Some of Amedee's cousins were there, dressed in black and weeping. When all the pews were full, the old men and boys packed the open space at the back of the church, kneeling on the floor. There was scarcely a family in town that was not represented in the confirmation class, by a cousin, at least. The new communicants, with their clear, reverent faces, were beautiful to look upon as they entered in a body and took the front benches reserved for them. Even before the Mass began, the air was charged with feeling. The choir had never sung so well and Raoul Marcel, in the "Gloria," drew even the bishop's eyes to the organ loft. For the offertory he sang Gounod's "Ave Maria,"--always spoken of in Sainte-Agnes as "the Ave Maria."Emil began to torture himself with questions about Marie. Was she ill? Had she quarreled with her husband? Was she too unhappy to find comfort even here? Had she, perhaps, thought that he would come to her? Was she waiting for him? Overtaxed by excitement and sorrow as he was, the rapture of the service took hold upon his body and mind. As he listened to Raoul, he seemed to emerge from the con-flicting emotions which had been whirling him about and sucking him under. He felt as if a clear light broke upon his mind, and with it a conviction that good was, after all, stronger than evil, and that good was possible to men.
He seemed to discover that there was a kind of rapture in which he could love forever with-out faltering and without sin. He looked across the heads of the people at Frank Shabata with calmness. That rapture was for those who could feel it; for people who could not, it was non-existent. He coveted nothing that was Frank Shabata's. The spirit he had met in music was his own. Frank Shabata had never found it; would never find it if he lived beside it a thousand years; would have destroyed it if he had found it, as Herod slew the innocents, as Rome slew the martyrs.
SAN--CTA MARI-I-I-A, wailed Raoul from the organ loft;O--RA PRO NO-O-BIS!
And it did not occur to Emil that any one had ever reasoned thus before, that music had ever before given a man this equivocal revelation.
The confirmation service followed the Mass.
When it was over, the congregation thronged about the newly confirmed. The girls, and even the boys, were kissed and embraced and wept over. All the aunts and grandmothers wept with joy. The housewives had much ado to tear themselves away from the general rejoicing and hurry back to their kitchens. The country parishioners were staying in town for dinner, and nearly every house in Sainte-Agnes enter-tained visitors that day. Father Duchesne, the bishop, and the visiting priests dined with Fabien Sauvage, the banker. Emil and Frank Shabata were both guests of old Moise Marcel.
After dinner Frank and old Moise retired to the rear room of the saloon to play California Jack and drink their cognac, and Emil went over to the banker's with Raoul, who had been asked to sing for the bishop.
At three o'clock, Emil felt that he could stand it no longer. He slipped out under cover of "The Holy City," followed by Malvina's wistful eye, and went to the stable for his mare.
He was at that height of excitement from which everything is foreshortened, from which life seems short and simple, death very near, and the soul seems to soar like an eagle. As he rode past the graveyard he looked at the brown hole in the earth where Amedee was to lie, and felt no horror. That, too, was beautiful, that simple doorway into forgetfulness. The heart, when it is too much alive, aches for that brown earth, and ecstasy has no fear of death. It is the old and the poor and the maimed who shrink from that brown hole; its wooers are found among the young, the passionate, the gallant-hearted.
It was not until he had passed the graveyard that Emil realized where he was going. It was the hour for saying good-bye. It might be the last time that he would see her alone, and to-day he could leave her without rancor, without bitterness.
Everywhere the grain stood ripe and the hot afternoon was full of the smell of the ripe wheat, like the smell of bread baking in an oven. The breath of the wheat and the sweet clover passed him like pleasant things in a dream. He could feel nothing but the sense of diminishing dis-tance. It seemed to him that his mare was fly-ing, or running on wheels, like a railway train.
The sunlight, flashing on the window-glass of the big red barns, drove him wild with joy. He was like an arrow shot from the bow. His life poured itself out along the road before him as he rode to the Shabata farm.
When Emil alighted at the Shabatas' gate, his horse was in a lather. He tied her in the stable and hurried to the house. It was empty.
She might be at Mrs. Hiller's or with Alexan-dra. But anything that reminded him of her would be enough, the orchard, the mulberry tree. . . When he reached the orchard the sun was hanging low over the wheatfield. Long fingers of light reached through the apple branches as through a net; the orchard was rid-dled and shot with gold; light was the reality, the trees were merely interferences that reflected and refracted light. Emil went softly down between the cherry trees toward the wheatfield.
When he came to the corner, he stopped short and put his hand over his mouth. Marie was lying on her side under the white mulberry tree, her face half hidden in the grass, her eyes closed, her hands lying limply where they had happened to fall. She had lived a day of her new life of perfect love, and it had left her like this.
Her breast rose and fell faintly, as if she were asleep. Emil threw himself down beside her and took her in his arms. The blood came back to her cheeks, her amber eyes opened slowly, and in them Emil saw his own face and the orchard and the sun. "I was dreaming this," she whis-pered, hiding her face against him, "don't take my dream away!"
