The Right of Way Part 37

"And this?" said Charley, pointing to the injured leg, for he now a.s.sociated the accident with the secret just disclosed.

"Ah, you apprehend! You have an avocat's mind--almost. It was at Four Mountains. Paulette is superst.i.tious; so not long ago she went to live there alone with an old half-breed woman who has second-sight. Monsieur, it is a gift unmistakably. For as soon as the hag clapped eyes on me in the hut, she said: 'There is the man that wrote you the letters.'

Well--what! Paulette Dubois came down on me like an avalanche--Monsieur, like an avalanche! She believed the old witch; and there was I lying with an unconvincing manner"--he sighed--"lying requires practice, alas!

She saw I was lying, and in a rage s.n.a.t.c.hed up my gun. It went off by accident, and brought me down. Did she relent? Not so. She helped to bind me up, and the last words she said to me were: 'You will suffer; you will have time to think. I am glad. You have kept me on the rack. I shall only be sorry if you die, for then I shall not be able to torture you till you tell me where my child is!' Monsieur, I lied to the last, lest she should come here and make a noise; but I'm not sure it wouldn't have been better to break faith with Robespierre, and tell the poor wanton where her child is. What would you do, Monsieur? I cannot ask the Cure or the Seigneur--I have reasons. But you have the head of a lawyer--almost--and you have no local feelings, no personal interest--eh?"

"I should tell the truth."

"Your reasons, Monsieur?"

"Because the lawyer is a scoundrel. Your betrayal of his secret is not a thousandth part so bad as one lie told to this woman, whose very life is her child. Is it a boy or a girl?"

"A boy."

"Good! What harm can be done? A left-handed boy is all right in the world. Your wife has twins--then think of the woman, the one ewe lamb of 'the poor wanton.' If you do not tell her, you will have her here making a noise, as you say. I wonder she has not been here on your door-step."

"I had a letter from her to-day. She is coming-ah, mon dieu!"

"When?"

There was a tap at the window. The Notary started. "Ah, Heaven, here she is!" he gasped, and drew over to the wall.

A voice came from outside. "Shall I play for you, Dauphin? It is as good as medicine."

The Notary recovered himself at once. His volatile nature sprang back to its pose. He could forget Paulette Dubois for the moment.

"It is Maximilian Cour in the garden," he said happily. Then he raised his voice. "Play on, baker; but something for convalescence--the return of spring, the sweet a.s.sonance of memory."

"A September air, and a gush of spring," said the baker, trying to crane his long neck through the window. "Ah, there you are, Dauphin! I shall give you a sleep to-night like a balmy eve." He nodded to the tailor.

"M'sieu', you shall judge if sentiment be dead.

"I have racked my heart to play this time. I have called it, 'The Baffled Quest of Love'. I have taken the music of the song of Alsace, 'Le Jardin d'Amour', and I have made variations on it, keeping the last verse of the song in my mind. You know the song, M'sieu':

"'Quand je vais au jardin, Jardin d'amour, Je crois entendu des pas, Je veux fuir, et n'ose pas.

Voici la fin du jour...

Je crains et j'hesite, Mon coeur bat plus vite En ce sejour...

Quand je vais an jardin, jardin d'amour.'"

The baker sat down on a stool he had brought, and began to tune his fiddle. From inside came the voice of the Notary.

"Play 'The Woods are Green' first," he said. "Then the other."

The Notary possessed the one high-walled garden in the village, and though folk gathered outside and said that the baker was playing for the sick man, there was no one in the garden save the fiddler himself.

Once or twice a lad appeared on the top of the wall, looking over, but vanished at once when he saw Charley's face at the window. Long ere the baker had finished, the song was caught up from outside, and before the last notes of the violin had died away, twenty voices were singing it in the street, and forty feet marched away with it into the dusk.

Darkness comes quickly in this land of brief twilight. Presently out of the soft shadowed stillness, broken by the note of a vagrant whippoorwill, crept out from Maximilian Cour's old violin the music of 'The Baffled Quest of Love'.

The baker was not a great musician, but he had a talent, a rare gift of pathos, and an imagination untrammelled by rigorous rules of harmony and construction. Whatever there was in his sentimental bosom he poured into this one achievement of his life. It brought tears to the eyes of Narcisse Dauphin. It opened a gate of the garden wall, and drew inside a girl's face, shining with feeling.

Maximilian Cour spoke for more than himself that night. His philandering spirit had, at middle age, begotten a desire to house itself in a quiet place, where the blinds could be drawn close, and the room of life made ready with all the furniture of love. So he had spoken to his violin, and it had answered as it had never done before. The soul of the lean baker touched the heart of a man whose life had been but a baffled quest, and the spirit of a girl whose love was her sun by day, her moon by night, and the starlight of her dreams.

From the shade of the window the man the girl loved watched her as she sank upon the ground and clasped her hands before her in abandonment to the music. He watched her when the baker, at last, overcome by his own feelings--and ashamed of them--got up and stole swiftly out of the garden. He watched her till he saw her drop her face in her hands; then, opening the door and stealing out, he came and laid a hand upon her shoulder, and she heard him say:

"Rosalie!"

CHAPTER x.x.xVI. BARRIERS SWEPT AWAY

Rosalie came to her feet, gasping with pleasure. She had been unhappy ever since she had returned from Quebec, for though she had sometimes been brought in contact with Charley in the Notary's house since the day of the operation, nothing had pa.s.sed between them save the necessary commonplaces of a sick-room, given a little extra colour, perhaps, by the sense of responsibility which fell upon them both, and by that importance which hidden sentiment gives to every motion. The twins had been troublesome and ill, and Madame Dauphin had begged Rosalie to come in for a couple of hours every evening. Thus the tailor and the girl who, by every rule of wisdom, should have been kept as far apart as the poles, were played into each other's hands by human kindness and d.a.m.nable propinquity. The man, manlike, felt no real danger, because nothing was said--after everything had been said for all time at the hut on Vadrome Mountain. He had not realised the true situation, because of late her voice, like his, had been even and her hand cool and steady.

He had not noticed that her eyes were like hungry fires, eating up her face--eating away its roundness, and leaving a pathetic beauty behind.

It seemed to him that because there was silence--neither the written word nor the speaking look--that all was well. He was hugging the chain of denial to his bosom, as though to say, "This way is safety"; he was hiding his face from the beacon-lights of her eyes, which said: "This way is home."

Home? Pictures of home, of a home such as Maximilian Cour painted in his music, had pa.s.sed before him now and then since that great day on Vadrome Mountain. A simple fireside, with frugal but comfortable fare; a few books; the study of the fields and woods; the daily humble task over which he could meditate as his hands worked mechanically; the happy face of a happy woman near--he had thought of home; and he had put it from him. No matter what the temptation, his must be, perhaps for ever, the bed and board unshared. He had had his chance in the old days, and he had thrown it away with insolent indifference, and an unpardonable contempt for the opinion of the world.

Now, with a blind fatuousness which had nothing to do with his old intellectual power, but was evidence of a primitive life of feeling, had vaguely imagined that because there were no clinging hands, or stolen looks, or any vow or promise, that all might go on as at present--upon the surface. With a curious absence of his old accuracy of observation he was treating the immediate past--his and Rosalie's past--as if it did not actually exist; as if only the other and farther past was a tragedy, and this nearer one a dream.

But the film fell from his eyes as Maximilian Cour played his 'Baffled Quest', with its quaint, searching pathos; and as he saw the figure of the girl alone in the shade of the great rose-bushes, past and present became one, and the whole man was lost in that one word "Rosalie!" which called her to her feet with outstretched hands.

The tears sprang to her eyes; her face upturned to his was a mute appeal, a speechless 'Viens ici'.

Past, present, future, duty, apprehension, consequences, suddenly fell away from Charley's mind like a garment slipping from the shoulders, and the new man, swept off his feet by the onrush of unused and ungoverned emotions, caught the girl to his arms with a desperate joy.

"Oh, do you care, then--for me?" wept the girl, and hid her face in his breast.

A voice came from inside the house: "Monsieur, Monsieur--ah, come, if you please, tailor!"

The girl drew back quickly, looked up at him for one instant with a triumphant happy daring, then, suddenly covered with confusion, turned, ran to the gate, opened it, pa.s.sed swiftly out, and was swallowed up in the dusk.

CHAPTER x.x.xVII. THE CHALLENGE OF PAULETTE DUBOIS

"Monsieur, Monsieur!" came the voice from inside the house, querulously and anxiously. Charley entered the Notary's bedroom.

"Monsieur," said the Notary excitedly, "she is here--Paulette is here.

My wife is asleep, thank G.o.d! but old Sophie has just told me that the woman asks to see me. Ah, Heaven above, what shall I do?"

"Will you leave it to me?"

"Yes, yes, Monsieur."

"You will do exactly as I say?"

"Ah, most sure."