path: root/29481.txt

The Project Gutenberg eBook, The Fifth String, by John Philip Sousa,
Illustrated by Howard Chandler Christy


This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org





Title: The Fifth String


Author: John Philip Sousa



Release Date: July 22, 2009  [eBook #29481]

Language: English

Character set encoding: ISO-646-US (US-ASCII)


***START OF THE PROJECT GUTENBERG EBOOK THE FIFTH STRING***


E-text prepared by Barbara Tozier, Bill Tozier, and the Project Gutenberg
Online Distributed Proofreading Team (http://www.pgdp.net)



Note: Project Gutenberg also has an HTML version of this
      file which includes the original illustrations.
      See 29481-h.htm or 29481-h.zip:
      (http://www.gutenberg.org/files/29481/29481-h/29481-h.htm)
      or
      (http://www.gutenberg.org/files/29481/29481-h.zip)





[Illustration]

THE FIFTH STRING

by

JOHN PHILIP SOUSA

The Illustrations by Howard Chandler Christy







Indianapolis
The Bowen-Merrill Company
Publishers

Copyright 1902
The Bowen-Merrill Company

Press of
Braunworth & Co.
Bookbinders and Printers
Brooklyn, N. Y.




_The Fifth String_




I


The coming of Diotti to America had awakened more than usual interest
in the man and his work. His marvelous success as violinist in the
leading capitals of Europe, together with many brilliant contributions
to the literature of his instrument, had long been favorably commented
on by the critics of the old world. Many stories of his struggles and
his triumphs had found their way across the ocean and had been read
and re-read with interest.

Therefore, when Mr. Henry Perkins, the well-known impresario,
announced with an air of conscious pride and pardonable enthusiasm
that he had secured Diotti for a "limited" number of concerts,
Perkins' friends assured that wide-awake gentleman that his foresight
amounted to positive genius, and they predicted an unparalleled
success for his star. On account of his wonderful ability as player,
Diotti was a favorite at half the courts of Europe, and the astute
Perkins enlarged upon this fact without regard for the feelings of the
courts or the violinist.

On the night preceding Diotti's debut in New York, he was the center
of attraction at a reception given by Mrs. Llewellyn, a social leader,
and a devoted patron of the arts. The violinist made a deep impression
on those fortunate enough to be near him during the evening. He won
the respect of the men by his observations on matters of international
interest, and the admiration of the gentler sex by his chivalric
estimate of woman's influence in the world's progress, on which
subject he talked with rarest good humor and delicately implied
gallantry.

During one of those sudden and unexplainable lulls that always occur
in general drawing-room conversations, Diotti turned to Mrs. Llewellyn
and whispered: "Who is the charming young woman just entering?"

"The beauty in white?"

"Yes, the beauty in white," softly echoing Mrs. Llewellyn's query. He
leaned forward and with eager eyes gazed in admiration at the
new-comer. He seemed hypnotized by the vision, which moved slowly from
between the blue-tinted portieres and stood for the instant, a perfect
embodiment of radiant womanhood, silhouetted against the silken
drapery.

"That is Miss Wallace, Miss Mildred Wallace, only child of one of New
York's prominent bankers."

"She is beautiful--a queen by divine right," cried he, and then with a
mingling of impetuosity and importunity, entreated his hostess to
present him.

And thus they met.

Mrs. Llewellyn's entertainments were celebrated, and justly so. At her
receptions one always heard the best singers and players of the
season, and Epicurus' soul could rest in peace, for her chef had an
international reputation. Oh, remember, you music-fed ascetic, many,
aye, very many, regard the transition from Tschaikowsky to terrapin,
from Beethoven to burgundy with hearts aflame with anticipatory
joy--and Mrs. Llewellyn's dining-room was crowded.

Miss Wallace and Diotti had wandered into the conservatory.

"A desire for happiness is our common heritage," he was saying in his
richly melodious voice.

"But to define what constitutes happiness is very difficult," she
replied.

"Not necessarily," he went on; "if the motive is clearly within our
grasp, the attainment is possible."

"For example?" she asked.

"The miser is happy when he hoards his gold; the philanthropist when
he distributes his. The attainment is identical, but the motives are
antipodal."

"Then one possessing sufficient motives could be happy without end?"
she suggested doubtingly.

"That is my theory. The Niobe of old had happiness within her power."

"The gods thought not," said she; "in their very pity they changed her
into stone, and with streaming eyes she ever tells the story of her
sorrow."

"But are her children weeping?" he asked. "I think not. Happiness can
bloom from the seeds of deepest woe," and in a tone almost
reverential, he continued: "I remember a picture in one of our Italian
galleries that always impressed me as the ideal image of maternal
happiness. It is a painting of the Christ-mother standing by the body
of the Crucified. Beauty was still hers, and the dress of grayish hue,
nun-like in its simplicity, seemed more than royal robe. Her face,
illumined as with a light from heaven, seemed inspired with this
thought: 'They have killed Him--they have killed my son! Oh, God, I
thank Thee that His suffering is at an end!' And as I gazed at the
holy face, another light seemed to change it by degrees from saddened
motherhood to triumphant woman! Then came: 'He is not dead, He but
sleeps; He will rise again, for He is the best beloved of the
Father!'"

"Still, fate can rob us of our patrimony," she replied, after a pause.

"Not while life is here and eternity beyond," he said, reassuringly.

"What if a soul lies dormant and will not arouse?" she asked.

"There are souls that have no motive low enough for earth, but only
high enough for heaven," he said, with evident intention, looking
almost directly at her.

"Then one must come who speaks in nature's tongue," she continued.

"And the soul will then awake," he added earnestly.

"But is there such a one?" she asked.

"Perhaps," he almost whispered, his thought father to the wish.

"I am afraid not," she sighed. "I studied drawing, worked diligently
and, I hope, intelligently, and yet I was quickly convinced that a
counterfeit presentment of nature was puny and insignificant. I
painted Niagara. My friends praised my effort. I saw Niagara again--I
destroyed the picture."

"But you must be prepared to accept the limitations of man and his
work," said the philosophical violinist.

"Annihilation of one's own identity in the moment is possible in
nature's domain--never in man's. The resistless, never-ending rush of
the waters, madly churning, pitilessly dashing against the rocks
below; the mighty roar of the loosened giant; that was Niagara. My
picture seemed but a smear of paint."

[Illustration]

"Still, man has won the admiration of man by his achievements," he
said.

"Alas, for me," she sighed, "I have not felt it."

"Surely you have been stirred by the wonders man has accomplished in
music's realm?" Diotti ventured.

"I never have been." She spoke sadly and reflectively.

"But does not the passion-laden theme of a master, or the marvelous
feeling of a player awaken your emotions?" persisted he.

She stood leaning lightly against a pillar by the fountain. "I never
hear a pianist, however great and famous, but I see the little
cream-colored hammers within the piano bobbing up and down like
acrobatic brownies. I never hear the plaudits of the crowd for the
artist and watch him return to bow his thanks, but I mentally demand
that these little acrobats, each resting on an individual pedestal,
and weary from his efforts, shall appear to receive a share of the
applause.

"When I listen to a great singer," continued this world-defying
skeptic, "trilling like a thrush, scampering over the scales, I see a
clumsy lot of ah, ah, ahs, awkwardly, uncertainly ambling up the
gamut, saying, 'were it not for us she could not sing thus--give us
our meed of praise.'"

Slowly he replied: "Masters have written in wondrous language and
masters have played with wondrous power."

"And I so long to hear," she said, almost plaintively. "I marvel at
the invention of the composer and the skill of the player, but there I
cease."

He looked at her intently. She was standing before him, not a block of
chiseled ice, but a beautiful, breathing woman. He offered her his arm
and together they made their way to the drawing-room.

"Perhaps, some day, one will come who can sing a song of perfect love
in perfect tones, and your soul will be attuned to his melody."

"Perhaps--and good-night," she softly said, leaving his arm and
joining her friends, who accompanied her to the carriage.

[Illustration:           ACADEMY _of_ MUSIC
                      DECEMBER 12TH--8:00 P. M.

                    FIRST APPEARANCE IN AMERICA OF
                         THE RENOWNED TUSCAN
                              VIOLINIST

                                ANGELO
                                DIOTTI

                             ASSISTED BY

                       ARTISTS OF INTERNATIONAL
                              REPUTATION

                    DIRECTION OF MR. HENRY PERKINS

                   SECOND CONCERT OF SIGNOR DIOTTI
                            DECEMBER 14TH]




II


The intangible something that places the stamp of popular approval on
one musical enterprise, while another equally artistic and as cleverly
managed languishes in a condition of unendorsed greatness, remains one
of the unsolved mysteries.

When a worker in the vineyard of music or the drama offers his
choicest tokay to the public, that fickle coquette may turn to the
more ordinary and less succulent concord. And the worker and the
public itself know not why.

It is true, Diotti's fame had preceded him, but fame has preceded
others and has not always been proof against financial disaster. All
this preliminary,--and it is but necessary to recall that on the
evening of December the twelfth Diotti made his initial bow in New
York, to an audience that completely filled every available space in
the Academy of Music--a representative audience, distinguished alike
for beauty, wealth and discernment.

When the violinist appeared for his solo, he quietly acknowledged the
cordial reception of the audience, and immediately proceeded with the
business of the evening. At a slight nod from him the conductor rapped
attention, then launched the orchestra into the introduction of the
concerto, Diotti's favorite, selected for the first number. As the
violinist turned to the conductor he faced slightly to the left and in
a direct line with the second proscenium box. His poise was admirable.
He was handsome, with the olive-tinted warmth of his southern
home--fairly tall, straight-limbed and lithe--a picture of poetic
grace. His was the face of a man who trusted without reserve, the
manner of one who believed implicitly, feeling that good was universal
and evil accidental.

As the music grew louder and the orchestra approached the peroration
of the preface of the coming solo, the violinist raised his head
slowly. Suddenly his eyes met the gaze of the solitary occupant of the
second proscenium box. His face flushed. He looked inquiringly, almost
appealingly, at her. She sat immovable and serene, a lace-framed
vision in white.

It was she who, since he had met her, only the night before, held his
very soul in thraldom.

He lifted his bow, tenderly placing it on the strings. Faintly came
the first measures of the theme. The melody, noble, limpid and
beautiful, floated in dreamy sway over the vast auditorium, and seemed
to cast a mystic glamour over the player. As the final note of the
first movement was dying away, the audience, awakening from its
delicious trance, broke forth into spontaneous bravos.

Mildred Wallace, scrutinizing the program, merely drew her wrap closer
about her shoulders and sat more erect. At the end of the concerto the
applause was generous enough to satisfy the most exacting _virtuoso_.
Diotti unquestionably had scored the greatest triumph of his career.
But the lady in the box had remained silent and unaffected throughout.

The poor fellow had seen only her during the time he played, and the
mighty cheers that came from floor and galleries struck upon his ear
like the echoes of mocking demons. Leaving the stage he hurried to his
dressing-room and sank into a chair. He had persuaded himself she
should not be insensible to his genius, but the dying ashes of his
hopes, his dreams, were smouldering, and in his despair came the
thought: "I am not great enough for her. I am but a man; her consort
should be a god. Her soul, untouched by human passion or human skill,
demands the power of god-like genius to arouse it."

Music lovers crowded into his dressing-room, enthusiastic in their
praises. Cards conveying delicate compliments written in delicate
chirography poured in upon him, but in vain he looked for some sign,
some word from her.

Quickly he left the theater and sought his hotel.

A menacing cloud obscured the wintry moon. A clock sounded the
midnight hour.

He threw himself upon the bed and almost sobbed his thoughts, and
their burden was:

"I am not great enough for her. I am but a man. I am but a man!"




III


Perkins called in the morning. Perkins was happy--Perkins was
positively joyous, and Perkins was self-satisfied. The violinist had
made a great hit. But Perkins, confiding in the white-coated dispenser
who concocted his _matin Martini_, very dry, an hour before, said he
regarded the success due as much to the management as to the artist.
And Perkins believed it. Perkins usually took all the credit for a
success, and with charming consistency placed all responsibility for
failure on the shoulders of the hapless artist.

When Perkins entered Diotti's room he found the violinist heavy-eyed
and dejected. "My dear Signor," he began, showing a large envelope
bulging with newspaper clippings, "I have brought the notices. They
are quite the limit, I assure you. Nothing like them ever heard
before--all tuned in the same key, as you musical fellows would say,"
and Perkins cocked his eye.

Perkins enjoyed a glorious reputation with himself for bright sayings,
which he always accompanied with a cock of the eye. The musician not
showing any visible appreciation of the manager's metaphor, Perkins
immediately proceeded to uncock his eye.

"Passed the box-office coming up," continued this voluble enlightener;
"nothing left but a few seats in the top gallery. We'll stand them on
their heads to-morrow night--see if we don't." Then he handed the
bursting envelope of notices to Diotti, who listlessly put them on the
table at his side.

"Too tired to read, eh?" said Perkins, and then with the advance-agent
instinct strong within him he selected a clipping, and touching the
violinist on the shoulder: "Let me read this one to you. It is by Herr
Totenkellar. He is a hard nut to crack, but he did himself proud this
time. Great critic when he wants to be."

Perkins cleared his throat and began: "Diotti combines tremendous
feeling with equally tremendous technique. The entire audience was
under the witchery of his art." Diotti slowly negatived that statement
with bowed head. "His tone is full, round and clear; his
interpretation lends a story-telling charm to the music; for, while we
drank deep at the fountain of exquisite melody, we saw sparkling
within the waters the lights of Paradise. New York never has heard his
equal. He stands alone, pre-eminent, an artistic giant."

"Now, that's what I call great," said the impresario, dramatically;
"when you hit Totenkellar that way you are good for all kinds of
money."

Perkins took his hat and cane and moved toward the door. The violinist
arose and extended his hand wearily. "Good-day" came simultaneously;
then "I'm off. We'll turn 'em away to-morrow; see if we don't!"
Whereupon Perkins left Diotti alone in his misery.




IV


It was the evening of the fourteenth. In front of the Academy a
strong-lunged and insistent tribe of gentry, known as ticket
speculators, were reaping a rich harvest. They represented a beacon
light of hope to many tardy patrons of the evening's entertainment,
especially to the man who had forgotten his wife's injunction "to be
sure to buy the tickets on the way down town, dear, and get them in
the family circle, not too far back." This man's intentions were
sincere, but his newspaper was unusually interesting that morning. He
was deeply engrossed in an article on the causes leading to
matrimonial infelicities when his 'bus passed the Academy box-office.

He was six blocks farther down town when he finished the article, only
to find that it was a carefully worded advertisement for a new patent
medicine, and of course he had not time to return. "Oh, well," said
he, "I'll get them when I go up town to-night."

But he did not. So with fear in his heart and a red-faced woman on his
arm he approached the box-office. "Not a seat left," sounded to his
hen-pecked ears like the concluding words of the black-robed judge:
"and may the Lord have mercy upon your soul." But a reprieve came, for
one of the aforesaid beacon lights of hope rushed forward, saying: "I
have two good seats, not far back, and only ten apiece." And the
gentleman with fear in his heart and the red-faced woman on his arm
passed in.

They saw the largest crowd in the history of the Academy. Every seat
was occupied, every foot of standing room taken. Chairs were placed in
the side aisles. The programs announced that it was the second
appearance in America of Angelo Diotti, the renowned Tuscan violinist.

The orchestra had perfunctorily ground out the overture to "Der
Freischuetz," the baritone had stentorianly emitted "Dio Possente,"
the soprano was working her way through the closing measures of the
mad scene from "Lucia," and Diotti was number four on the program. The
conductor stood beside his platform, ready to ascend as Diotti
appeared.

The audience, ever ready to act when those on the stage cease that
occupation, gave a splendid imitation of the historic last scene at
the Tower of Babel. Having accomplished this to its evident
satisfaction, the audience proceeded, like the closing phrase of the
"Goetterdaemmerung" Dead March, to become exceedingly quiet--then
expectant.

This expectancy lasted fully three minutes. Then there were some
impatient handclappings. A few persons whispered: "Why is he late?"
"Why doesn't he come?" "I wonder where Diotti is," and then came
unmistakable signs of impatience. At its height Perkins appeared,
hesitatingly. Nervous and jerky he walked to the center of the stage,
and raised his hand begging silence. The audience was stilled.

"Ladies and gentlemen," he falteringly said, "Signor Diotti left his
hotel at seven o'clock and was driven to the Academy. The call-boy
rapped at his dressing-room, and not receiving a reply, opened the
door to find the room empty. We have despatched searchers in every
direction and have sent out a police alarm. We fear some accident has
befallen the Signor. We ask your indulgence for the keen
disappointment, and beg to say that your money will be refunded at the
box-office."

Diotti had disappeared as completely as though the earth had swallowed
him.




V


My dearest sister: You doubtless were exceedingly mystified and
troubled over the report that was flashed to Europe regarding my
sudden disappearance on the eve of my second concert in New York.

Fearing, sweet Francesca, that you might mourn me as dead, I sent the
cablegram you received some weeks since, telling you to be of good
heart and await my letter. To make my action thoroughly understood I
must give you a record of what happened to me from the first day I
arrived in America. I found a great interest manifested in my
premiere, and socially everything was done to make me happy.

Mrs. James Llewellyn, whom, you no doubt remember, we met in Florence
the winter of 18--, immediately after I reached New York arranged a
reception for me, which was elegant in the extreme. But from that
night dates my misery.

You ask her name?--Mildred Wallace. Tell me what she is like, I hear
you say. Of graceful height, willowy and exquisitely molded, not over
twenty-four, with the face of a Madonna; wondrous eyes of darkest
blue, hair indescribable in its maze of tawny color--in a word, the
perfection of womanhood. In half an hour I was her abject slave, and
proud in my serfdom. When I returned to the hotel that evening I could
not sleep. Her image ever was before me, elusive and shadowy. And yet
we seemed to grow farther and farther apart--she nearer heaven, I
nearer earth.

The next evening I gave my first and what I fear may prove my last
concert in America. The vision of my dreams was there, radiant in
rarest beauty. Singularly enough, she was in the direct line of my
vision while I played. I saw only her, played but for her, and cast my
soul at her feet. She sat indifferent and silent. "Cold?" you say. No!
No! Francesca, not cold; superior to my poor efforts. I realized my
limitations. I questioned my genius. When I returned to bow my
acknowledgments for the most generous applause I have ever received,
there was no sign on her part that I had interested her, either
through my talent or by appeal to her curiosity. I hoped against hope
that some word might come from her, but I was doomed to
disappointment. The critics were fulsome in their praise and the
public was lavish with its plaudits, but I was abjectly miserable.
Another sleepless night and I was determined to see her. She received
me most graciously, although I fear she thought my visit one of
vanity--wounded vanity--and me petulant because of her lack of
appreciation.

Oh, sister mine, I knew better. I knew my heart craved one word,
however matter-of-fact, that would rekindle the hope that was dying
within me.

Hesitatingly, and like a clumsy yokel, I blurted: "I have been
wondering whether you cared for the performance I gave?"

"It certainly ought to make little difference to you," she replied;
"the public was enthusiastic enough in its endorsement."

"But I want your opinion," I pleaded.

"My opinion would not at all affect the almost unanimous verdict," she
replied calmly.

"And," I urged desperately, "you were not affected in the least?"

Very coldly she answered, "Not in the least;" and then fearlessly,
like a princess in the Palace of Truth: "If ever a man comes who can
awaken my heart, frankly and honestly I will confess it."

"Perhaps such a one lives," I said, "but has yet to reach the height
to win you--your--"

"Speak it," she said, "to win my love!"

"Yes," I cried, startled at her candor, "to win your love." Hope
slowly rekindled within my breast, and then with half-closed eyes, and
wooingly, she said:

"No drooping Clytie could be more constant than I to him who strikes
the chord that is responsive in my soul."

Her emotion must have surprised her, but immediately she regained her
placidity and reverted no more to the subject.

I went out into the gathering gloom. Her words haunted me. A strange
feeling came over me. A voice within me cried: "Do not play to-night.
Study! study! Perhaps in the full fruition of your genius your music,
like the warm western wind to the harp, may bring life to her soul."

I fled, and I am here. I am delving deeper and deeper into the
mysteries of my art, and I pray God each hour that He may place within
my grasp the wondrous music His blessed angels sing, for the soul of
her I love is attuned to the harmonies of heaven.

                      Your affectionate brother,
                                                           ANGELO.
  ISLAND OF BAHAMA, January 2.




VI


When Diotti left New York so precipitately he took passage on a coast
line steamer sailing for the Bahama Islands. Once there, he leased a
small _cay_, one of a group off the main land, and lived alone and
unattended, save for the weekly visits of an old fisherman and his
son, who brought supplies of provisions from the town miles away. His
dwelling-place, surrounded with palmetto trees, was little more than a
rough shelter. Diotti arose at daylight, and after a simple repast,
betook himself to practise. Hour after hour he would let his muse run
riot with his fingers. Lovingly he wooed the strings with plaintive
song, then conquering and triumphant would be his theme. But neither
satisfied him. The vague dream of a melody more beautiful than ever
man had heard dwelt hauntingly on the borders of his imagination, but
was no nearer realization than when he began. As the day's work
closed, he wearily placed the violin within its case, murmuring, "Not
yet, not yet; I have not found it."

Days passed, weeks crept slowly on; still he worked, but always with
the same result. One day, feverish and excited, he played on in
monotone almost listless. His tired, over-wrought brain denied a
further thought. His arm and fingers refused response to his will.
With an uncontrollable outburst of grief and anger he dashed the
violin to the floor, where it lay a hopeless wreck. Extending his arms
he cried, in the agony of despair: "It is of no use! If the God of
heaven will not aid me, I ask the prince of darkness to come."

A tall, rather spare, but well-made and handsome man appeared at the
door of the hut. His manner was that of one evidently conversant with
the usages of good society.

"I beg pardon," said the musician, surprised and visibly nettled at
the intrusion, and then with forced politeness he asked: "To whom am I
indebted for this unexpected visit?"

"Allow me," said the stranger taking a card from his case and handing
it to the musician, who read: "Satan," and, in the lower left-hand
corner, "Prince of Darkness."

"I am the Prince," said the stranger, bowing low.

There was no hint of the pavement-made ruler in the information he
gave, but rather of the desire of one gentleman to set another right
at the beginning. The musician assumed a position of open-mouthed
wonder, gazing steadily at the visitor.

"Satan?" he whispered hoarsely.

"You need help and advice," said the visitor, his voice sounding like
that of a disciple of the healing art, and implying that he had
thoroughly diagnosed the case.

"No, no," cried the shuddering violinist; "go away. I do not need
you."

"I regret I can not accept that statement as gospel truth," said
Satan, sarcastically, "for if ever a man needed help, you are that
man."

"But not from you," replied Diotti.

"That statement is discredited also by your outburst of a few moments
ago when you called upon me."

"I do not need you," reiterated the musician. "I will have none of
you!" and he waved his arm toward the door, as if he desired the
interview to end.

"I came at your behest, actuated entirely by kindness of heart," said
Satan.

Diotti laughed derisively, and Satan, showing just the slightest
feeling at Diotti's behavior, said reprovingly: "If you will listen a
moment, and not be so rude to an utter stranger, we may reach some
conclusion to your benefit."

"Get thee behind--"

"I know exactly what you were about to say. Have no fears on that
score. I have no demands to make and no impossible compacts to insist
upon."

"I have heard of you before," knowingly spoke the violinist, nodding
his head sadly.

"No doubt you have," smilingly. "My reputation, which has suffered at
the hands of irresponsible people, is not of the best, and places me
at times in awkward positions. But I am beginning to live it down."
The stranger looked contrition itself. "To prove my sincerity I desire
to help you win her love," emphasizing her.

"How can you help me?"

"Very easily. You have been wasting time, energy and health in a wild
desire to play better. The trouble lies not with you."

"Not with me?" interrupted the violinist, now thoroughly interested.

"The trouble lies not with you," repeated the visitor, "but with the
miserable violin you have been using and have just destroyed," and he
pointed to the shattered instrument.

Tears welled from the poor violinist's eyes as he gazed on the
fragments of his beloved violin, the pieces lying scattered about as
the result of his unfortunate anger.

"It was a Stradivarius," said Diotti, sadly.

"Had it been a Stradivarius, an Amati or a Guarnerius, or a host of
others rolled into one, you would not have found in it the melody to
win the heart of the woman you love. Get a better and more suitable
instrument."

"Where is one?" earnestly interrogated Diotti, vaguely realizing that
Satan knew.

"In my possession," Satan replied.

"She would hate me if she knew I had recourse to the powers of
darkness to gain her love," bitterly interposed Diotti.

Satan, wincing at this uncomplimentary allusion to himself, replied
rather warmly: "My dear sir, were it not for the fact that I feel in
particularly good spirits this morning, I should resent your ill-timed
remarks and leave you to end your miserable existence with rope or
pistol," and Satan pantomimed both suicidal contingencies.

"Do you want the violin or not?"

"I might look at it," said Diotti, resolving mentally that he could go
so far without harm.

"Very well," said Satan. He gave a long whistle.

An old man, bearing a violin case, came within the room. He bowed to
the wondering Diotti, and proceeded to open the case. Taking the
instrument out the old man fondled it with loving and tender
solicitude, pointing out its many beauties--the exquisite blending of
the curves, the evenness of the grain, the peculiar coloring, the
lovely contour of the neck, the graceful outlines of the body, the
scroll, rivaling the creations of the ancient sculptors, the solidity
of the bridge and its elegantly carved heart, and, waxing exceedingly
enthusiastic, holding up the instrument and looking at it as one does
at a cluster of gems, he added, "the adjustment of the strings."

"That will do," interrupted Satan, taking the violin from the little
man, who bowed low and ceremoniously took his departure. Then the
devil, pointing to the instrument, asked: "Isn't it a beauty?"

The musician, eying it keenly, replied: "Yes, it is, but not the kind
of violin I play on."

[Illustration]

"Oh, I see," carelessly observed the other, "you refer to that extra
string."

"Yes," answered the puzzled violinist, examining it closely.

"Allow me to explain the peculiar characteristics of this magnificent
instrument," said his satanic majesty. "This string," pointing to the
G, "is the string of pity; this one," referring to the third, "is the
string of hope; this," plunking the A, "is attuned to love, while this
one, the E string, gives forth sounds of joy.

"You will observe," went on the visitor, noting the intense interest
displayed by the violinist, "that the position of the strings is the
same as on any other violin, and therefore will require no additional
study on your part."

"But that extra string?" interrupted Diotti, designating the middle
one on the violin, a vague foreboding rising within him.

"That," said Mephistopheles, solemnly, and with no pretense of
sophistry, "is the string of death, and he who plays upon it dies at
once."

"The--string--of--death!" repeated the violinist almost inaudibly.

"Yes, the string of death," Satan repeated, "and he who plays upon it
dies at once. But," he added cheerfully, "that need not worry you. I
noticed a marvelous facility in your arm work. Your staccato and
spiccato are wonderful. Every form of bowing appears child's play to
you. It will be easy for you to avoid touching the string."

"Why avoid it? Can it not be cut off?"

"Ah, that's the rub. If you examine the violin closely you will find
that the string of death is made up of the extra lengths of the other
four strings. To cut it off would destroy the others, and then pity,
hope, love and joy would cease to exist in the soul of the violin."

"How like life itself," Diotti reflected, "pity, hope, love, joy end
in death, and through death they are born again."

"That's the idea, precisely," said Satan, evidently relieved by
Diotti's logic and quick perception.

The violinist examined the instrument with the practised eye of an
expert, and turning to Satan said: "The four strings are beautifully
white and transparent, but this one is black and odd looking.

"What is it wrapped with?" eagerly inquired Diotti, examining the
death string with microscopic care.

"The fifth string was added after an unfortunate episode in the Garden
of Eden, in which I was somewhat concerned," said Satan, soberly. "It
is wrapped with strands of hair from the first mother of man."
Impressively then he offered the violin to Diotti.

"I dare not take it," said the perplexed musician; "it's from--"

"Yes, it is directly from there, but I brought it from heaven when
I--I left," said the fallen angel, with remorse in his voice. "It was
my constant companion there. But no one in my domain--not I,
myself--can play upon it now, for it will respond neither to our
longing for pity, hope, love, joy, nor even death," and sadly and
retrospectively Satan gazed into vacancy; then, after a long pause:
"Try the instrument!"

Diotti placed the violin in position and drew the bow across the
string of joy, improvising on it. Almost instantly the birds of the
forest darted hither and thither, caroling forth in gladsome strains.
The devil alone was sad, and with emotion said:

"It is many, many years since I have heard that string."

Next the artist changed to the string of pity, and thoughts of the
world's sorrows came over him like a pall.

"Wonderful, most wonderful!" said the mystified violinist; "with this
instrument I can conquer the world!"

"Aye, more to you than the world," said the tempter, "a woman's love."

A woman's love--to the despairing suitor there was one and only one in
this wide, wide world, and her words, burning their way into his
heart, had made this temptation possible: "No drooping Clytie could be
more constant than I to him who strikes the chord that is responsive
in my soul."

Holding the violin aloft, he cried exultingly: "Henceforth thou art
mine, though death and oblivion lurk ever near thee!"




VII


Perkins, seated in his office, threw the morning, paper aside. "It's
no use," he said, turning to the office boy, "I don't believe they
ever will find him, dead or alive. Whoever put up the job on Diotti
was a past grand master at that sort of thing. The silent assassin
that lurks in the shadow of the midnight moon is an explosion of
dynamite compared to the party that made way with Diotti. You ask, why
should they kill him? My boy, you don't know the world. They were
jealous of his enormous hit, of our dazzling success. Jealousy did
it."

The "they" of Perkins comprised rival managers, rival artists,
newspaper critics and everybody at large who would not concede that
the attractions managed by Perkins were the "greatest on earth."

"We'll never see his like again--come in!" this last in answer to a
knock.

Diotti appeared at the open door. Perkins jumped like one shot from a
catapult, and rushing toward the silent figure in the doorway
exclaimed: "Bless my soul, are you a ghost?"

"A substantial one," said Diotti with a smile.

"Are you really here?" continued the astonished impresario, using
Diotti's arm as a pump handle and pinching him at the same time.

When they were seated Perkins plied Diotti with all manner of
questions: "How did it happen?" "How did you escape?" and the like,
all of which Diotti parried with monosyllabic replies, finally saying:
"I was dissatisfied with my playing and went away to study."

"Do you know that the failure to fulfill your contract has cost me at
least ten thousand dollars?" said the shrewd manager, the commercial
side of his nature asserting itself.

"All of which I will pay," quietly replied the artist. "Besides I am
ready to play now, and you can announce a concert within a week if you
like."

"If I like?" cried the hustling Perkins. "Here, James," calling his
office boy, "run down to the printer's and give him this," making a
note of the various sizes of "paper" he desired, "and tell Mr.
Tompkins that Diotti is back and will give a concert next Tuesday.
Tell Smith to prepare the newspaper 'ads' and notices immediately."

In an hour Perkins had the entire machinery of his office in motion.
Within twenty-four hours New York had several versions of the
disappearance and return, all leading to one common point--that Diotti
would give a concert the coming Tuesday evening.

The announcement of the reappearance of the Tuscan contained a line to
the effect that the violinist would play for the first time his new
suite--a meditation on the emotions.

He had not seen Mildred.

As he came upon the stage that night the lights were turned low, and
naught but the shadowy outlines of player and violin were seen. His
reception by the audience was not enthusiastic. They evidently
remembered the disappointment caused by his unexpected disappearance,
but this unfriendly attitude soon gave way to evidences of kindlier
feelings.

Mildred was there, more beautiful than ever, and to gain her love
Diotti would have bartered his soul that moment.

The first movement of the suite was entitled "Pity," and the music
flowed like melodious tears. A subdued sob rose and fell with the
sadness of the theme.

Mildred's eyes were moistened as she fixed them on the lone figure of
the player.

Now the theme of pity changed to hope, and hearts grew brighter under
the spell. The next movement depicted joy. As the _virtuoso's_ fingers
darted here and there, his music seemed the very laughter of fairy
voices, the earth looked roses and sunshine, and Mildred, relaxing her
position and leaning forward in the box, with lips slightly parted,
was the picture of eager happiness.

The final movement came. Its subject was love. The introduction
depicted the Arcadian beauty of the trysting place, love-lit eyes
sought each other intuitively and a great peace brooded over the
hearts of all. Then followed the song of the Passionate Pilgrim:

  "_If music and sweet poetry agree,
  As they must needs, the sister and the brother,
  Then must the love be great 'twixt thee and me
  Because thou lov'st the one, and I the other._

       *     *     *     *     *

  _Thou lov'st to hear the sweet melodious sound
  That Phoebus' lute (the queen of music) makes;
  And I in deep delight, am chiefly drown'd
  When as himself to singing he betakes.
  One god is god of both, as poets feign,
  One knight loves both, and both in thee remain._"

[Illustration: He took her hand reverently]

Grander and grander the melody rose, voicing love's triumph with
wondrous sweetness and palpitating rhythm. Mildred, her face flushed
with excitement, a heavenly fire in her eyes and in an attitude of
supplication, reveled in the glory of a new found emotion.

As the violinist concluded his performance an oppressive silence
pervaded the house, then the audience, wild with excitement, burst
into thunders of applause. In his dressing-room Diotti was besieged by
hosts of people, congratulating him in extravagant terms.

Mildred Wallace came, extending her hands. He took them almost
reverently. She looked into his eyes, and he knew he had struck the
chord responsive in her soul.




VIII


The sun was high in the heavens when the violinist awoke. A great
weight had been lifted from his heart; he had passed from darkness
into dawn.

A messenger brought him this note:

    _My Dear Signor Diotti--I am at home this afternoon, and shall
    be delighted to see you and return my thanks for the exquisite
    pleasure you gave me last evening. Music, such as yours, is
    indeed the voice of heaven._

                             _Sincerely,
                                                 Mildred Wallace._

The messenger returned with this reply:

    _My Dear Miss Wallace--I will call at three to-day._

                             _Gratefully,
                                                   Angelo Diotti._

He watched the hour drag from eleven to twelve, then counted the
minutes to one, and from that time until he left the hotel each second
was tabulated in his mind. Arriving at her residence, he was ushered
into the drawing-room. It was fragrant with the perfume of violets,
and he stood gazing at her portrait expectant of her coming.

Dressed in simple white, entrancing in her youthful freshness, she
entered, her face glowing with happiness, her eyes languorous and
expressive. She hastened to him, offering both hands. He held them in
a loving, tender grasp, and for a moment neither spoke. Then she,
gazing clearly and fearlessly into his eyes, said: "My heart has found
its melody!"

He, kneeling like Sir Gareth of old: "The song and the singer are
yours forever."

She, bidding him arise: "And I forever yours." And wondering at her
boldness, she added, "I know and feel that you love me--your eyes
confirmed your love before you spoke." Then, convincingly and
ingenuously, "I knew you loved me the moment we first met. Then I did
not understand what that meant to you, now I do."

He drew her gently to him, and the motive of their happiness was
defined in sweet confessions: "My love, my life--My life, my love."

The magic of his music had changed her very being, the breath of love
was in her soul, the vision of love was dancing in her eyes. The child
of marble, like the statue of old, had come to life:

              "_And not long since
  I was a cold, dull stone! I recollect
  That by some means I knew that I was stone;
  That was the first dull gleam of consciousness;
  I became conscious of a chilly self,
  A cold, immovable identity.
  I knew that I was stone, and knew no more!
  Then, by an imperceptible advance,
  Came the dim evidence of outer things,
  Seen--darkly and imperfectly--yet seen
  The walls surrounding me, and I, alone.
  That pedestal--that curtain--then a voice
  That called on Galatea! At that word,
  Which seemed to shake my marble to the core,
  That which was dim before, came evident.
  Sounds, that had hummed around me, indistinct,
  Vague, meaningless--seemed to resolve themselves
  Into a language I could understand;
  I felt my frame pervaded by a glow
  That seemed to thaw my marble into flesh;
  Its cold, hard substance throbbed with active life,
  My limbs grew supple, and I moved--I lived!
  Lived in the ecstasy of a new-born life!
  Lived in the love of him that fashioned me!
  Lived in a thousand tangled thoughts of hope._"

Day after day he came; they told their love, their hopes, their
ambitions. She assumed absolute proprietorship in him. She gloried in
her possession.

He was born into the world, nurtured in infancy, trained in childhood
and matured into manhood, for one express purpose--to be hers alone.
Her ownership ranged from absolute despotism to humble slavery, and he
was happy through it all.

One day she said: "Angelo, is it your purpose to follow your
profession always?"

"Necessarily, it is my livelihood," he replied.

"But do you not think that after we stand at the altar, we never
should be separated?"

"We will be together always," said he, holding her face between his
palms, and looking with tender expression into her inquiring eyes.

"But I notice that women cluster around you after your concerts--and
shake your hand longer than they should--and talk to you longer than
they should--and go away looking self-satisfied!" she replied
brokenly, much as a little girl tells of the theft of her doll.

"Nonsense," he said, smiling, "that is all part of my profession; it
is not me they care for, it is the music I give that makes them happy.
If, in my playing, I achieve results out of the common, they admire
me!" and he kissed away the unwelcome tears.

"I know," she continued, "but lately, since we have loved each other,
I can not bear to see a woman near you. In my dreams again and again
an indefinable shadow mockingly comes and cries to me, 'he is not to
be yours, he is to be mine.'"

Diotti flushed and drew her to him. "Darling," his voice carrying
conviction, "I am yours, you are mine, all in all, in life here and
beyond!" And as she sat dreaming after he had gone, she murmured
petulantly, "I wish there were no other women in the world."

Her father was expected from Europe on the succeeding day's steamer.
Mr. Wallace was a busy man. The various gigantic enterprises he served
as president or director occupied most of his time. He had been absent
in Europe for several months, and Mildred was anxiously awaiting his
return to tell him of her love.

When Mr. Wallace came to his residence the next morning, his daughter
met him with a fond display of filial affection; they walked into the
drawing-room, hand in hand; he saw a picture of the violinist on the
piano. "Who's the handsome young fellow?" he asked, looking at the
portrait with the satisfaction a man feels when he sees a splendid
type of his own sex.

"That is Angelo Diotti, the famous violinist," she said, but she could
not add another word.

As they strolled through the rooms he noticed no less than three
likenesses of the Tuscan. And as they passed her room he saw still
another on the _chiffonnier_.

"Seems to me the house is running wild with photographs of that
fiddler," he said.

For the first time in her life she was self-conscious: "I will wait
for a more opportune time to tell him," she thought.

In the scheme of Diotti's appearance in New York there were to be two
more concerts. One was to be given that evening. Mildred coaxed her
father to accompany her to hear the violinist. Mr. Wallace was not
fond of music; "it had been knocked out of him on the farm up in
Vermont, when he was a boy," he would apologetically explain, and
besides he had the old puritanical abhorrence of stage people--putting
them all in one class--as puppets who danced or played or talked for
an idle and unthinking public.

So it was with the thought of a wasted evening that he accompanied
Mildred to the concert.

The entertainment was a repetition of the others Diotti had given, and
at its end, Mildred said to her father: "Come, I want to congratulate
Signor Diotti in person."

"That is entirely unnecessary," he replied.

"It is my desire," and the girl led the unwilling parent back of the
scenes and into Diotti's dressing-room.

Mildred introduced Diotti to her father, who after a few commonplaces
lapsed into silence. The daughter's enthusiastic interest in Diotti's
performance and her tender solicitude for his weariness after the
efforts of the evening, quickly attracted the attention of Mr. Wallace
and irritated him exceedingly.

When father and daughter were seated in their carriage and were
hurriedly driving home, he said: "Mildred, I prefer that you have as
little to say to that man as possible."

"What do you object to in him?" she asked.

"Everything. Of what use is a man who dawdles away his time on a
fiddle; of what benefit is he to mankind? Do fiddlers build cities? Do
they delve into the earth for precious metals? Do they sow the seed
and harvest the grain? No, no; they are drones--the barnacles of
society."

"Father, how can you advance such an argument? Music's votaries offer
no apologies for their art. The husbandman places the grain within the
breast of Mother Earth for man's material welfare; God places music in
the heart of man for his spiritual development. In man's spring time,
his bridal day, music means joy. In man's winter time, his burial day,
music means comfort. The heaven-born muse has added to the happiness
of the world. Diotti is a great genius. His art brings rest and
tranquillity to the wearied and despairing," and she did not speak
again until they had reached the house.

The lights were turned low when father and daughter went into the
drawing-room. Mr. Wallace felt that he had failed to convince Mildred
of the utter worthlessness of fiddlers, big or little, and as one
dissatisfied with the outcome of a contest, re-entered the lists.

"He has visited you?"

"Yes, father."

"Often?"

"Yes, father," spoken calmly.

"Often?" louder and more imperiously repeated the father, as if there
must be some mistake.

"Quite often," and she sat down, knowing the catechizing would be
likely to continue for some minutes.

"How many times, do you think?"

She rose, walked into the hallway; took the card basket from the
table, returned and seated herself beside her father, emptying its
contents into her lap. She picked up a card. It read "Angelo Diotti,"
and she called the name aloud. She took up another and again her lips
voiced the beloved name. "Angelo Diotti," she continued, repeating at
intervals for a minute. Then looking at her father: "He has called
thirty-two times: there are thirty-one cards here and on one occasion
he forgot his card-case."

"Thirty-two!" said the father, rising angrily and pacing the floor.

"Yes, thirty-two. I remember all of them distinctly."

Her father came over to her, half coaxingly, half seriously. "Mildred,
I wish his visits to cease; people will imagine there is a romantic
attachment between you."

"There is, father," out it came, "he loves me and I love him."

[Illustration: Father I will obey you implicitly]

"What!" shouted Mr. Wallace, and then severely, "this must cease
immediately."

She rose quietly and led her father over to the mantel. Placing a hand
on each of his shoulders she said:

"Father, I will obey you implicitly if you can name a reasonable
objection to the man I love. But you can not. I love him with my whole
soul. I love him for the nobility of his character, and because there
is none other in the world for him, nor for me."




IX


Old Sanders as boy and man had been in the employ of the banking and
brokerage firm of Wallace Brothers for two generations. The firm
gradually had advanced his position until now he was confidential
adviser and general manager, besides having an interest in the profits
of the business.

He enjoyed the friendship of Mr. Wallace, and had been a constant
visitor at his house from the first days of that gentleman's married
life. He himself was alone in the world, a confirmed bachelor. He had
seen Mildred creep from babyhood into childhood, and bud from girlhood
to womanhood. To Mildred he was one of that numerous army of brevet
relations known as "gran-pop," "pop," or "uncle." To her he was Uncle
Sanders.

If the old man had one touch of human nature in him it was a
solicitude for Mildred's future--an authority arrogated to himself--to
see that she married the right man; but even that was directed to her
material gain in this world's goods, and not to any sentimental
consideration for her happiness. He flattered himself that by timely
suggestion he had "stumped" at least half a dozen would-be candidates
for Mildred's hand. He pooh-poohed love as a necessity for marital
felicity, and would enforce his argument by quoting from the bard:

"All lovers swear more performance than they are able, and yet reserve
an ability that they never perform; vowing more than the perfection of
ten, and discharging less than the tenth part of one."

"You can get at a man's income," he would say, "but not at his heart.
Love without money won't travel as far as money without love," and
many married people whose bills were overdue wondered if the old
fellow was not right.

He was cold-blooded and generally disliked by the men under him. The
more evil-minded gossips in the bank said he was in league with "Old
Nick." That, of course, was absurd, for it does not necessarily
follow, because a man suggests a means looking to an end, disreputable
though it be, that he has Mephistopheles for a silent partner. The
conservative element among the employees would not openly venture so
far, but rather thought if his satanic majesty and old Sanders ran a
race, the former would come in a bad second, if he were not distanced
altogether.

The old man always reached the office at nine. Mr. Wallace usually
arrived a half hour later, seldom earlier, which was so well
understood by Sanders that he was greatly surprised when he walked
into the president's office, the morning after that gentleman had
attended Diotti's concert, to find the head of the firm already there
and apparently waiting for him.

"Sanders," said the banker, "I want your advice on a matter of great
importance and concern to me."

Sanders came across the room and stood beside the desk.

"Briefly as possible, I am much exercised about my daughter."

The old man moved up a chair and buried himself in it. Pressing his
elbows tightly against his sides, he drew his neck in, and with the
tips of his right hand fingers consorted and coquetted with their like
on the opposite hand; then he simply asked, "Who is the man?"

"He is the violinist who has created such a sensation here, Angelo
Diotti."

"Yes, I've seen the name in print," returned the old man.

"He has bewitched Mildred. I never have seen her show the least
interest in a man before. She never has appeared to me as an
impressionable girl or one that could easily be won."

"That is very true," ejaculated Sanders; "she always seemed tractable
and open to reason in all questions of love and courting. I can recall
several instances where I have set her right by my estimation of men,
and invariably she has accepted my views."

"And mine until now," said the father, and then he recounted his
experience of the night before. "I had hoped she would not fall in
love, but be a prop and comfort to me now that I am alone. I am
dismayed at the prospect before me."

Then the old man mused: "In the chrysalis state of girlhood, a parent
arranges all the details of his daughter's future; when and whom she
shall marry. 'I shall not allow her to fall in love until she is
twenty-three,' says the fond parent. 'I shall not allow her to marry
until she is twenty-six,' says the fond parent. 'The man she marries
will be the one I approve of, and then she will live happy ever
after,' concludes the fond parent."

Deluded parent! false prophet! The anarchist, Love, steps in and
disdains all laws, rules and regulations. When finally the father
confronts the defying daughter, she calmly says, "Well, what are you
going to do about it?" And then tears, forgiveness, complete
capitulation, and, sometimes, she and her husband live happily ever
afterwards.

"We must find some means to end this attachment. A union between a
musician and my daughter would be most mortifying to me. Some plan
must be devised to separate them, but she must not know of it, for she
is impatient of restraint and will not brook opposition."

"Are you confident she really loves this violinist?"

"She confessed as much to me," said the perturbed banker.

Old Sanders tapped with both hands on his shining cranium and asked,
"Are you confident he loves her?"

"No. Even if he does not, he no doubt makes the pretense, and she
believes him. A man who fiddles for money is not likely to ignore an
opportunity to angle for the same commodity," and the banker, with a
look of scorn on his face, threw himself back into the chair.

"Does she know that you do not approve of this man?"

"I told her that I desired the musician's visits to cease."

"And her answer?"

"She said she would obey me if I could name one reasonable objection
to the man, and then, with an air of absolute confidence in the
impossibility of such a contingency, added, 'But you can not.'"

"Yes, but you must," said Sanders. "Mildred is strangely constituted.
If she loves this man, her love can be more deadly to the choice of
her heart than her hate to one she abhors. The impatience of restraint
you speak of and her very inability to brook opposition can be turned
to good account now." And old Sanders again tapped in the rhythm of a
dirge on his parchment-bound cranium.

"Your plan?" eagerly asked the father, whose confidence in his
secretary was absolute.

"I would like to study them together. Your position will be stronger
with Mildred if you show no open opposition to the man or his
aspirations; bring us together at your house some evening, and if I
can not enter a wedge of discontent, then they are not as others."

       *       *       *       *       *

Mildred was delighted when her father told her on his return in the
evening that he was anxious to meet Signor Diotti, and suggested a
dinner party within a few days. He said he would invite Mr. Sanders,
as that gentleman, no doubt, would consider it a great privilege to
meet the famous musician. Mildred immediately sent an invitation to
Diotti, adding a request that he bring his violin and play for Uncle
Sanders, as the latter had found it impossible to attend his concerts
during the season, yet was fond of music, especially violin music.




X


The little dinner party passed off pleasantly, and as old Sanders
lighted his cigar he confided to Diotti, with a braggart's assurance,
that when he was a youngster he was the best fiddler for twenty miles
around. "I tell you there is nothing like a fiddler to catch a
petticoat," he said, with a sharp nudge of his elbow into Diotti's
ribs. "When I played the Devil's Dream there wasn't a girl in the
country could keep from dancing, and 'Rosalie, the Prairie Flower,'
brought them on their knees to me every time;" then after a pause, "I
don't believe people fiddle as well nowadays as they did in the good
old times," and he actually sighed in remembrance.

Mildred smiled and whispered to Diotti. He took his violin from the
case and began playing. It seemed to her as if from above showers of
silvery merriment were falling to earth. The old man watched intently,
and as the player changed from joy to pity, from love back to
happiness, Sanders never withdrew his gaze. His bead-like eyes
followed the artist; he saw each individual finger rise and fall, and
the bow bound over the finger-board, always avoiding, never coming in
contact with the middle string. Suddenly the old man beat a tattoo on
his cranium and closed his eyes, apparently deep in thought.

As Diotti ceased playing, Sanders applauded vociferously, and moving
toward the violinist, said: "Magnificent! I never have heard better
playing! What is the make of your violin?"

Diotti, startled at this question, hurriedly put the instrument in its
case; "Oh, it is a famous make," he drawled.

"Will you let me examine it?" said the elder, placing his hand on the
case.

"I never allow any one to touch my violin," replied Diotti, closing
the cover quickly.

"Why; is there a magic charm about it, that you fear other hands may
discover?" queried the old man.

"I prefer that no one handle it," said the _virtuoso_ commandingly.

"Very well," sighed the old man resignedly, "there are violins and
violins, and no doubt yours comes within that category," this half
sneeringly.

"Uncle," interposed Mildred tactfully, "you must not be so persistent.
Signor Diotti prizes his violin highly and will not allow any one to
play upon it but himself," and the look of relief on Diotti's face
amply repaid her.

Mr. Wallace came in at that moment, and with perfunctory interest in
his guest, invited him to examine the splendid collection of
revolutionary relics in his study.

"I value them highly," said the banker, "both for patriotic and
ancestral reasons. The Wallaces fought and died for their country, and
helped to make this land what it is."

The father and the violinist went to the study, leaving the daughter
and old Sanders in the drawing-room. The old man, seating himself in a
large armchair, said: "Mildred, my dear, I do not wonder at the
enormous success of this Diotti."

"He is a wonderful artist," replied Mildred; "critics and public alike
place him among the greatest of his profession."

"He is a good-looking young fellow, too," said the old man.

"I think he is the handsomest man I ever have seen," replied the girl.

"Where does he come from?" continued Sanders.

"St. Casciano, a small town in Tuscany."

"Has he a family?"

"Only a sister, whom he loves dearly," good-naturedly answered the
girl.

"And no one else?" continued the seemingly garrulous old man.

"None that I have heard him speak of. No, certainly not," rather
impetuously replied Mildred.

"How old is he?" continued the old man.

"Twenty-eight next month; why do you wish to know?" she quizzically
asked.

"Simply idle curiosity," old Sanders carelessly replied. "I wonder if
he is in love with any one in Tuscany?"

"Of course not; how could he be?" quickly rejoined the girl.

"And why not?" added old Sanders.

"Why? Because, because--he is in love with some one in America."

"Ah, with you, I see," said the old man, as if it were the greatest
discovery of his life; "are you sure he has not some beautiful
sweetheart in Tuscany as well as here?"

"What a foolish question," she replied. "Men like Angelo Diotti do not
fall in love as soldiers fall in line. Love to a man of his nobility
is too serious to be treated so lightly."

"Very true, and that's what has excited my curiosity!" whereupon the
old man smoked away in silence.

"Excited your curiosity!" said Mildred. "What do you mean?"

"It may be something; it may be nothing; but my speculative instinct
has been aroused by a strange peculiarity in his playing."

"His playing is wonderful!" replied Mildred proudly.

"Aye, more than wonderful! I watched him intently," said the old man;
"I noted with what marvelous facility he went from one string to the
other. But however rapid, however difficult the composition, he
steadily avoided one string; in fact, that string remained untouched
during the entire hour he played for us."

"Perhaps the composition did not call for its use," suggested Mildred,
unconscious of any other meaning in the old man's observation, save
praise for her lover.

"Perhaps so, but the oddity impressed me; it was a new string to me. I
have never seen one like it on a violin before."

"That can scarcely be, for I do not remember of Signor Diotti telling
me there was anything unusual about his violin."

"I am sure it has a fifth string."

"And I am equally sure the string can be of no importance or Angelo
would have told me of it," Mildred quickly rejoined.

"I recall a strange story of Paganini," continued the old man,
apparently not noticing her interruption; "he became infatuated with a
lady of high rank, who was insensible of the admiration he had for her
beauty.

"He composed a love scene for two strings, the 'E' and 'G,' the first
was to personate the lady, the second himself. It commenced with a
species of dialogue, intending to represent her indifference and his
passion; now sportive, now sad; laughter on her part and tears from
him, ending in an apotheosis of loving reconciliation. It affected the
lady to that degree that ever after she loved the violinist."

"And no doubt they were happy?" Mildred suggested smilingly.

"Yes," said the old man, with assumed sentiment, "even when his
profession called him far away, for she had made him promise her he
never would play upon the two strings whose music had won her heart,
so those strings were mute, except for her."

The old man puffed away in silence for a moment, then with logical
directness continued: "Perhaps the string that's mute upon Diotti's
violin is mute for some such reason."

"Nonsense," said the girl, half impatiently.

"The string is black and glossy as the tresses that fall in tangled
skeins on the shoulders of the dreamy beauties of Tuscany. It may be
an idle fancy, but if that string is not a woven strand from some
woman's crowning glory, then I have no discernment."

"You are jesting, uncle," she replied, but her heart was heavy
already.

"Ask him to play on that string; I'll wager he'll refuse," said the
old man, contemptuously.

"He will not refuse when I ask him, but I will not to-night," answered
the unhappy girl, with forced determination. Then, taking the old
man's hands, she said: "Good-night, I am going to my room; please make
my excuses to Signor Diotti and father," and wearily she ascended the
stairs.

Mr. Wallace and the violinist soon after joined old Sanders, fresh
cigars were lighted and regrets most earnestly expressed by the
violinist for Mildred's "sick headache."

"No need to worry; she will be all right in the morning," said
Sanders, and he and the violinist buttoned their coats tightly about
them, for the night was bitter cold, and together they left the house.

In her bed-chamber Mildred stood looking at the portrait of her lover.
She studied his face long and intently, then crossing the room she
mechanically took a volume from the shelf, and as she opened it her
eyes fell on these lines: "How art thou fallen from Heaven, O Lucifer,
son of the Morning!"

       *       *       *       *       *

Old Sanders builded better than he knew.




XI


When Diotti and old Sanders left the house they walked rapidly down
Fifth Avenue. It was after eleven, and the streets were bare of
pedestrians, but blinking-eyed cabs came up the avenue, looking at a
distance like a trail of Megatheriums, gliding through the darkness.
The piercing wind made the men hasten their steps, the old man by a
semi-rotary motion keeping up with the longer strides and measured
tread of the younger.

When they reached Fourteenth Street, the elder said, "I live but a
block from here," pointing eastward; "what do you say to a hot toddy?
It will warm the cockles of your heart; come over to my house and I'll
mix you the best drink in New York."

The younger thought the suggestion a good one and they turned toward
the house of old Sanders.

It was a neat, red brick, two-story house, well in from the street,
off the line of the more pretentious buildings on either side. As the
old man opened the iron gate, the police officer on the beat passed;
he peered into the faces of the men, and recognizing Sanders, said,
"tough night, sir."

"Very," replied the addressed.

"All good old gentlemen should be in bed at this hour," said the
officer, lifting one foot after the other in an effort to keep warm,
and in so doing showing little terpsichorean grace.

"It's only the shank of the evening, officer," rejoined the old man,
as he fumbled with the latch key and finally opened the door. The two
men entered and the officer passed on.

Every man has a fad. One will tell you he sees nothing in billiards or
pool or golf or tennis, but will grow enthusiastic over the scientific
possibilities of mumble-peg; you agree with him, only you substitute
"skittles" for "mumble-peg."

Old Sanders' fad was mixing toddies and punches.

"The nectar of the gods pales into nothingness when compared with a
toddy such as I make," said he. "Ambrosia may have been all right for
the degenerates of the old Grecian and Roman days, but an American
gentleman demands a toddy--a hot toddy." And then he proceeded with
circumspection and dignity to demonstrate the process of decocting
that mysterious beverage.

The two men took off their overcoats and went into the sitting-room. A
pile of logs burned brightly in the fire-place. The old man threw
another on the burning heap, filled the kettle with water and hung it
over the fire. Next he went to the sideboard and brought forth the
various ingredients for the toddy.

"How do you like America?" said the elder, with commonplace
indifference, as he crunched a lump of sugar in the bottom of the
glass, dissolving the particles with a few drops of water.

"Very much, indeed," said the Tuscan, with the air of a man who had
answered the question before.

"Great country for girls!" said Sanders, pouring a liberal quantity of
Old Tom gin in the glass and placing it where it gradually would get
warm.

"And for men!" responded Diotti, enthusiastically.

"Men don't amount to much here, women run everything," retorted the
elder, while he repeated the process of preparing the sugar and gin in
the second glass. The kettle began to sing.

"That's music for you," chuckled the old man, raising the lid to see
if the water had boiled sufficiently. "Do you know I think a dinner
horn and a singing kettle beat a symphony all hollow for real
down-right melody," and he lifted the kettle from the fire-place.

Diotti smiled.

With mathematical accuracy the old man filled the two tumblers with
boiling water.

"Try that," handing a glass of the toddy to Diotti; "you will find it
all right," and the old man drew an armchair toward the fire-place,
smacking his lips in anticipation.

The violinist placed his chair closer to the fire and sipped the
drink.

"Your country is noted for its beautiful women?"

"We have exquisite types of femininity in Tuscany," said the young
man, with patriotic ardor.

"Any as fine looking as--as--as--well, say the young lady we dined
with to-night?"

"Miss Wallace?" queried the Tuscan.

"Yes, Miss Wallace," this rather impatiently.

"She is very beautiful," said Diotti, with solemn admiration.

"Have you ever seen any one prettier?" questioned the old man, after a
second prolonged sip.

"I have no desire to see any one more beautiful," said the violinist,
feeling that the other was trying to draw him out, and determined not
to yield.

"You will pardon the inquisitiveness of an old man, but are not you
musicians a most impressionable lot?"

"We are human," answered the violinist.

"I imagined you were like sailors and had a sweetheart in every port."

"That would be a delightful prospect to one having polygamous
aspirations, but for myself, one sweetheart is enough," laughingly
said the musician.

"Only one! Well, here's to her! With this nectar fit for the gods and
goddesses of Olympus, let us drink to her," said old Sanders, with
convivial dignity, his glass raised on high. "Here's wishing health
and happiness to the dreamy-eyed Tuscan beauty, whom you love and who
loves you."

"Stop!" said Diotti; "we will drink to the first part of that toast,"
and holding his glass against that of his bibulous host, continued:
"To the dreamy-eyed women of my country, exacting of their lovers;
obedient to their parents and loyal to their husbands," and his voice
rose in sonorous rhythm with the words.

"Now for the rest of the toast, to the one you love and who loves
you," came from Sanders.

"To the one I love and who loves me, God bless her!" fervently cried
the guest.

"Is she a Tuscan?" asked old Sanders slyly.

"She is an angel!" impetuously answered the violinist.

"Then she is an American!" said the old man gallantly.

"She is an American," repeated Diotti, forgetting himself for the
instant.

"Let me see if I can guess her name," said old Sanders. "It's--it's
Mildred Wallace!" and his manner suggested a child solving a riddle.

The violinist, about to speak, checked himself and remained silent.

"I sincerely pity Mildred if ever she falls in love," abstractedly
continued the host while filling another glass.

"Pray why?" was anxiously asked.

The old man shifted his position and assumed a confidential tone and
attitude: "Signor Diotti, jealousy is a more universal passion than
love itself. Environment may develop our character, influence our
tastes and even soften our features, but heredity determines the
intensity of the two leading passions, love and jealousy. Mildred's
mother was a beautiful woman, but consumed with an overpowering
jealousy of her husband. It was because she loved him. The body-guard
of jealousy--envy, malice and hatred--were not in her composition.
When Mildred was a child of twelve I have seen her mother suffer the
keenest anguish because Mr. Wallace fondled the child. She thought the
child had robbed her of her husband's love."

"Such a woman as Miss Wallace would command the entire love and
admiration of her husband at all times," said the artist.

"If she should marry a man she simply likes, her chances for happiness
would be normal."

"In what manner?" asked the lover.

"Because she would be little concerned about him or his actions."

"Then you believe," said the musician, "that the man who loves her and
whom she loves should give her up because her chances of happiness
would be greater away from him than with him?"

"That would be an unselfish love," said the elder.

"Suppose they have declared their passion?" asked Diotti.

"A parting before doubt and jealousy had entered her mind would let
the image of her sacrificing lover live within her soul as a tender
and lasting memory; he always would be her ideal," and the accent old
Sanders placed on _always_ left no doubt of his belief.

"Why should doubt and jealousy enter her life?" said the violinist,
falling into the personal character of the discussion despite himself.

"My dear sir, from what I observed to-night, she loves you. You are a
dangerous man for a jealous woman to love. You are not a cloistered
monk, you are a man before the public; you win the admiration of many;
some women do not hesitate to show you their preference. To a woman
like Mildred that would be torture; she could not and would not
separate the professional artist from the lover or husband."

And Diotti, remembering Mildred's words, could not refute the old
man's statements.

"If you had known her mother as I did," continued the old man,
realizing his argument was making an impression on the violinist, "you
would see the agony in store for the daughter if she married a man
such as you, a public servant, a public favorite."

"I would live my life not to excite her suspicions or jealousy," said
the artist, with boyish enthusiasm and simplicity.

"Foolish fellow," retorted Sanders, skeptically; "women imagine, they
don't reason. A scented note unopened on the dressing table can cause
more unhappiness to your wife than the loss of his country to a king.
My advice to you is: do not marry; but if you must, choose one who is
more interested in your gastronomic felicity than in your marital
constancy."

Diotti was silent. He was pondering the words of his host. Instead of
seeing in Mildred a possibly jealous woman, causing mental misery, she
appeared a vision of single-hearted devotion. He felt: "To be loved by
such a one is bliss beyond the dreams of this world."




XII


A tipsy man is never interesting, and Sanders in that condition was no
exception. The old man arose with some effort, walked toward the
window and, shading his eyes, looked out. The snow was drifting, swept
hither and thither by the cutting wind that came through the streets
in great gusts. Turning to the violinist, he said, "It's an awful
night; better remain here until morning. You'll not find a cab; in
fact, I will not let you go while this storm continues," and the old
man raised the window, thrusting his head out for an instant. As he
did so the icy blast that came in settled any doubt in the young man's
mind and he concluded to stop over night.

It was nearly two o'clock; Sanders showed him to his room and then
returned down stairs to see that everything was snug and secure. After
changing his heavy shoes for a pair of old slippers and wrapping a
dressing gown around him, the old man stretched his legs toward the
fire and sipped his toddy.

"He isn't a bad sort for a violinist," mused the old man; "if he were
worth a million, I believe I'd advise Wallace to let him marry her. A
fiddler! A million! Sounds funny," and he laughed shrilly.

He turned his head and his eyes caught sight of Diotti's violin case
resting on the center table. He staggered from the chair and went
toward it; opening the lid softly, he lifted the silken coverlet
placed over the instrument and examined the strings intently. "I am
right," he said; "it is wrapped with hair, and no doubt from a woman's
head. Eureka!" and the old man, happy in the discovery that his
surmises were correct, returned to his chair and his toddy.

He sat looking into the fire. The violin had brought back memories of
the past and its dead. He mumbled, as if to the fire, "she loved me;
she loved my violin. I was a devil; my violin was a devil," and the
shadows on the wall swayed like accusing spirits. He buried his face
in his hands and cried piteously, "I was so young; too young to know."
He spoke as if he would conciliate the ghastly shades that moved
restlessly up and down, when suddenly--"Sanders, don't be a fool!"

He ambled toward the table again. "I wonder who made the violin? He
would not tell me when I asked him to-night; thank you for your pains,
but I will find out myself," and he took the violin from the case.
Holding it with the light slanting over it, he peered inside, but
found no inscription. "No maker's name--strange," he said. He tiptoed
to the foot of the stairs and listened intently; "he must be asleep;
he won't hear me," and noiselessly he closed the door. "I guess if I
play a tune on it he won't know."

He took the bow from its place in the case and tightened it. He
listened again. "He is fast asleep," he whispered. "I'll play the song
I always played for her--until," and the old man repeated the words of
the refrain:

  "_Fair as a lily, joyous and free,
  Light of the prairie home was she;
  Every one who knew her felt the gentle power
  Of Rosalie, the Prairie Flower._"

He sat again in the arm-chair and placed the violin under his chin.
Tremulously he drew the bow across the middle string, his bloodless
fingers moving slowly up and down.

The theme he played was the melody to the verse he had just repeated,
but the expression was remorse.

       *       *       *       *       *

Diotti sat upright in bed. "I am positive I heard a violin!" he said,
holding one hand toward his head in an attitude of listening. He was
wide awake. The drifting snow beat against the window panes and the
wind without shrieked like a thousand demons of the night. He could
sleep no more. He arose and hastily dressed. The room was bitterly
cold; he was shivering. He thought of the crackling logs in the
fire-place below. He groped his way along the darkened staircase. As
he opened the door leading into the sitting-room the fitful gleam of
the dying embers cast a ghastly light over the face of a corpse.

Diotti stood a moment, his eyes transfixed with horror. The violin and
bow still in the hands of the dead man told him plainer than words
what had happened. He went toward the chair, took the instrument from
old Sanders' hands and laid it on the table. Then he knelt beside the
body, and placing his ear close over the heart, listened for some sign
of life, but the old man was beyond human aid.

He wheeled the chair to the side of the room and moved the body to the
sofa. Gently he covered it with a robe. The awfulness of the situation
forced itself upon him, and bitterly he blamed himself. The terrible
power of the instrument dawned upon him in all its force. Often he had
played on the strings telling of pity, hope, love and joy, but now,
for the first time, he realized what that fifth string meant.

"I must give it back to its owner."

"If you do you can never regain it," whispered a voice within.

"I do not need it," said the violinist, almost audibly.

"Perhaps not," said the voice, "but if her love should wane how would
you rekindle it? Without the violin you would be helpless."

"Is it not possible that, in this old man's death, all its fatal power
has been expended?"

He went to the table and took the instrument from its place. "You won
her for me; you have brought happiness and sunshine into my life. No!
No! I can not, will not give you up," then placing the violin and bow
in its case he locked it.

The day was breaking. In an hour the baker's boy came. Diotti went to
the door, gave him a note addressed to Mr. Wallace and asked him to
deliver it at once. The boy consented and drove rapidly away.

Within an hour Mr. Wallace arrived; Diotti told the story of the
night. After the undertaker had taken charge of the body he found on
the dead man's neck, just to the left of the chin, a dullish, black
bruise which might have been caused by the pressing of some blunt
instrument, or by a man's thumb. Considering it of much importance, he
notified the coroner, who ordered an inquest.

At six o'clock that evening a jury was impaneled, and two hours later
its verdict was reported.




XIII


On leaving the house of the dead man Diotti walked wearily to his
hotel. In flaring type at every street corner he saw the announcement
for Thursday evening, March thirty-first, of Angelo Diotti's last
appearance: "To-night I play for the last time," he murmured in a
voice filled with deepest regret.

The feeling of exultation so common to artists who finally reach the
goal of their ambition was wanting in Diotti this morning. He could
not rid himself of the memory of Sanders' tragic death. The figure of
the old man clutching the violin and staring with glassy eyes into the
dying fire would not away.

When he reached the hotel he tried to rest, but his excited brain
banished every thought of slumber. Restlessly he moved about the room,
and finally dressing, he left the hotel for his daily call on Mildred.
It was after five o'clock when he arrived. She received him coldly and
without any mark of affection.

She had heard of Mr. Sanders' death; her father had sent word. "It
shocked me greatly," she said; "but perhaps the old man is happier in
a world far from strife and care. When we realize all the misery there
is in this world we often wonder why we should care to live." Her tone
was despondent, her face was drawn and blanched, and her eyes gave
evidence of weeping.

Diotti divined that something beyond sympathy for old Sanders' sudden
death racked her soul. He went toward her and lovingly taking her
hands, bent low and pressed his lips to them; they were cold as
marble.

"Darling," he said; "something has made you unhappy. What is it?"

"Tell me, Angelo, and truly; is your violin like other violins?"

This unexpected question came so suddenly he could not control his
agitation.

"Why do you ask?" he said.

"You must answer me directly!"

"No, Mildred; my violin is different from any other I have ever seen,"
this hesitatingly and with great effort at composure.

"In what way is it different?" she almost demanded.

"It is peculiarly constructed; it has an extra string. But why this
sudden interest in the violin? Let us talk of you, of me, of both, of
our future," said he with enforced cheerfulness.

"No, we will talk of the violin. Of what use is the extra string?"

"None whatever," was the quick reply.

"Then why not cut it off?"

"No, no, Mildred; you do not understand," he cried; "I can not do
that."

"You can not do it when I ask it?" she exclaimed.

"Oh Mildred, do not ask me; I can not, can not do it," and the face of
the affrighted musician told plainer than words of the turmoil raging
in his soul.

"You made me believe that I was the only one you loved," passionately
she cried; "the only one; that your happiness was incomplete without
me. You led me into the region of light only to make the darkness
greater when I descended to earth again. I ask you to do a simple
thing and you refuse; you refuse because another has commanded you."

"Mildred, Mildred; if you love me do not speak thus!"

And she, with imagination greater than reasoning power, at once saw a
Tuscan beauty and Diotti mutually pledging their love with their
lives.

"Go," she said, pointing to the door, "go to the one who owns you,
body and soul; then say that a foolish woman threw her heart at your
feet and that you scorned it!" She sank to the sofa.

He went toward the door, and in a voice that sounded like the echo of
despair, protested: "Mildred, I love you; love you a thousand times
more than I do my life. If I should destroy the string, as you ask,
love and hope would leave me forevermore. Death would not be robbed of
its terror!" and with bowed head he went forth into the twilight.

She ran to the window and watched his retreating figure as he
vanished. "Uncle Sanders was right; he loves another woman, and that
string binds them together. He belongs to her!" Long and silently she
stood by the window, gazing at the shadowing curtain of the coming
night. At last her face softened. "Perhaps he does not love her now,
but fears her vengeance. No, no; he is not a coward! I should have
approached him differently; he is proud, and maybe he resented my
imperative manner," and a thousand reasons why he should or should not
have removed that string flashed through her mind.

"I will go early to the concert to-night and see him before he plays.
Uncle Sanders said he did not touch that string when he played. Of
course he will play on it for me, even if he will not cut it off, and
then if he says he loves me, and only me, I will believe him. I want
to believe him; I want to believe him," all this in a semi-hysterical
way addressed to the violinist's portrait on the piano.

When she entered her carriage an hour later, telling the coachman to
drive direct to the stage-door of the Academy, she appeared more
fascinating than ever before.

She was sitting in his dressing-room waiting for him when he arrived.
He had aged years in a day. His step was uncertain, his eyes were
sunken and his hand trembled. His face brightened as she arose, and
Mildred met him in the center of the room. He lifted her hand and
pressed a kiss upon it.

"Angelo, dear," she said in repentant tone; "I am sorry I pained you
this afternoon; but I am jealous, so jealous of you."

"Jealous?" he said smilingly; "there is no need of jealousy in our
lives; we love each other truly and only."

"That is just what I think, we will never doubt each other again, will
we?"

"Never!" he said solemnly.

He had placed his violin case on the table in the room. She went to it
and tapped the top playfully; then suddenly said: "I am going to look
at your violin, Angelo," and before he could interfere, she had taken
the silken coverlet off and was examining the instrument closely.
"Sure enough, it has five strings; the middle one stands higher than
the rest and is of glossy blackness. Uncle Sanders was right; it is a
woman's hair!

"Why is that string made of hair?" she asked, controlling her emotion.

"Only a fancy," he said, feigning indifference.

"Though you would not remove it at my wish this afternoon, Angelo; I
know you will not refuse to play on it for me now."

He raised his hands in supplication. "Mildred! Mildred! Stop! do not
ask it!"

"You refuse after I have come repentant, and confessing my doubts and
fears? Uncle Sanders said you would not play upon it for me; he told
me it was wrapped with a woman's hair, the hair of the woman you
love."

"I swear to you, Mildred, that I love but you!"

"Love me? Bah! And another woman's tresses sacred to you? Another
woman's pledge sacred to you? I asked you to remove the string; you
refused. I ask you now to play upon it; you refuse," and she paced the
room like a caged tigress.

"I will watch to-night when you play," she flashed. "If you do not use
that string we part forever."

He stood before her and attempted to take her hand; she repulsed him
savagely.

Sadly then he asked: "And if I do play upon it?"

"I am yours forever--yours through life--through eternity," she cried
passionately.

The call-boy announced Diotti's turn; the violinist led Mildred to a
seat at the entrance of the stage. His appearance was the signal for
prolonged and enthusiastic greeting from the enormous audience
present. He clearly was the idol of the metropolis.

[Illustration: If you do not play upon it we separate forever]

The lights were lowered, a single calcium playing with its soft and
silvery rays upon his face and shoulders. The expectant audience
scarcely breathed as he began his theme. It was pity--pity molded into
a concord of beautiful sounds, and when he began the second movement
it was but a continuation of the first; his fingers sought but one
string, that of pity. Again he played, and once more pity stole from
the violin.

When he left the stage Mildred rushed to him. "You did not touch that
string; you refuse my wish?" and the sounds of mighty applause without
drowned his pleading voice.

"I told you if you refused me I was lost to you forever! Do you
understand?"

Diotti returned slowly to the center of the stage and remained
motionless until the audience subsided. Facing Mildred, whose color
was heightened by the intensity of her emotion, he began softly to
play. His fingers sought the string of Death. The audience listened
with breathless interest. The composition was weirdly and strangely
fascinating.

The player told with wondrous power of despair,--of hope, of faith;
sunshine crept into the hearts of all as he pictured the promise of an
eternal day; higher and higher, softer and softer grew the theme until
it echoed as if it were afar in the realms of light and floating o'er
the waves of a golden sea.

Suddenly the audience was startled by the snapping of a string; the
violin and bow dropped from the nerveless hands of the player. He fell
helpless to the stage.

Mildred rushed to him, crying, "Angelo, Angelo, what is it? What has
happened?" Bending over him she gently raised his head and showered
unrestrained kisses upon his lips, oblivious of all save her lover.

"Speak! Speak!" she implored.

A faint smile illumined his face; he gazed with ineffable tenderness
into her weeping eyes, then slowly closed his own as if in slumber.



***END OF THE PROJECT GUTENBERG EBOOK THE FIFTH STRING***


******* This file should be named 29481.txt or 29481.zip *******


This and all associated files of various formats will be found in:
http://www.gutenberg.org/dirs/2/9/4/8/29481



Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://www.gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://www.gutenberg.org/about/contact

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://www.gutenberg.org/fundraising/donate

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:
http://www.gutenberg.org/fundraising/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.