The Song of the Lark Part 19

Harsanyi laughed softly--a little scornfully, Thea thought. "So you have a voice, have you?"

Thea hesitated, looked intently at the candles and then at Harsanyi.

"Yes," she said firmly; "I have got some, anyway."

"Good girl," said Mrs. Harsanyi, nodding and smiling at Thea. "You must let us hear you sing after dinner."

This remark seemingly closed the subject, and when the coffee was brought they began to talk of other things. Harsanyi asked Thea how she happened to know so much about the way in which freight trains are operated, and she tried to give him some idea of how the people in little desert towns live by the railway and order their lives by the coming and going of the trains. When they left the diningroom the children were sent to bed and Mrs. Harsanyi took Thea into the studio.

She and her husband usually sat there in the evening.

Although their apartment seemed so elegant to Thea, it was small and cramped. The studio was the only s.p.a.cious room. The Harsanyis were poor, and it was due to Mrs. Harsanyi's good management that their lives, even in hard times, moved along with dignity and order. She had long ago found out that bills or debts of any kind frightened her husband and crippled his working power. He said they were like bars on the windows, and shut out the future; they meant that just so many hundred dollars'

worth of his life was debilitated and exhausted before he got to it. So Mrs. Harsanyi saw to it that they never owed anything. Harsanyi was not extravagant, though he was sometimes careless about money. Quiet and order and his wife's good taste were the things that meant most to him.

After these, good food, good cigars, a little good wine. He wore his clothes until they were shabby, until his wife had to ask the tailor to come to the house and measure him for new ones. His neckties she usually made herself, and when she was in shops she always kept her eye open for silks in very dull or pale shades, grays and olives, warm blacks and browns.

When they went into the studio Mrs. Harsanyi took up her embroidery and Thea sat down beside her on a low stool, her hands clasped about her knees. While his wife and his pupil talked, Harsanyi sank into a CHAISE LONGUE in which he sometimes s.n.a.t.c.hed a few moments' rest between his lessons, and smoked. He sat well out of the circle of the lamplight, his feet to the fire. His feet were slender and well shaped, always elegantly shod. Much of the grace of his movements was due to the fact that his feet were almost as sure and flexible as his hands. He listened to the conversation with amus.e.m.e.nt. He admired his wife's tact and kindness with crude young people; she taught them so much without seeming to be instructing. When the clock struck nine, Thea said she must be going home.

Harsanyi rose and flung away his cigarette. "Not yet. We have just begun the evening. Now you are going to sing for us. I have been waiting for you to recover from dinner. Come, what shall it be?" he crossed to the piano.

Thea laughed and shook her head, locking her elbows still tighter about her knees. "Thank you, Mr. Harsanyi, but if you really make me sing, I'll accompany myself. You couldn't stand it to play the sort of things I have to sing."

As Harsanyi still pointed to the chair at the piano, she left her stool and went to it, while he returned to his CHAISE LONGUE. Thea looked at the keyboard uneasily for a moment, then she began "Come, ye Disconsolate," the hymn Wunsch had always liked to hear her sing. Mrs.

Harsanyi glanced questioningly at her husband, but he was looking intently at the toes of his boots, shading his forehead with his long white hand. When Thea finished the hymn she did not turn around, but immediately began "The Ninety and Nine." Mrs. Harsanyi kept trying to catch her husband's eye; but his chin only sank lower on his collar.

"There were ninety and nine that safely lay In the shelter of the fold, But one was out on the hills away, Far off from the gates of gold."

Harsanyi looked at her, then back at the fire.

"Rejoice, for the Shepherd has found his sheep."

Thea turned on the chair and grinned. "That's about enough, isn't it?

That song got me my job. The preacher said it was sympathetic," she minced the word, remembering Mr. La.r.s.en's manner.

Harsanyi drew himself up in his chair, resting his elbows on the low arms. "Yes? That is better suited to your voice. Your upper tones are good, above G. I must teach you some songs. Don't you know anything--pleasant?"

Thea shook her head ruefully. "I'm afraid I don't. Let me see--Perhaps,"

she turned to the piano and put her hands on the keys. "I used to sing this for Mr. Wunsch a long while ago. It's for contralto, but I'll try it." She frowned at the keyboard a moment, played the few introductory measures, and began:

"ACH, ICH HABE SIE VERLOREN,"

She had not sung it for a long time, and it came back like an old friendship. When she finished, Harsanyi sprang from his chair and dropped lightly upon his toes, a kind of ENTRE-CHAT that he sometimes executed when he formed a sudden resolution, or when he was about to follow a pure intuition, against reason. His wife said that when he gave that spring he was shot from the bow of his ancestors, and now when he left his chair in that manner she knew he was intensely interested. He went quickly to the piano.

"Sing that again. There is nothing the matter with your low voice, my girl. I will play for you. Let your voice out." Without looking at her he began the accompaniment. Thea drew back her shoulders, relaxed them instinctively, and sang.

When she finished the aria, Harsanyi beckoned her nearer. "Sing AH--AH for me, as I indicate." He kept his right hand on the keyboard and put his left to her throat, placing the tips of his delicate fingers over her larynx. "Again,--until your breath is gone.--Trill between the two tones, always; good! Again; excellent!--Now up,--stay there. E and F.

Not so good, is it? F is always a hard one.--Now, try the half-tone.--That's right, nothing difficult about it.--Now, pianissimo, AH--AH. Now, swell it, AH--AH.--Again, follow my hand.--Now, carry it down.--Anybody ever tell you anything about your breathing?"

"Mr. La.r.s.en says I have an unusually long breath," Thea replied with spirit.

Harsanyi smiled. "So you have, so you have. That was what I meant. Now, once more; carry it up and then down, AH--AH." He put his hand back to her throat and sat with his head bent, his one eye closed. He loved to hear a big voice throb in a relaxed, natural throat, and he was thinking that no one had ever felt this voice vibrate before. It was like a wild bird that had flown into his studio on Middleton Street from goodness knew how far! No one knew that it had come, or even that it existed; least of all the strange, crude girl in whose throat it beat its pa.s.sionate wings. What a simple thing it was, he reflected; why had he never guessed it before? Everything about her indicated it,--the big mouth, the wide jaw and chin, the strong white teeth, the deep laugh.

The machine was so simple and strong, seemed to be so easily operated.

She sang from the bottom of herself. Her breath came from down where her laugh came from, the deep laugh which Mrs. Harsanyi had once called "the laugh of the people." A relaxed throat, a voice that lay on the breath, that had never been forced off the breath; it rose and fell in the air-column like the little b.a.l.l.s which are put to shine in the jet of a fountain. The voice did not thin as it went up; the upper tones were as full and rich as the lower, produced in the same way and as unconsciously, only with deeper breath.

At last Harsanyi threw back his head and rose. "You must be tired, Miss Kronborg."

When she replied, she startled him; he had forgotten how hard and full of burs her speaking voice was. "No," she said, "singing never tires me."

Harsanyi pushed back his hair with a nervous hand. "I don't know much about the voice, but I shall take liberties and teach you some good songs. I think you have a very interesting voice."

"I'm glad if you like it. Good-night, Mr. Harsanyi." Thea went with Mrs.

Harsanyi to get her wraps.

When Mrs. Harsanyi came back to her husband, she found him walking restlessly up and down the room.

"Don't you think her voice wonderful, dear?" she asked.

"I scarcely know what to think. All I really know about that girl is that she tires me to death. We must not have her often. If I did not have my living to make, then--" he dropped into a chair and closed his eyes. "How tired I am. What a voice!"

IV

AFTER that evening Thea's work with Harsanyi changed somewhat. He insisted that she should study some songs with him, and after almost every lesson he gave up half an hour of his own time to practicing them with her. He did not pretend to know much about voice production, but so far, he thought, she had acquired no really injurious habits. A healthy and powerful organ had found its own method, which was not a bad one. He wished to find out a good deal before he recommended a vocal teacher. He never told Thea what he thought about her voice, and made her general ignorance of anything worth singing his pretext for the trouble he took.

That was in the beginning. After the first few lessons his own pleasure and hers were pretext enough. The singing came at the end of the lesson hour, and they both treated it as a form of relaxation.

Harsanyi did not say much even to his wife about his discovery. He brooded upon it in a curious way. He found that these unscientific singing lessons stimulated him in his own study. After Miss Kronborg left him he often lay down in his studio for an hour before dinner, with his head full of musical ideas, with an effervescence in his brain which he had sometimes lost for weeks together under the grind of teaching. He had never got so much back for himself from any pupil as he did from Miss Kronborg. From the first she had stimulated him; something in her personality invariably affected him. Now that he was feeling his way toward her voice, he found her more interesting than ever before. She lifted the tedium of the winter for him, gave him curious fancies and reveries. Musically, she was sympathetic to him. Why all this was true, he never asked himself. He had learned that one must take where and when one can the mysterious mental irritant that rouses one's imagination; that it is not to be had by order. She often wearied him, but she never bored him. Under her crudeness and brusque hardness, he felt there was a nature quite different, of which he never got so much as a hint except when she was at the piano, or when she sang. It was toward this hidden creature that he was trying, for his own pleasure, to find his way. In short, Harsanyi looked forward to his hour with Thea for the same reason that poor Wunsch had sometimes dreaded his; because she stirred him more than anything she did could adequately explain.

One afternoon Harsanyi, after the lesson, was standing by the window putting some collodion on a cracked finger, and Thea was at the piano trying over "Die Lorelei" which he had given her last week to practice.

It was scarcely a song which a singing master would have given her, but he had his own reasons. How she sang it mattered only to him and to her.

He was playing his own game now, without interference; he suspected that he could not do so always.

When she finished the song, she looked back over her shoulder at him and spoke thoughtfully. "That wasn't right, at the end, was it?"

"No, that should be an open, flowing tone, something like this,"--he waved his fingers rapidly in the air. "You get the idea?"

"No, I don't. Seems a queer ending, after the rest."

Harsanyi corked his little bottle and dropped it into the pocket of his velvet coat. "Why so? Shipwrecks come and go, MARCHEN come and go, but the river keeps right on. There you have your open, flowing tone."

Thea looked intently at the music. "I see," she said dully. "Oh, I see!"

she repeated quickly and turned to him a glowing countenance. "It is the river.--Oh, yes, I get it now!" She looked at him but long enough to catch his glance, then turned to the piano again. Harsanyi was never quite sure where the light came from when her face suddenly flashed out at him in that way. Her eyes were too small to account for it, though they glittered like green ice in the sun. At such moments her hair was yellower, her skin whiter, her cheeks pinker, as if a lamp had suddenly been turned up inside of her. She went at the song again:

"ICH WEISS NICHT, WAS SOLL ES BEDEUTEN, DAS ICH SO TRAURIG BIN."

A kind of happiness vibrated in her voice. Harsanyi noticed how much and how unhesitatingly she changed her delivery of the whole song, the first part as well as the last. He had often noticed that she could not think a thing out in pa.s.sages. Until she saw it as a whole, she wandered like a blind man surrounded by torments. After she once had her "revelation,"