Linnet: A Romance. Allen Grant
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“Go to England!” Florian repeated, all amazed at the frank remark. She seemed to take it for granted they must know all her plans. “When you go to England! Oh, he means to take you there, then! You’re one of his troupe, I suppose; or you’re going to be one.”
“I am not gone away yet,” Linnet answered, not a little abashed to find herself the centre of so much unwonted interest; “but I go next time; I will sing with his band. All summers, I stop on the mountain and milk; with the winter, come I down to the house to practise.”
“But you don’t mean to say,” Will put in, in German (it was easier so for Linnet to answer him), “he lets a singer like you live out by herself in a châlet on the hills with the cows all summer?”
Linnet held up her hands, palm outward, with a pretty little gesture of polite deprecation. Her movements were always naturally graceful. “Why not?” she said, brightly, in German, with no little suppressed merriment at his astonished face. “That’s Andreas Hausberger’s plan; he believes in that way; he calls it his system. He says we Zillerthalers owe our beautiful voices – for they tell us we can sing a great deal better than the people in any other valley about – to our open-air life on the very high mountains. The air there is thin, and it suits our throats, he says.” She clasped her hand to her own as she spoke, that beautiful, well-developed, clear-toned organ, with a natural gesture of unconscious reverence. “It develops them – that’s his word; he believes there’s nothing like it. Entwickelung; entwickelung! I get more good, he thinks, for my voice in the summer on the alp than I get from all my lessons in the winter in the valley. For the throat itself comes first – that’s what Andreas holds – and afterwards the teaching. Not for worlds would he let me miss my summer life on the mountains.”
“And how long has he been training you?” Will inquired with real interest. This was so strange a page of life thus laid open before him.
“Oh, for years and years, gnädige Herr,” Linnet answered, shyly, for so much open attention on the young man’s part made her awkwardly self-conscious. “Ever since my father died, he has always been teaching me.”
“Has your father been dead long?” Will inquired.
Linnet crossed herself devoutly. “He was killed eight years ago on the 20th of August last,” she said, looking up as she spoke towards the forest-clad mountains. “May Our Dear Lady and all holy saints deliver his honoured soul from the fires of purgatory!”
“But your mother’s alive still, I suppose, Fräulein,” Florian put in with a killing smile; he had been straining his ears, and was delighted to have caught the general drift of the conversation.
“Yes; thanks to the Blessed Virgin, my mother live still,” Linnet answered in English. “And I keep her comfortable, as for a widow woman, from that which Andreas Hausberger pay me for the summer, as also for the singing. But for what, mein Herr, do you make to call me Fräulein? Do you wish to mock at me? I am only an alp-girl, and I am call just Linnet.”
She flushed as she spoke, and turned hastily to Will. “Tell him,” she said in German, with an impatient little toss of one hand towards Florian, “that it isn’t pretty of him to make fun of poor peasant girls like that. Why does he call me such names? He knows very well I am no real Fräulein.”
Florian raised his hat at once in his dimpled small hand, with that courtly bow and smile so much admired in Bond Street. “Pardon me,” he said, with more truth and feeling than was usual with him; “you have a superb voice; with a gift like that, you are a Fräulein indeed. It extorts our homage. Heaven only knows to what height it may some day lead you.”
CHAPTER V
THE WIRTH’S THEORY
In the evening, while they dined, the landlord came in to see how they fared, and wish them good appetite: ’tis the custom with distinguished guests in the Tyrol. The moment he entered, Florian, all agog, attacked him at once on the subject of their wonderful find that afternoon on the hillside. “Well, Herr Hausberger,” he cried in his high-flown way, “we’ve seen and heard your Linnet – heard her warbling her native wood-notes wild, to the tune of her own cow-bells on her lonely mountains. Now, what do you mean, sir, by turning out a divine singer like that – I’m a musical critic myself, and I know what I’m talking about – what do you mean by turning her out to make butter and cheese in a solitary hut on an Alpine pasture? It’s sheer desecration, I tell you – sheer wicked desecration; there’s nothing, almost, that girl couldn’t do with her voice. She’s a genius – a prodigy; she ought to be clothed in purple and fine linen, and fare sumptuously every day on champagne and turtle. And you, sir – you send her up to herd cows all alone, in an inclement clime, on a barren hill-top!”
Andreas Hausberger gazed at him with a self-contained smile that was extremely characteristic. He bowed a sarcastic bow which Florian misinterpreted for polite subservience. “Are you running this show or am I?” he asked, after a fresh pause, with a quaint reminiscence of his Western experience.
“You are, undoubtedly,” Florian answered, taken aback at this unexpected assault. “But you ought to run it, all the same, on rational and humane and intelligent principles. You owe this girl’s voice, as a delight and a treasure, to US, the enlightened and critical connoisseurs of two eager continents. Nature produced it that we might enjoy it. It was intended to give us some of those exquisite moments of artistic pleasure which are the sole excuse creative caprice can plead for the manifold defects of the Universe.”
Andreas Hausberger looked down at him with a half-pitying curl on those stern thin lips of his. Florian had attacked him lightly where his position was strongest. “That’s all right,” he said, slowly, with a chilly drawl – ’twas his favourite expression. “And do you think then,” he went on, bursting forth almost scornfully, in spite of his outward deference, “we Zillerthalers get our fine singing voices and our musical ears by pure chance and accident? Not so, you may be sure of it. It’s no mere coincidence that our men and women can almost without exception sing like birds from their childhood upwards by the light of Nature. What gives them this power? Why, they live their lives long, in summer especially, in the thin clear atmosphere of our higher mountains. There isn’t much sour-stuff in it – what do you call it in English? – oh, oxygen, don’t you? Wal, there isn’t much oxygen in that thin upper air – rarefied, I think you say – and therefore they’re obliged to fill their lungs well and expand their chests” – he swelled himself out as he spoke, and showed off his own splendid girth to the fullest advantage – “and that gives them large reservoirs and rich, pure-toned voices.”
“I never thought of that before,” Will Deverill interposed, much struck by the landlord’s plausible reasoning. “I suppose that’s why mountain races, like the Welsh and the Tyrolese, are so often musical. The rarefied air must tend to strengthen and develop the larynx.”
“No; you never thought of that before,” Andreas Hausberger echoed. “You haven’t had to think of it. And you haven’t had to select and train a choir of our Tyrolese peasants. But I have thought of it for years, and satisfied myself it’s true. Is it for nothing, do you suppose, that on our cold mountain tops the vocal chords, as they say, are braced up and tightened? Is it for nothing that in that clear, pure, limpid air the very nerves of the ear, strained hard to catch quickly at distant sounds, are exercised and educated? Do you think, if I wanted to pick out voices for a musical troupe, I would go for them to Holland, or to Lombardy, or to Hamburg? No, no; I would go right away to the gründe there, the upper forks of the Zillerthal, in the crystal air just below the glaciers, and pick out my best singers from the cow-boys and the alp-girls.”
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