fortune.'" (And again he laughed like a merry child.) "But, ah!" he
said, changing to
melancholy, "you come for the music, and not for a
poor old man like me. Yes, I know that; but come for what you will, I
am yours, you know, body and soul and all I have!"
This was said in his
unspeakable German
accent, a rendition of which
we spare the reader.
He took the
countess's hand, kissed it and left a tear there, for the
worthy soul was always on the
morrow of her benefit. Then he seized a
bit of chalk, jumped on a chair in front of the piano, and wrote upon
the wall in big letters, with the
rapidity of a young man, "February
17th, 1835." This pretty, artless action, done in such a
passion of
gratitude, touched the
countess to tears.
"My sister will come too," she said.
"The other, too! When? when? God grant it be before I die!"
"She will come to thank you for a great service I am now here to ask
of you."
"Quick! quick! tell me what it is," cried Schmucke. "What must I do?
go to the devil?"
"Nothing more than write the words 'Accepted for ten thousand francs,'
and sign your name on each of these papers," she said,
taking from her
muff four notes prepared for her by Nathan.
"Hey! that's soon done," replied the German, with the docility of a
lamb; "only I'm sure I don't know where my pens and ink are-- Get away
from there, Meinherr Mirr!" he cried to the cat, which looked
composedly at him. "That's my cat," he said, showing him to the
countess. "That's the poor animal that lives with poor Schmucke.
Hasn't he fine fur?"
"Yes," said the
countess.
"Will you have him?" he cried.
"How can you think of such a thing?" she answered. "Why, he's your
friend!"
The cat, who hid the inkstand behind him,
divined that Schmucke wanted
it, and jumped to the bed.
"He's as
mischievous as a monkey," said Schmucke. "I call him Mirr in
honor of our great Hoffman of Berlin, whom I knew well."
The good man signed the papers with the
innocence of a child who does
what his mother orders without question, so sure is he that all is
right. He was thinking much more of presenting the cat to the
countessthan of the papers by which his liberty might be, according to the
laws relating to foreigners, forever sacrificed.
"You assure me that these little papers with the stamps on them--"
"Don't be in the least uneasy," said the
countess.
"I am not uneasy," he said,
hastily. "I only meant to ask if these
little papers will give pleasure to Madame du Tillet."
"Oh, yes," she said, "you are doing her a service, as if you were her
father."
"I am happy, indeed, to be of any good to her-- Come and listen to my
music!" and leaving the papers on the table, he jumped to his piano.
The hands of this angel ran along the yellowing keys, his glance was
rising to heaven,
regardless of the roof; already the air of some
blessed
climate permeated the room and the soul of the old
musician;
but the
countess did not allow the artless
interpreter of things
celestial to make the strings and the worn wood speak, like
Raffaelle's Saint Cecilia, to the listening angels. She quickly
slipped the notes into her muff and recalled her
radiant master from
the
ethereal spheres to which he soared, by laying her hand upon his
shoulder.
"My good Schmucke--" she said.
"Going already?" he cried. "Ah! why did you come?"
He did not murmur, but he sat up like a
faithful dog who listens to
his
mistress.
"My good Schmucke," she
repeated, "this is a matter of life and death;
minutes can save tears, perhaps blood."
"Always the same!" he said. "Go, angel! dry the tears of others. Your
poor Schmucke thinks more of your visit than of your gifts."
"But we must see each other often," she said. "You must come and dine
and play to me every Sunday, or we shall quarrel. Remember, I shall
expect you next Sunday."
"Really and truly?"
"Yes, I
entreat you; and my sister will want you, too, for another
day."
"Then my happiness will be complete," he said; "for I only see you now
in the Champs Elysees as you pass in your
carriage, and that is very