The Atlantic Monthly, Volume 13, No. 77, March, 1864

Mr. Deane walked into church on Easter Sunday, followed by a trophy. This trophy had once been a chattel, but was now, as Mr. Deane assured him, a man. Scarcely a shade darker than Mr. Deane himself as to complexion, in figure quite as prepossessing, in bearing not less erect, he passed up the north aisle of St. Peter's to the square pew of the most influential of the wardens, who was also the first man of the Church Musical Committee.

The old church was beautiful with its floral decorations on this festival. The altar shone with sacramental silver, and rare was the music that quickened the hearts of the great congregation to harmonious tunefulness. The boys in their choral, Miss Ives in her solos, above all, the organist, in voluntary, prelude, and accompaniment, how glorious! If a soul in the church escaped thankfulness in presence of those flowers, in hearing of that music, I know not by what force it could have been conducted that bright morning to the feet of Love. It was "a day of days."

To the trophy of Deane this scene must have been strangely new. No doubt, he had before now sat in a church, a decorated church, a church where music had much to do with the service. But never under such circumstances had he stood, sat, knelt, taking part in the worship, a man among men. Of this Mr. Deane was thinking; and his brain, not very imaginative, was taxed to conceive the conception of freedom a man must obtain under precisely these circumstances.

But the man in question was thinking thoughts as widely diverse from these attributed to him as one could easily imagine. Of himself, and his position, scarcely at all. And when he thought, he smiled; but the gravity, the abstraction into which he repeatedly lapsed, seemed to say for him that freedom was to him more than he knew what to do with. No volubility of joy, no laughter, no manifested exultation in deliverance from bondage: 't was a rare case; must one believe his eyes?

Probably the constraint of habit was upon the fugitive, the contraband. Homesickness in spite of him, it might be. Oh, surely freedom was not bare to him as a winter-rifled tree? Not a bud of promise swelling along the dreary waste of tortuous branches? Possibly some ties had been ruptured in making his escape, which must be knit again before he could enter into the joy he had so fairly won. For you and me it would hardly be perfect happiness to feast at great men's tables, while the faces we love best, the dear, the sacred faces, grow gaunt from starvation.

Mr. Deane took to himself some glory in consequence of his late achievements. He was a practical man, and his theories were now being put to a test that gave him some proud satisfaction. The attitude he assumed not many hours ago in reference to the organist has added to his consciousness of weight, and to-day he has taken as little pleasure as became him in the choir's performance. Now and then a strain besieged him, but none could carry that stout heart, or overthrow that nature, the wonder of pachydermata. Generally through the choral service he retained his seat; a significant glance now and then, that involved the man beside him, was the only evidence he gave that the music much impressed him; but this evidence, to one who should understand, was all-sufficient.

Meanwhile the object of these glances sat apparently lost in vacuity, or patiently waiting the end of the services,—when all at once, during the hymn, he sprang to his feet; at the same moment two or three beside him felt as if they had experienced an electric shock. What was it? A voice joined the soprano singer in one single strain, brief as the best joy, but also as decisive. Ninety-nine hundredths of the congregation never heard it, and the majority of those that did could hardly have felt assured of the hearing; there were, in fact, but three persons among them all who were absolutely certain of their ears. One was this contraband; another an artist who stood at the foot of one of the aisles, leaning against a great stone pillar; the third was, of course, Sybella Ives.

She, the soprano, sang from that moment in a seeming rapture. The artist listened in a sort of maze,—interpreting aright what he had heard, disappointed at its brevity, but waiting on in a kind of wonder through canticle, hymn, and gloria, in a deep abasement that had struck the singer dumb, could she above there have known what was going on here below.

When the singing was over he went away as he had purposed, but it was only to the steps of the church. There he sat until he heard a stir within announcing that the services were ended, when he walked away. But the first person who had heard and understood that voice heard nothing after. He was continually waiting for it, but he had no further sign. Once his attention was for a moment turned towards the preacher, who was dwelling on St. Paul's allusion to himself as an ambassador in bonds; he looked at that instant towards Mr. Deane, who, it happened, was at the same moment gazing uneasily at him. After that his eyes did not wander any more, and from his impassive face it was impossible to discover what his thoughts might be.

To go back now a day or two.

II

A pleasant sound of young voices, that became subdued as the children passed from street to church-yard, rose from the shadowy elm-walk and floated up through the branches towards the window of the organist, who seemed to have been waiting some such summons, for she now threw aside the manuscript music she had been studying, arrayed herself in her shawl, threw a scarf around her head, and looked at the clock. Straight she gazed at it, a moment full, before she seemed instructed in the fact represented on the dial-plate, thinking still, most likely, of the score she had been revising. Some thought at least as profound, as unfathomable, and as immeasurable as was thereon represented, possessed her, as she now, with a glance around the room, retired from it.

With herself in the apartment it was another sort of place from what it looked when she had left it.

There were three pictures on the wall,—three, and no more. One was a copy of the lovely portraiture of Milton's musical inspired youth; the wonderful eyes, the "breezy hair," the impassioned purity of the countenance, looked down on the place where the musician might be found three-fourths of her waking hours, at her piano. In other parts of the room, opposite each other, were pictures of the Virgin ever-blessed! conquering, crowned.

In the first she stood with foot upon the Serpent, that lay coiled on the apex of the globe. She had crushed the Destroyer; the world was free of its monster. Beneath her shone the crescent moon, whose horns were sharp as swords. Rays of blessing, streaming from her hands, revealed the Mother of grace and of all benefaction.

Opposite, her apotheosis. A chariot of clouds was bearing her to her throne in heaven; the loving head was shining with a light that paled the stars above her; far down were the crags of earth, the fearful precipices that lead the weary and adventurous toiler to at last but narrow prospects. Far away now the conquered Devil, and the conquered world,—the foot was withdrawn from destructions,—the writhing of the Enemy was felt now no more.

The organist had bought these pictures for her wall when she had paid her first month's board in this her present abiding-place.

Towards the centre of the room stood her piano, an instrument of finest tone, whose incasing you would not be likely to admire or observe.

White matting covered the floor. Heaps of music were upon the table and the piano. There were few books to indicate the taste or studies of the owner beside these sheets and volumes of music, and they were everywhere. All that ever was written for organ or piano seemed to have found its way in at the door of that chamber.

On a pedestal in the window stood an orange-tree, whose blossoms filled the room with their bright, soft sweetness; a Parian vase held a bouquet of flowers, gathered, none could question whether for the woman whose room they decorated.

One window of this room looked out on a busy street, another into the church-yard, a third upon the sea: not so remote the sea but one could hear the breaking of its waves, and watch its changing glory.

Thus she had for "influences" the loneliness of the grave,—for the church-yard was filled with monuments of a past generation,—the solitude of the ocean, and the busy street. Was she so involved in duties, or in cares, as to be unmindful of all these diverse tongues that told their various story in that lofty and lonely apartment of the old stone house?

Into the church, equally old and gray, covered with ivy, shadowed even to the roof by the vast branching and venerable trees, she now went,—and was not too early. The boys were growing restless, though it needed but the sound of her coming to reduce them all to silence: when they saw her enter the church-door, they all went down quietly to their places, opened their books, and no one could mistake their aspect for constraint. Here was the bright, beautiful, enthusiasm and blissful confidence of youth.

A few words, and all were in working order. The organist touched the keys. Then a solemn softness, beautiful to see, overspread the young faces. It had never been otherwise since she began to teach them. If she controlled, it was not by exhibition of authority.

"Begin."

At that word, with one consent, the voices struck the first notes of the carol,—

From strain to strain they bore it along till the old church was glad. How must the birds in the nests of the great elm-branches have rejoiced! And the ivy-vines, did they not cling more closely to the gray stone walls, as if they, too, had something at stake in the music? for they were the children of the church who sang those strains. Among the wonder-working little company within there was no loitering, no laughing, no twitching of coat-sleeves on the sly, no malicious interruptions: all were alert, earnest, conscientious. They sang with a zeal that brought smiles to the face of the organist.

Two or three songs, carols, anthems, and the lesson was over. Now for the reward. It came promptly, and was worth more than the gifts of others.

"You have all done excellently well. I knew you would. If I had found myself mistaken, it would have been a great disappointment. 'T is a great thing to be able to sing such verses as if you were eye-witnesses of what you repeat. That is precisely what you do. Now you may go. Go quietly."

She looked at them all as she spoke; it was a broad, comprehensive glance, but they all felt individualized by it. Then they came, the six lads, with their bright, handsome faces, pride of a mother's heart every one, and took her hand, and carried away, each one, her kiss upon his forehead. Not one of them but had been blest beyond expression in the few half-hours they had been gathered under the instruction of the organist. So they went off, carrying her precious praise with them.

They had scarcely gone, and the organist was yet searching for a sheet of music, when a step was in the aisle, noiseless, rapid, and a young girl came into the singers' seat.

"Am I too early?" she asked,—for her welcome was not immediate, and her courtesy was not just now of the quality that overlooked a seeming lack of it in others. Miss Ives was slightly out of tune.

"Not at all," was the answer. Still it was spoken in a very preoccupied way that might have been provoking,—that would depend on the mood of the person addressed; and that mood, as we know, was not sun-clear or marble-smooth. The organist had now found the music she was looking for, and proceeded to play it from the first page to the last, without vouchsafing an instant's recognition of the singer's presence.

When she had finished, she sat a moment silent; then she turned straight toward Miss Ives, and smiled, and it was a smile that could atone for any amount of seeming incivility.

But not even David, by mere sweep of harp-string, soothed self-beleaguered Saul.

Teacher and pupil did not seem to understand each other as it was best such women should. For, let the swaying, surging hosts throughout the valley deliver themselves as they can from the confusion of tongues, the wanderers among the mountains ought to understand the signals they see flaring from crag and gorge and pinnacle.

Too many shadowy folds were in the mystery that hung about each of these women to satisfy the other: reticence too cold, independence too extreme, self-possession too entire. Why was neither summoned, in a frank, impulsive way, to take up the burden of the other? Was nothing ever to penetrate the seven-walled solitude in which the organist chose to intrench herself? Was nobody ever to bid roses bloom on the colorless face of the singer, and bring smiles, the veritable smiles of youth, and of happiness, into those large, steady, joyless eyes?

But now, while the organist played, and Sybella sat down, supposing she was not wanted yet, she found herself not withdrawn into the indifference she supposed. Presently far more was given than she either looked for or desired.

The music that was being played was indeed wonderful. This was not for the delight of children: no happy sprite with dancing feet could maintain this measure. It was music for the most advanced, enlightened intelligence,—for the soul that music had quickened to far depths,—for the heart that had suffered, triumphed, and gained the kingdom of calm,—for a wisdom riper even than Sybella's.

An audience of a hundred souls would infallibly have gabbled their way through the silence that would naturally gather round those tones. Put Sybella in the midst of such an audience, and you would understand her better than I hope now to make her understood; for the torture of the moment would have been of the quality that has demonstration.

As it was, she now sat silently, as silently as the organist sat in her place; but when all was over, she turned to look at the magician. Sybella had passed through fearful agitation in the beginning and throughout the greater part of the performance, but now she quietly said,—

"That is the one sole composition of its author."

"Why do you say so?" asked the organist, whom people in general called Miss Edgar.

"Because, of course, everything is in it,—I mean the best of everything that could be in one soul. If the composer wrote more, it was fragmentary and repetitious. If you played it, Miss Edgar, to put me in a better voice for singing than I had when I came in, I think you have succeeded. I can almost imagine how Jenny Lind felt, when her voice came back to her."

"We shall soon see that. I don't know that the music has ever been played on an organ before. But you see it is a rare production,—little known,—a book of the Law not read out of the sacred place. Let us try that prayer again. You will sing it differently to-day,—I see it in your face."

"Thou that takest away the sins of the world, have mercy upon us!"

Something had happened to the voice that sang. Never had the organist heard such tones from it before; there was volume, depth, purity, such as had been unheard by those who thought they knew the quality and compass of Sybella's voice.

The organist could not forbear turning and looking at her as she sang. Great, evidently, was her emotion. This nature that had been in bonds manifestly had eschewed the bondage. Was the organist glad thereat? Whose praise would be on everybody's lips on Sunday, if Sybella sang like this? Are women and men generally pleased to hear the praises of a rival? You have had full hearing, generous, more than patient; do you feel a thrill of the old rapture, a kindling of the old enthusiasm, when you hear the praises of the young new-comer, who has reached you with a stride, and will pass you at a bound? Since this may be in human nature, say "Yes" to the catechist. For the organist returned to her duties with a brightened face, she touched the keys with new power. Then, again,—

"Thou that sittest at the right hand of God the Father!"

Had this girl the vision—"Not far from any one of us"?

"I thought so," said the organist. "You come forth at last. This is what I expected, when I overheard you instructing the children in the Sunday-school. Now all that is justified, but you have been a long while about it,—or I have. It seems the right chord wasn't struck. I made these adaptations on purpose for the voice I expected of you."

"Is not the arrangement a new one, Mrs. Edgar?" asked a voice from one of the aisles. "It is perfect."

"It is a new adaptation, Mr. Muir, and I think Miss Ives will hardly improve on her first rendering. It is getting late also. It is time to look at the hymn."

Mr. Muir, who was the rector of the church, now passed along the aisle until he was beyond the voices of the ladies in the choir, and then he stood, during the rehearsal of the Easter hymn,—

One repetition of these verses, and the rehearsal was at an end. Never was such before in that place. Never before in reality had organist of St. Peter's attempted so much. When the choir came together for an hour's practice, this would be understood. Miss Ives already understood it.

"Now indulge me," she said, "if I have been so fortunate as to satisfy—satisfy you."

In consequence of this request the organist kept her place till night had actually descended. Out of all oratorios, and from many an opera, she brought the immortal graces, and all conceivable renderings of passions, fears, and aspirations of men. At last, and as it seemed quite suddenly, she broke off, closed the organ-doors and locked them, then rose from her place.

A dark figure at the same moment passed up the aisle from the church to the vestry-room in the rear, and organist and singer left the church.

III

"I believe," said Sybella, as they went, venturing now, while aglow with the music, on what heretofore had been forbidden ground to her,—"I believe, if you would sing, I should be struck dumb, just as now, when you play, I feel as if I could do anything in song. Why do you never show me how a thing should be done by singing it? I've had teachers with voices hoarse as crows', who did it; and I profited, for I understood better what they meant. It seems to me to be the natural impulse, and I don't know how you control it; for of course you do control it."