It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was then no longer either deferential or patronizing; no longer either a rebel or a slave. The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but translate his visions into human words, and his experiences into human actions.
Perhaps he cannot; certainly he does not, or does so very seldom.
Lucy had done so never.
She was no dazzling executante; her runs were not at all like strings of pearls, and she struck no more right notes than was suitable for one of her age and situation. Nor was she the passionate young lady, who performs so tragically on a summer's evening with the window open. Passion was there, but it could not be easily labelled; it slipped between love and hatred and jealousy, and all the furniture of the pictorial style. And she was tragical only in the sense that she was great, for she loved to play on the side of Victory. Victory of what and over what--that is more than the words of daily life can tell us. But that some sonatas of Beethoven are written tragic no one can gainsay;yet they can triumph or despair as the player decides, and Lucy had decided that they should triumph.
A very wet afternoon at the Bertolini permitted her to do the thing she really liked, and after lunch she opened the little draped piano. A few people lingered round and praised her playing, but finding that she made no reply, dispersed to their rooms to write up their diaries or to sleep. She took no notice of Mr. Emerson looking for his son, nor of Miss Bartlett looking for Miss Lavish, nor of Miss Lavish looking for her cigarette-case. Like every true performer, she was intoxicated by the mere feel of the notes: they were fingers caressing her own;and by touch, not by sound alone, did she come to her desire.
Mr. Beebe, sitting unnoticed in the window, pondered this illogical element in Miss Honeychurch, and recalled the occasion at Tunbridge Wells when he had discovered it. It was at one of those entertainments where the upper classes entertain the lower.
The seats were filled with a respectful audience, and the ladies and gentlemen of the parish, under the auspices of their vicar, sang, or recited, or imitated the drawing of a champagne cork.
Among the promised items was "Miss Honeychurch. Piano.
Beethoven," and Mr. Beebe was wondering whether it would be Adelaida, or the march of The Ruins of Athens, when his composure was disturbed by the opening bars of Opus III. He was in suspense all through the introduction, for not until the pace quickens does one know what the performer intends. With the roar of the opening theme he knew that things were going extraordinarily; in the chords that herald the conclusion he heard the hammer strokes of victory. He was glad that she only played the first movement, for he could have paid no attention to the winding intricacies of the measures of nine-sixteen. The audience clapped, no less respectful. It was Mr. Beebe who started the stamping; it was all that one could do.
"Who is she?" he asked the vicar afterwards.
"Cousin of one of my parishioners. I do not consider her choice of a piece happy. Beethoven is so usually simple and direct in his appeal that it is sheer perversity to choose a thing like that, which, if anything, disturbs.""Introduce me."
"She will be delighted. She and Miss Bartlett are full of the praises of your sermon.""My sermon?" cried Mr. Beebe. "Why ever did she listen to it?"When he was introduced he understood why, for Miss Honeychurch, disjoined from her music stool, was only a young lady with a quantity of dark hair and a very pretty, pale, undeveloped face.
She loved going to concerts, she loved stopping with her cousin, she loved iced coffee and meringues. He did not doubt that she loved his sermon also. But before he left Tunbridge Wells he made a remark to the vicar, which he now made to Lucy herself when she closed the little piano and moved dreamily towards him:
"If Miss Honeychurch ever takes to live as she plays, it will be very exciting both for us and for her."Lucy at once re-entered daily life.
"Oh, what a funny thing! Some one said just the same to mother, and she said she trusted I should never live a duet.""Doesn't Mrs. Honeychurch like music?"
"She doesn't mind it. But she doesn't like one to get excited over anything; she thinks I am silly about it. She thinks--Ican't make out. Once, you know, I said that I liked my own playing better than any one's. She has never got over it. Of course, I didn't mean that I played well; I only meant--""Of course," said he, wondering why she bothered to explain.
"Music--" said Lucy, as if attempting some generality. She could not complete it, and looked out absently upon Italy in the wet.
The whole life of the South was disorganized, and the most graceful nation in Europe had turned into formless lumps of clothes.
The street and the river were dirty yellow, the bridge was dirty grey, and the hills were dirty purple. Somewhere in their folds were concealed Miss Lavish and Miss Bartlett, who had chosen this afternoon to visit the Torre del Gallo.
"What about music?" said Mr. Beebe.
"Poor Charlotte will be sopped," was Lucy's reply.
The expedition was typical of Miss Bartlett, who would return cold, tired, hungry, and angelic, with a ruined skirt, a pulpy Baedeker, and a tickling cough in her throat. On another day, when the whole world was singing and the air ran into the mouth.
like wine, she would refuse to stir from the drawing-room, saying that she was an old thing, and no fit companion for a hearty girl.
