The Song of the Lark, Willa Cather [rosie project .txt] 📗

Herr Wunsch grinned. “How soon is it you are free from school? Then we make ahead faster, eh?”

“First week in June. Then will you give me the ‘Invitation to the Dance’?”

He shrugged his shoulders. “It makes no matter. If you want him, you play him out of lesson hours.”

“All right.” Thea fumbled in her pocket and brought out a crumpled slip of paper. “What does this mean, please? I guess it’s Latin.”

Wunsch blinked at the line penciled on the paper. “Wherefrom you get this?” he asked gruffly.

“Out of a book Dr. Archie gave me to read. It’s all English but that. Did you ever see it before?” she asked, watching his face.

“Yes. A long time ago,” he muttered, scowling. “Ovidius!” He took a stub of lead pencil from his vest pocket, steadied his hand by a visible effort, and under the words: “Lente currite, lente currite, noctis equi,” he wrote in a clear, elegant Gothic hand⁠—“Go slowly, go slowly, ye steeds of the night.”

He put the pencil back in his pocket and continued to stare at the Latin. It recalled the poem, which he had read as a student, and thought very fine. There were treasures of memory which no lodging-house keeper could attach. One carried things about in one’s head, long after one’s linen could be smuggled out in a tuning-bag. He handed the paper back to Thea. “There is the English, quite elegant,” he said, rising.

Mrs. Kohler stuck her head in at the door, and Thea slid off the stool. “Come in, Mrs. Kohler,” she called, “and show me the piece-picture.”

The old woman laughed, pulled off her big gardening gloves, and pushed Thea to the lounge before the object of her delight. The “piece-picture,” which hung on the wall and nearly covered one whole end of the room, was the handiwork of Fritz Kohler. He had learned his trade under an old-fashioned tailor in Magdeburg who required from each of his apprentices a thesis: that is, before they left his shop, each apprentice had to copy in cloth some well known German painting, stitching bits of colored stuff together on a linen background; a kind of mosaic. The pupil was allowed to select his subject, and Fritz Kohler had chosen a popular painting of Napoleon’s retreat from Moscow. The gloomy Emperor and his staff were represented as crossing a stone bridge, and behind them was the blazing city, the walls and fortresses done in gray cloth with orange tongues of flame darting about the domes and minarets. Napoleon rode his white horse; Murat, in Oriental dress, a bay charger. Thea was never tired of examining this work, of hearing how long it had taken Fritz to make it, how much it had been admired, and what narrow escapes it had had from moths and fire. Silk, Mrs. Kohler explained, would have been much easier to manage than woolen cloth, in which it was often hard to get the right shades. The reins of the horses, the wheels of the spurs, the brooding eyebrows of the Emperor, Murat’s fierce mustaches, the great shakos of the Guard, were all worked out with the minutest fidelity. Thea’s admiration for this picture had endeared her to Mrs. Kohler. It was now many years since she used to point out its wonders to her own little boys. As Mrs. Kohler did not go to church, she never heard any singing, except the songs that floated over from Mexican Town, and Thea often sang for her after the lesson was over. This morning Wunsch pointed to the piano.

“On Sunday, when I go by the church, I hear you sing something.”

Thea obediently sat down on the stool again and began, “Come, Ye Disconsolate.” Wunsch listened thoughtfully, his hands on his knees. Such a beautiful child’s voice! Old Mrs. Kohler’s face relaxed in a smile of happiness; she half closed her eyes. A big fly was darting in and out of the window; the sunlight made a golden pool on the rag carpet and bathed the faded cretonne pillows on the lounge, under the piece-picture. “Earth has no sorrow that Heaven cannot heal,” the song died away.

“That is a good thing to remember,” Wunsch shook himself. “You believe that?” looking quizzically at Thea.

She became confused and pecked nervously at a black key with her middle finger. “I don’t know. I guess so,” she murmured.

Her teacher rose abruptly. “Remember, for next time, thirds. You ought to get up earlier.”

That night the air was so warm that Fritz and Herr Wunsch had their after-supper pipe in the grape arbor, smoking in silence while the sound of fiddles and guitars came across the ravine from Mexican Town. Long after Fritz and his old Paulina had gone to bed, Wunsch sat motionless in the arbor, looking up through the woolly vine leaves at the glittering machinery of heaven.

“Lente currite, noctis equi.”

That line awoke many memories. He was thinking of youth; of his own, so long gone by, and of his pupil’s, just beginning. He would even have cherished hopes for her, except that he had become superstitious. He believed that whatever he hoped for was destined not to be; that his affection brought ill-fortune, especially to the young; that if he held anything in his thoughts, he harmed it. He had taught in music schools in St. Louis and Kansas City, where the shallowness and complacency of the young misses had maddened him. He had encountered bad manners and bad faith, had been the victim of sharpers of all kinds, was dogged by bad luck. He had played in orchestras that were never paid and wandering opera troupes which disbanded penniless. And there was always the old enemy, more relentless than the others. It was long since he had wished anything or desired anything beyond the necessities of the body. Now that he was tempted to hope for another, he felt alarmed and shook his head.

It was his pupil’s power of application, her rugged will, that interested him. He had lived for