And besides this ache was the yearn and strain and sorrow of her destiny unfulfilled. For once again the sense of time passing, of life running out of her grasp, bit at her breast like an adder.
She sat down and wrote to him. "I cannot work. I cannot work. I am swept away and overwhelmed by some chimeric longing that has no name. My soul drowns and is lost in its indefinite and fathomless desire. Will you take me away before you go, away to some rose-lit, jasmine-starred nook in Italy, where my heart may find peace again? I feel such strength, such boundless, turbulent power, yet my spirit is pinioned and held down like a giant angel sitting in a cave with huge wings furled....
"You have unclosed the sweep of heaven before me; I will bring the sunshot skies down to your feet...."
The door opened, and Fräulein's head appeared, solemn and sibylline, with tears shining behind her spectacles.
"Nancy, to-day for the first time Anne-Marie is to play Beethoven. Will you come?"
Yes, Nancy would come. She followed Fräulein into the room where Anne-Marie was with the Professor and his assistant.
The Professor did not like to play the piano, so he had brought the assistant with him, who sat at the piano, nodding a large, rough black head in time to the music. Anne-Marie was in front of her stand. The Professor, with his hands behind him, watched her. The Beethoven Romance in F began.
The simple initial melody slid smoothly from under the child's fingers, and was taken up and repeated by the piano. The willful crescendo of the second phrase worked itself up to the passionate high note, and was coaxed back again into gentleness by the shy and tender trills, as a wrathful man by the call of a child. Martial notes by the piano. The assistant's head bobbed violently, and now Beethoven led Anne-Marie's bow, gently, by tardigrade steps, into the first melody again. Once more, the head at the piano bobbed over his solo. Then, on the high F, down came the bow of Anne-Marie, decisive and vehement.
"That's right!" shouted the Professor suddenly. "Fa, mi, sol—play that on the fourth string."
Anne-Marie nodded without stopping. Eight accented notes by the piano, echoed by Anne-Marie.
"That is to sound like a trumpet!" cried the master.
"Yes, yes; I remember," said Anne-Marie.
And now for the third time the melody returned, and Anne-Marie played it softly, as in a dream, with a gruppetto in pianissimo that made the Professor push his hands into his pockets, and the assistant turn his head from the piano to look at her. At the end the slowly ascending scales soared and floated into the distance, and the three last, calling notes fell from far away.
No one spoke for a moment; then the Professor went close to the child and said:
"Why did you say, 'I remember' when I told you about the trumpet notes?"
"I don't know," said Anne-Marie, with the vague look she always had after she had played.
"What did you mean?"
"I meant that I understood," said Anne-Marie.
The Professor frowned at her, while his lips worked.
"You said, 'I remember.' And I believe you re member. I believe you are not learning anything new. You are remembering something you have known before."
Fräulein intervened excitedly. "Ach! Herr Professor! I assure you the child has never seen that piece! I have been with her since the first day she überhaupt had the violin, and—"
The Professor waved an impatient hand. He was still looking at Anne-Marie. "Who is it?" and he shook his grey head tremulously. "Whom have we here? Is it Paganini? Or Mozart? I hope it is Mozart." Then he turned to the man at the piano, who had his elbows on the notes, and his face hidden in his hands. "What say you, Bertolini? Who is with us in this involucrum?"
"I know not. I am mute," said the black-haired man in moved tones.
"Thank the Fates that you are not deaf," said the Professor, looking vaguely for his hat, "or you would not have heard this wonder."
Then he took his leave, for he was a busy man. Bertolini remained to pack up the Professor's precious Guarnerius del Gesù, dearer to him than wife and child, and his music, and his gloves, and his glasses, and anything else that he left behind him, for the Professor was an absent-minded man.
Then Nancy said to the assistant: "Are you Italian?"
"Sissignora," said Bertolini eagerly.
"So am I," said Nancy. And they were friends.
Bertolini came the next day to ask if he might practise with "little Wunder," as he called her. He also came the next day, and the day after, and then every day. He was a second-rate violinist, and a third-rate pianist; but he was an absolutely first-rate musician, an extravagant, impassioned, boisterous musician, whose shouts of excitement, after the first half-hour of polite shyness, could be heard all over the house.
Anne-Marie loved to hear him vociferate. She used to watch his face when she purposely played a false note; she liked to see him crinkle up his nose as if something had stung him, and open a wild mouth to shout. Once she played through an entire piece in F, making every B natural instead of flat. "Si bemolle! B flat!" said Bertolini the first time. "Bemolle!" cried Bertolini the second time. "Bemolle!" he roared, trampling on the pedals, and with his hand grasping his hair, that looked like a curly black mat fitted well over his head.
"What is the matter with Bemolle?" asked Fräulein, raising bland eyes from her needlework.
Anne-Marie laughed. "I don't know what is the matter with him. I think he's crazy." And thus Signor Bertolini was christened Bemolle for all time.
Bemolle, who was a composer, now composed no more. He soon became one of the Devoured. His mornings were given up to the Professor; his afternoons he gave to Anne-Marie. He would arrive soon after lunch, and sit down at the piano, tempting the child from playthings or story-book by rippling accompaniments or dulcet chords. And because the Professor had said: "With this child one can begin at the end," Bemolle lured her long before her ninth birthday across the ditches and pitfalls of Ernst and Paganini, over the peaks and crests of Beethoven and Bach.
On the day that Nancy was called from her writing to hear Anne-Marie play Bach's "Chaconne," Nancy folded up the scarf that she had used to cover her ears with, and put it away. Then she took her manuscripts, and kissed them, and said good-bye to them for ever, and put them away.
Soon afterwards the Ogre came to Prague. He had received Nancy's letter about Italy, and had come to answer it in person. It was good to see him again. His largeness filled the room, his mastery controlled and soothed the spirit. He was the "wall" that Clarissa had spoken of in the Villa Solitudine long ago.
Lucky is the woman who belongs to a wall. When she has bruised and fretted herself in trying to push through it, and get round it, and jump over it, let her sit down quietly in its protecting shadow and be grateful.
An hour after his arrival the imperious Anne-Marie was subjugated and entranced, Fräulein was a-bustle and a-quiver with solicitude as to his physical welfare, and Nancy sat back in a large armchair, and felt that nothing could hurt, or ruffle, or trouble her any more.
In the evening, when Fräulein had taken Anne-Marie to bed, the Ogre smoked his long cigar, and said to Nancy:
"There is no jasmine in this season in Italy. And not many roses. But the place that you asked for is ready. It has a large garden. When I have settled you there, I am going to Peru."
"Oh, must you?" said Nancy. "Must you really?"
"The Mina de l'Agua needs looking after. Something has gone wrong with it. I ought to have gone three months ago, when I first wrote to you that I should," said the Ogre. "But enough. That does not concern you."
Nancy looked very meek. "I am sorry," she said apologetically.