerto and sees nothing. Only once she gives a little start, as the bra.s.s instruments blare out suddenly behind her and she turns slightly towards them with an anxious eye. Then she forgets them; and she carries the music along, winding through the andante, gliding through the adagio, tearing past the allegro, leaping into the wild, magnificent finale.

Perfect silence. The orchestra has not applauded. Kalas folds his arms and turns round to look at the Professor. But the Professor is blowing his nose. So Kalas steps down from his desk, and, taking Anne-Marie's hand, lifts it, bow and all, to his lips. Then, stepping back briskly to the desk, he raps for silence. "Vieuxtemps' Fantasie,"

he says, and the music-sheets are fluttered and turned.

All Prague sat expectant--rustling and murmuring and coughing--in the stalls and galleries of the Rudolfinum, on the night of the concert. The Bohemian orchestra were in their seats. Kalas stepped up to his desk, and an overture was played.

A short pause. Then, in the midst of a tense silence, Anne-Marie appeared, threading her way through the orchestra, with her violin under her arm. Now she stands in her place, a tiny figure in a short blue silk frock, with slim black legs and black shoes, and her fair hair tied on one side with a blue ribbon. Unwondering and calm, Anne-Marie confronted her first audience, gazing at the thousand upturned faces with gentle, fearless eyes. She turned her quiet gaze upwards to the gallery, where row on row of people were leaning forward to see her. Then, with a little shake of her head to throw back her fair hair, she lifted her violin to her ear, plucked lightly, and listened, with her head on one side, to the murmured reply of the strings. Kalas, on his tribune, was looking at her, his face drawn and pale. She nodded to him, and he rapped the desk. B-r-r-r-r-r-r rolled the drums.

In the artists' room at the close of the concert people were edging and pressing and pushing to get in and catch a glimpse of Anne-Marie. The Directors and the uniformed men pushed the crowd out again, and locked the doors. The Professor, who had listened to the concert hidden away in a corner of the gallery, elbowed his way through the crush and entered the artists' room. The doors were quickly locked again behind him.

The Professor had his old black violin-case in his hands. He went to the table, and, pushing aside a quant.i.ty of flowers that lay on it, he carefully put down his violin-case. It looked like a little coffin in the midst of the flowers. Anne-Marie was having her coat put on by Kalas, and a scarf tied round her head by Nancy, who was white as a sheet. The Professor beckoned to her, and she ran to him, and stood beside him at the table. He opened his violin-case and lifted out the magnificent blond instrument that he had treasured for thirty years. He turned the key of the E string, and drew the string off. Then he drew the A string off; then the D. The violin, now with the single silver G string holding up its bridge, lay in the Professor's hands for a moment.

He turned solemnly to the little girl.

"This is my Guarnerius del Gesu. I give it to you."

"Yes," said Anne-Marie.

"You will always play the Paganini Variations for the G string on this violin. Put no other strings on it."

"No," said Anne-Marie.

The Professor replaced the violin in the case, and shut it. "I have taught you what I could," he said solemnly. "Life will teach you the rest."