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<hr class="large" />[Pg 65] <h2>V</h2> <h2>The Light of Dreams</h2> “ How do you get on with the Master?” asked Iris. “After a fashion,” answered Irving; “but I do not get on with Fräulein Fredrika at all. She despises me.” “She does not like many people.” “So it would seem. I have been unfortunate from the first, though I was careful to admire ‘mine crazy jug.’” “It is the apple of her eye,” laughed Iris, “it means to her just what his Cremona means to him.” “It is a wonderful creation, and I told her so, but where in the dickens did she get the idea?” “Don’t ask me. Did you happen to notice anything else?” “No—only the violin. Sometimes I take my lesson in the parlour, sometimes in the [Pg 66]shop downstairs, or even in Herr Kaufmann’s bedroom, which opens off of it. When I come, he stops whatever he happens to be doing, sits down, and proceeds with my education.” “On the floor,” said Iris reminiscently, “she has a gold jar which contains cat tails and grasses. It is Herr Kaufmann’s silk hat, which he used to have when he played in the famous orchestra, with the brim cut off and plenty of gold paint put on. The gilded potato-masher, with blue roses on it, which swings from the hanging lamp, was done by your humble servant. She has loved me ever since.” “Iris!” exclaimed Lynn, reproachfully. “How could you!” “How could I what?” “Paint anything so outrageous as that?” “My dear boy,” said Miss Temple, patronisingly, with her pretty head a little to one side, “you are young in the ways of the world. I was not achieving a work of art; I was merely giving pleasure to the Fräulein. Much trouble would be saved if people who undertake to give pleasure would consult the wishes of the recipient in preference to their own. Tastes differ, as even you may have observed. [Pg 67]Personally, I have no use for a gilded potato-masher—I couldn’t even live in the same house with one,—but I was pleasing her, not myself.” “I wonder what I could do that would please her,” said Lynn, half to himself. “Make her something out of nothing,” suggested Iris. “She would like that better than anything else. She has a wall basket made of a fish broiler, a chair that was once a barrel, a dresser which has been evolved from a packing box, a sofa that was primarily a cot, and a match box made from a tin cup covered with silk and gilded on the inside, not to mention heaps of other things.” “Then what is left for me? The desirable things seem to have been used up.” “Wait,” said Iris, “and I’ll show you.” She ran off gaily, humming a little song under her breath, and came back presently with a clothes-pin, a sheet of orange-coloured tissue paper, an old black ostrich feather, and her paints. “What in the world—” began Lynn. “Don’t be impatient, please. Make the clothes-pin gold, with a black head, and then I’ll show you what to do next.” [Pg 68] “Aren’t you going to help me?” “Only with my valuable advice—it is your gift, you know.” Awkwardly, Lynn gilded the clothes-pin and suspended it from the back of a chair to dry. “I hope she’ll like it,” he said. “She pointed to me once and said something in German to her brother. I didn’t understand, but I remembered the words, and when I got home I looked them up in my dictionary. As nearly as I could get it, she had characterised me as ‘a big, lumbering calf.’” “Discerning woman,” commented Iris. “Now, take this sheet of tissue paper and squeeze it up into a little ball, then straighten it out and do it again. When it’s all soft and crinkly, I’ll tell you what to do next.” “There,” exclaimed Lynn, finally, “if it’s squeezed up any more it will break.” “Now paint the head of the clothes-pin and make some straight black lines on the middle of it, cross ways.” “Will you please tell me what I’m making?” “Wait and see!” Obeying instructions, he fastened the paper tightly in the fork of the clothes-pin, and [Pg 69]spread it out on either side. The corners were cut and pulled into the semblance of wings, and black circles were painted here and there. Iris herself added the finishing touch—two bits of the ostrich feather glued to the top of the head for antennæ. “Oh,” cried Lynn, in pleased surprise, “a butterfly!” “How hideous!” said Margaret, pausing in the doorway. “I trust it’s not meant for me.” “It’s for the Fräulein,” answered Iris, gathering up her paints and sweeping aside the litter. “Lynn has made it all by himself.” “I wonder how he stands it,” mused Irving, critically inspecting the butterfly. “I asked him once,” said Iris, “if he liked all the queer things in his house, and he shrugged his shoulders. ‘What good is mine art to me,’ he asked, ‘if it makes me so I cannot live with mine sister? Fredrika likes the gay colours, such as one sees in the fields, but they hurt mine eyes. Still because the tidies and the crazy jug swear to me, it is no reason for me to hurt mine sister’s feelings. We have a large house. Fredrika has the [Pg 70]upstairs and I have the downstairs. When I can no longer stand the bright lights, I can turn mine back and look out of the window, or I can go down in the shop with mine violins. Down there I see no colours and I can put mine feet on all chairs.’” Lynn laughed, but Margaret, who was listening intently, only smiled sadly. That afternoon, when the boy went up the hill, with the butterfly dangling from his hand by a string, he was greeted with childish cries of delight on either side. Hoping for equal success at the Master’s, he rang the bell, and the Fräulein came to the door. When she saw who it was, her face instantly became hard and forbidding. “Mine brudder is not home,” she said, frostily. “I know,” answered Lynn, with a winning smile, “but I came to see you. See, I made this for you.” Wonder and delight were in her eyes as she took it from his outstretched hand. “For me?” “Yes, all for you. I made it.” “You make this for me by yourself alone?” “No, Miss Temple helped me.” [Pg 71] “Miss Temple,” repeated the Fräulein, “she is most kind. And you likewise,” she hastened to add. “It will be of a niceness if Miss Temple and you shall come to mine house to tea to-morrow evening.” “I’ll ask her,” he returned, “and thank you very much.” Thus Lynn made his peace with Fräulein Fredrika. <hr class="medium" /> Laughing like two irresponsible children, they went up the hill together at the appointed time. Lynn’s arms were full of wild crab-apple blooms, which he had taken a long walk to find, and Iris had two little pots of preserves as her contribution to the feast. Their host and hostess were waiting for them at the door. Fräulein Fredrika was very elegant in her best gown, and her sharp eyes were kind. The Master was clad in rusty black, which bore marks of frequent sponging and occasional pressing. “It is most kind,” he said, bowing gallantly to Iris; “and you, young man, I am glad to see you, as always.” Iris found a stone jar for the apple blossoms and brought them in. The Master’s fine old face beamed as he drew a long breath of pink [Pg 72]and white sweetness. “It is like magic,” he said. “I think inside of every tree there must be some beautiful young lady, such as we read about in the old books—a young lady something like Miss Iris. All Winter, when it is cold, she sleeps in her soft bed, made from the silk lining of the bark. Then one day the sun shines warm and the robin sings to her and wakes her. ‘What,’ says she, ‘is it so soon Spring? I must get to work right away at mine apple blossoms.’ “Then she stoops down for some sand and some dirt. In her hands she moulds it—so—reaching out for some rain to keep it together. Then she says one charm. With a forked stick she packs it into every little place inside that apple tree and sprinkles some more of it over the outside. “‘Now,’ says she, ‘we must wait, for I have done mine work well. It is for the sun and the wind and the rain to finish.’ So the rain makes all very wet, and the wind blows and the sun shines, and presently the sand and dirt that she has put in is changed to sap that is so glad it runs like one squirrel all over the inside of the tree and tries to sing like one bird. “‘So,’ says this young lady, ‘it is as I [Pg 73]thought.’ Then she says one more charm, and when the sun comes up in the morning, it sees that the branches are all covered with buds and leaves. The young lady and the moon work one little while at it in the evening, and the next morning, there is—this!” The Master buried his face in the fragrant blooms. “It is a most wonderful sweetness,” he went on. “It is wind and grass and sun, and the souls of all the apple blossoms that are dead.” “Franz,” called Fräulein Fredrika, “you will bring them out to tea, yes?” As the entertainment progressed, Lynn’s admiration of Iris increased. She seemed equally at home in Miss Field’s stately mansion and in the tiny bird-house on the brink of a precipice, where everything appeared to be made out of something else. She was in high spirits and kept them all laughing. Yet, in spite of her merry chatter, there was an undertone of tender wistfulness that set his heart to beating. The Master, too, was at his best. Usually, he was reserved and quiet, but to-night the barriers were down. He told them stories of his student days in Germany, wonderful [Pg 74]adventures by land and sea, and conjured up glimpses of the kings and queens of the Old World. “Life,” he sighed, “is very strange. One begins within an hour’s walk of the Imperial Palace, where sometimes one may see the Kaiser and the Kaiserin, and one ends—here!” “Wherever one may be, that is the best place,” said the Fräulein. “The dear God knows. Yet sometimes I, too, must think of mine Germany and wish for it.” “Fredrika!” cried the Master, “are you not happy here?” “Indeed, yes, Franz, always.” Her harsh voice was softened and her piercing eyes were misty. One saw that, however carefully hidden, there was great love between these two. Iris helped the Fräulein with the dishes, in spite of her protests. “One does not ask one’s guests to help with the work,” she said. “But just suppose,” answered Iris, laughing, “that one’s guests have washed dishes hundreds of times at home!” In the parlour, meanwhile, the Master talked to Lynn. He told him of great violinists he had heard and of famous old violins [Pg 75]he had seen—but there was never a word about the Cremona. “Mine friend, the Doctor,” said the Master, “do you perchance know him?” “Yes,” answered Lynn, “I have that pleasure. He’s all right, isn’t he?” “So he thinks,” returned the Master, missing the point of the phrase. “In an argument, one can never convince him. He thinks it is for me to go out on one grand tour and give many concerts and secure much fame, but why should I go, I ask him, when I am happy here? So many people know what should make one happy a thousand times better than the happy one knows. Life,” he said again, “is very strange.” It was a long time before he spoke again. “I have had mine fame,” he said. “I have played to great houses both here and abroad, and women have thrown red roses at me and mine violin. There has been much in the papers, and I have had many large sums, which, of course, I have always given to the poor. One should use one’s art to do good with and not to become rich. I have mine house, mine clothes, all that is good for me to eat, mine sister and mine—” he hesitated [Pg 76]for an instant, and Lynn knew he was thinking of the Cremona. “Mine violins,” he concluded, “mine little shop where I make them, and best of all, mine dreams.” Iris came back and Fräulein Fredrika followed her. “If you will give me all the little shells,” she was saying, “I will stick them together with glue and make mineself one little house to sit on the parlour table. It will be most kind.” Her voice was caressing and her face fairly shone with joy. “I will light the lamp,” she went on. “It is dark here now.” Suiting the action to the word, she pulled down the lamp that hung by heavy chains in the centre of the room, and the gilded potato-masher swung back and forth violently. “No, no, Fredrika,” said the Master. “It is not a necessity to light the lamp.” “Herr Irving,” she began, “would you not like the lamp to see by?” “Not at all,” answered Lynn. “I like the twilight best.” “Come, Fräulein,” said Iris, “sit over here by me. Did I tell you how you could make a little clothes-brush out of braided rope and a bit of blue ribbon?” [Pg 77] “No,” returned the Fräulein, excitedly, “you did not. It will be most kind if you will do it now.” The women talked in low tones and the others were silent without listening. The street was in shadow, and here and there lanterns flashed in the dark. Down in the valley, velvety night was laid over the river and the willows that grew along its margin, but the last light lingered on the blue hills above, and a single star had set its exquisite lamp to gleaming against the afterglow. The wings of darkness hovered over the little house, and yet no word was spoken. It was an intimate hush, such as sometimes falls between lovers, who have no need of speech. Lynn and Iris looked forward to the future, with the limitless hope of Youth, while the others brooded over a past which had brought each of them a generous measure of joy and pain. The full moon came out from behind the clouds and flooded the valley with silver light. “Oh,” cried Iris, “how glorious it is!” “Yes,” said the Master, “it is the light of dreams. All the ugliness is hidden, as in life, [Pg 78]when one can dream. Only the beauty is left. Wait, I will play it to you.” He went downstairs for his violin and Lynn moved closer to Iris. Fräulein Fredrika retreated into the shadow at the farthest corner of the room. Presently the Master returned, snapping and tightening the strings. It was not the Cremona, but the other. He sat down by the window and the moonlight touched his face caressingly. He was grey with his fifty years and more, but as he sat there, his massive head thrown back and his hair silvered, he seemed very near to the Gates of Youth. In a moment, he was lost to his surroundings. He tapped the bow on the sill, as an orchestra leader taps for attention, straightened himself, smiled, and began. It was a rippling, laughing melody, played on muted strings, full of unexpected harmonies, and quaintly phrased. In a moment, they caught the witchery of it, and the meaning. It was Titania and her fairies, suddenly transported half-way around the world. Mystery and magic were in the theme. Moonbeams shimmered through it, elves played here and there, and shining waters [Pg 79]sang through Summer silences. All at once there was a pause, then, sonorous, deep, and splendid, came another harmony, which in impassioned beauty voiced the ministry of pain. As before, Lynn saw chiefly the technique. Never for a moment did he forget the instrument. Iris was trembling, for she well knew those high and lonely places of the spirit, within the borders of Gethsemane. The Master put down the violin and sighed. “Come,” faltered Iris, “it is late and we must go.” He did not hear, and it was Fräulein Fredrika who went to the door with them. “Franz is thinking,” she whispered. “He is often like that. He will be most sorry when he learns that you have gone.” “This way,” said Iris, when they reached the street. They went to the brow of the cliff and looked once more across the shadowed valley to the luminous ranges of the everlasting hills. She turned away at last, thrilled to the depths of her soul. “Come,” she whispered, “we must go back.” They walked softly, as though they feared to disturb someone in the little house, but [Pg 80]there was no sound from within nor any light save at the window, where the light of dreams streamed over the Master’s face and made it young. <div style="break-after:column;"></div>

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