Scalp Hunters — Touching the Chords of Memory
CHAPTER FIFTY SEVEN.
TOUCHING THE CHORDS OF MEMORY.
It is the second evening after our arrival at the old house on the Del Norte.
We have gone up to the azotea--Seguin, Saint Vrain, and myself;
I know not why, but guided thither by our host.
Perhaps he wishes to look once more over that wild land, the theatre of so many scenes in his eventful life; once more, for upon the morrow he leaves it for ever.
Our plans have been formed; we journey upon the morrow; we are going over the broad plains to the waters of the Mississippi.
They go with us.
It is a lovely evening, and warm.
The atmosphere is elastic; such an atmosphere as you can find only on the high tables of the western world.
It seems to act upon all animated nature, judging from its voices.
There is joy in the songs of the birds, in the humming of the homeward bees.
There is a softness, too, in those sounds that reach us from the farther forest; those sounds usually harsh; the voices of the wilder and fiercer creatures of the wilderness.
All seem attuned to peace and love.
The song of the arriero is joyous; for many of these are below, packing for our departure.
I, too, am joyous.
I have been so for days; but the light atmosphere around, and the bright prospect before me, have heightened the pulsations of my happiness.
Not so my companions on the azotea.
Both seem sad.
Seguin is silent.
I thought he had climbed up here to take a last look of the fair valley.
Not so.
He paces backward and forward with folded arms, his eyes fixed upon the cemented roof.
They see no farther; they see not at all.
The eye of his mind only is active, and that is looking inward.
His air is abstracted; his brow is clouded; his thoughts are gloomy and painful.
I know the cause of all this.
She is still a stranger!
But Saint Vrain--the witty, the buoyant, the sparkling Saint Vrain--what misfortune has befallen him?
What cloud is crossing the rose-coloured field of his horoscope?
What reptile is gnawing at his heart, that not even the sparkling wine of El Paso can drown?
Saint Vrain is speechless; Saint Vrain is sighing; Saint Vrain is sad!
I half divine the cause.
Saint Vrain is-- The tread of light feet upon the stone stairway--the rustling of female dresses!
They are ascending.
They are Madame Seguin, Adele, Zoe.
I look at the mother--at her features.
They, too, are shaded by a melancholy expression.
Why is not she happy?
Why not joyous, having recovered her long-lost, much-loved child?
Ah!
she has not yet recovered her!
I turn my eyes on the daughter--the elder one--the queen.
That is the strangest expression of all.
Have you seen the captive ocelot?
Have you seen the wild bird that refuses to be tamed, but against the bars of its cage-prison still beats its bleeding wings?
If so, it may help you to fancy that expression.
I
cannot depict it.
She is no longer in the Indian costume.
That has been put aside.
She wears the dress of civilised life, but she wears it reluctantly.
She has shown this, for the skirt is torn in several places, and the bodice, plucked open, displays her bosom, half-nude, heaving under the wild thoughts which agitate it.
She accompanies them, but not us a companion.
She has the air of a prisoner, the air of the eagle whose wings have been clipped.
She regards neither mother nor sister.
Their constant kindness has failed to impress her.
The mother has led her to the azotea, and let go her hand.
She walks no longer with them, but crouching, and in starts, from place to place, obedient to the impulse of strong emotions.
She has reached the western wing of the azotea, and stands close up against the parapet, gazing over--gazing upon the Mimbres.
She knows them well, those peaks of sparkling selenite, those watch-towers of the desert land: she knows them well.
Her heart is with her eyes.
We stand watching her, all of us.
She is the object of common solicitude.
She it is who keeps between all hearts and the light.
The father looks sadly on; the mother looks sadly on; Zoe looks sadly on;
Saint Vrain, too.
No!
that is a different expression.
His gaze is the gaze of-- She has turned suddenly.
She perceives that we are all regarding her with attention.
Her eyes wander from one to the other.
They are fixed upon the glance of Saint Vrain!
A change comes over her countenance--a sudden change, from dark to bright, like the cloud passing from the sun.
Her eye is fired by a new expression.
I know it well.
I have seen it before; not in her eyes, but in those that resemble them: the eyes of her sister.
I know it well.
It is the light of love!
Saint Vrain!
His, too, are lit by a similar emotion!
Happy Saint Vrain!
Happy that it is mutual.
As yet he knows not that, but I do.
I
could bless him with a single word.
Moments pass.
Their eyes mingle in fiery communion.
They gaze into each other.
Neither can avert their glance.
A god rules them: the god of love!
The proud and energetic attitude of the girl gradually forsakes her; her features relax; her eye swims with a softer expression; and her whole bearing seems to have undergone a change.
She sinks down upon a bench.
She leans against the parapet.
She no longer turns to the west.
She no longer gazes upon the Mimbres.
Her heart is no longer in the desert land!
No; it is with her eyes, and these rest almost continuously on Saint Vrain.
They wander at intervals over the stones of the azotea; then her thoughts do not go with them; but they ever return to the same object, to gaze upon it tenderly, more tenderly at each new glance.
The anguish of captivity is over.
She no longer desires to escape.
There is no prison where he dwells.
It is now a paradise.
Henceforth the doors may be thrown freely open.
That little bird will make no further effort to fly from its cage.
It is tamed.
What memory, friendship, entreaties, had tailed to effect, love had accomplished in a single instant.
Love, mysterious power, in one pulsation had transformed that wild heart; had drawn it from the desert.
I fancied that Seguin had noticed all this, for he was observing her movements with attention.
I fancied that such thoughts were passing in his mind, and that they were not unpleasing to him, for he looked less afflicted than before.
But I did not continue to watch the scene.
A
deeper interest summoned me aside; and, obedient to the sweet impulse, I strayed towards the southern angle of the azotea.
I was not alone.
My betrothed was by my side; and our hands, like our hearts, were locked in each other.
There was no secrecy about our love; with Zoe there never had been.
Nature had prompted the passion.
She knew not the conventionalities of the world, of society, of circles refined, soi-disant.
She knew not that love was a passion for one to be ashamed of.
Hitherto no presence had restrained her in its expression--not even that, to lovers of less pure design, awe-inspiring above all others--the presence of the parents.
Alone or in their company, there was no difference in her conduct.
She knew not the hypocrisies of artificial natures; the restraints, the intrigues, the agonies of atoms that act.
She knew not the terror of guilty minds.
She obeyed only the impulse her Creator had kindled within her.
With me it was otherwise.
I had shouldered society; though not much then, enough to make me less proud of love's purity--enough to render me slightly sceptical of its sincerity.
But through her I had now escaped from that scepticism.
I had become a faithful believer in the nobility of the passion.
Our love was sanctioned by those who alone possessed the right to sanction it.
It was sanctified by its own purity.
We are gazing upon a fair scene: fairer now, at the sunset hour.
The sun is no longer upon the stream, but his rays slant through the foliage of the cotton-wood trees that fringe it, and here and there a yellow beam is flung transversely on the water.
The forest is dappled by the high tints of autumn.
There are green leaves and red ones; some of a golden colour and others of dark maroon.
Under this bright mosaic the river winds away like a giant serpent, hiding its head in the darker woods around El Paso.
We command a view of all this, for we are above the landscape.
We see the brown houses of the village, with the shining vane of its church.
Our eyes have often rested upon that vane in happy hours, but none happier than now, for our hearts are full of happiness.
We talk of the past as well as the present; for Zoe has now seen something of life, its darker pictures it is true; but these are often the most pleasant to be remembered; and her desert experience has furnished her with many a new thought--the cue to many an inquiry.
The future becomes the subject of our converse.
It is all bright, though a long and even perilous journey is before us.
We think not of that.
We look beyond it to that promised hour when I am to teach, and she is to learn, what is "to marry."
Someone is touching the strings of a bandolin.
We look around.
Madame Seguin is seated upon a bench, holding the instrument in her hands.
She is tuning it.
As yet she has not played.
There has been no music since our return.
It is by Seguin's request that the instrument has been brought up, with the music, to chase away heavy memories; or, perhaps, from a hope that it may soothe those savage ones still dwelling in the bosom of his child.
Madame Seguin is about to play, and my companion and I go nearer to listen.
Seguin and Saint Vrain are conversing apart.
Adele is still seated where we left her, silent and abstracted.
The music commences.
It is a merry air--a fandango: one of those to which the Andalusian foot delights to keep time.
Seguin and Saint Vrain have turned.
We all stand looking in the face of Adele.
We endeavour to read its expression.
The first notes have startled her from her attitude of abstraction.
Her eyes wander from one to the other, from the instrument to the player, with looks of wonder--of inquiry.
The music continues.
The girl has risen, and, as it mechanically, approaches the bench where her mother is seated.
She crouches down by the feet of the latter, places her ear close up to the instrument, and listens attentively.
There is a singular expression upon her face.
I look at Seguin.
That upon his is not less singular.
His eye is fixed upon the girl's, gazing with intensity.
His lips are apart, yet he seems not to breathe.
His arms hang neglected, and he is leaning forward as if to read the thoughts that are passing within her.
He starts erect again, as though under the impulse of some sudden resolution.
"Oh, Adele!
Adele!"
he cries, hurriedly addressing his wife; "oh, sing that song; that sweet hymn, you remember; you used to sing it to her-- often, often.
You remember it, Adele!
Look at her.
Quick!
quick!
O
God!
Perhaps she may--" He is interrupted by the music.
The mother has caught his meaning, and with the adroitness of a practised player, suddenly changes the tune to one of a far different character.
I recognise the beautiful Spanish hymn, "La madre a su hija" (The mother to her child).
She sings it, accompanying her voice with the bandolin.
She throws all her energy into the song until the strain seems inspired.
She gives the words with full and passionate effect-- "Tu duermes, cara nina!
Tu duertnes en la paz.
Los angeles del cielo-- Los angeles guardan, guardan, Nina mia!
--Ca--ra--mi--" The song was interrupted by a cry--a cry of singular import--uttered by the girl.
The first words of the hymn had caused her to start, and then to listen, if possible, more attentively than ever.
As the song proceeded, the singular expression we had noted seemed to become every moment more marked and intense.
When the voice had reached the burden of the melody, a strange exclamation escaped her lips; and, springing to her feet, she stood gazing wildly in the face of the singer.
Only for a moment.
The next moment she cried in loud, passionate accents, "Mamma!
mamma!"
and fell forward upon the bosom of her mother!
Seguin spoke truly when he said, "Perhaps in God's mercy she may yet remember."
She had remembered--not only her mother, but in a short time she remembered him.
The chords of memory had been touched, its gates thrown open.
She remembered the history of her childhood.
She remembered all!
I will not essay to describe the scene that followed.
I will not attempt to picture the expression of the actors; to speak of their joyous exclamations, mingled with sobs and tears; but they were tears of joy.
All of us were happy--happy to exultation; but for Seguin himself, I knew it was the hour of his life.
C THE END.
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