Bébée was fond of watching the brigs and barges, that looked so big to her, with their national flags flying, and their tall masts standing thick as grass, and their tawny sails flapping in the wind, and about them the sweet, strong smell of that strange, unknown thing, the sea.

Sometimes the sailors would talk with her; sometimes some old salt, sitting astride of a cask, would tell her a mariner's tale of far-away lands and mysteries of the deep; sometimes some curly-headed cabin-boy would give her a shell or a plume of seaweed, and try and make her understand what the wonderful wild water was like, which was not quiet and sluggish and dusky as this canal was, but was for ever changing and moving, and curling and leaping, and making itself now blue as her eyes, now black as that thunder-cloud, now white as the snow that the winter wind tossed, now pearl-hued and opaline as the convolvulus that blew in her own garden.

And Bébée would listen, with the shell in her lap, and try to understand, and gaze at the ships and then at the sky beyond them, and try to figure to herself those strange countries, to which these ships were always going, and saw in fancy all the blossoming orchard province of green France, and all the fir-clothed hills and rushing rivers of the snow-locked Swedish shore, and saw too, doubtless, many lands that had no place at all except in dreamland, and were more beautiful even than the beauty of the earth, as poets' countries are, to their own sorrow, oftentimes.

But this dull day Bébée did not go down upon the wharf; she did not want the sailor's tales; she saw the masts and the bits of bunting that streamed from them, and they made her restless, which they had never done before. Instead she went in at a dark old door and climbed up a steep staircase that went up and up and up, as though she were mounting Ste. Gudule's belfry towers; and at the top of it entered a little chamber in the roof, where one square unglazed hole that served for light looked out upon the canal, with all its crowded craft, from the dainty schooner yacht, fresh as gilding and holystone could make her, that was running for pleasure to the Scheldt, to the rude, clumsy coal-barge, black as night, that bore the rough diamonds of Belgium to the snow-buried roofs of Christiania and Stromsöon.

In the little dark attic there was a very old woman in a red petticoat and a high cap, who sat against the window, and pricked out lace patterns with a pin on thick paper. She was eighty-five years old, and could hardly keep body and soul together.

Bébée, running to her, kissed her.

"O mother Annémie, look here! Beautiful red and white currants, and a roll; I saved them for you. They are the first currants we have seen this year. Me? oh, for me, I have eaten more than are good! You know I pick fruit like a sparrow, always. Dear mother Annémie, are you better? Are you quite sure you are better to-day?"

The little old withered woman, brown as a walnut and meagre as a rush, took the currants, and smiled with a childish glee, and began to eat them, blessing the child with each crumb she broke off the bread.

"Why had you not a grandmother of your own, my little one?" she mumbled. "How good you would have been to her, Bébée?"

"Yes," said Bébée seriously, but her mind could not grasp the idea. It was easier for her to believe the fanciful lily-parentage of Antoine's stories. "How much work have you done, Annémie? Oh, all that? all that? But there is enough for a week. You work too early and too late, you dear Annémie."

"Nay, Bébée, when one has to get one's bread, that cannot be. But I am afraid my eyes are failing. That rose now, is it well done?"

"Beautifully done. Would the Baës take them if they were not? You know he is one that cuts every centime in four pieces."

"Ah! sharp enough, sharp enough—that is true. But I am always afraid of my eyes. I do not see the flags out there so well as I used to do."

"Because the sun is so bright, Annémie; that is all. I myself, when I have been sitting all day in the Place in the light, the flowers look pale to me. And you know it is not age with me, Annémie?"

The old woman and the young girl laughed together at that droll idea.

"You have a merry heart, dear little one," said old Annémie. "The saints keep it to you always."

"May I tidy the room a little?"

"To be sure, dear, and thank you too. I have not much time, you see; and somehow my back aches badly when I stoop."

"And it is so damp here for you, over all that water!" said Bébée, as she swept and dusted and set to rights the tiny place, and put in a little broken pot a few sprays of honeysuckle and rosemary that she had brought with her. "It is so damp here. You should have come and lived in my hut with me, Annémie, and sat out under the vine all day, and looked after the chickens for me when I was in the town. They are such mischievous little souls; as soon as my back is turned one or other is sure to push through the roof, and get out amongst the flower-beds. Will you never change your mind, and live with me, Annémie? I am sure you would be happy, and the starling says your name quite plain, and he is such a funny bird to talk to; you never would tire of him. Will you never come? It is so bright there, and green and sweet-smelling, and to think you never even have seen it!—and the swans and all,—it is a shame."

"No, dear," said old Annémie, eating her last bunch of currants. "You have said so so often, and you are good and mean it, that I know. But I could not leave the water. It would kill me.

"Out of this window you know I saw my Jeannot's brig go away—away—away—till the masts were lost in the mists. Going with iron to Norway; the Fleur d'Epine of this town, a good ship, and a sure, and he her mate; and as proud as might be, and with a little blest Mary in lead round his throat.

"She was to be back in port in eight months bringing timber. Eight months—that brought Easter time.

"But she never came. Never, never, never, you know.

"I sat here watching them come and go, and my child sickened and died, and the summer passed, and the autumn, and all the while I looked—looked—looked; for the brigs are all much alike; only his I always saw as soon as she hove in sight because he tied a hank of flax to her mizzen mast; and when he was home safe and sound I spun the hank into hose for him; that was a fancy of his, and for eleven voyages, one on another, he had never missed to tie the flax nor I to spin the hose.

"But the hank of flax I never saw this time; nor the brave brig; nor my good man with his sunny blue eyes.

"Only one day in winter, when the great blocks of ice were smashing hither and thither, a coaster came in and brought tidings of how off in the Danish waters they had come on a waterlogged brig, and had boarded her, and had found her empty, and her hull riven in two, and her crew all drowned and dead beyond any manner of doubt. And on her stern there was her name painted white, the Fleur d'Epine, of Brussels, as plain as name could be; and that was all we ever knew—what evil had struck her, or how they had perished, nobody ever told.

"Only the coaster brought that bit of beam away, with the Fleur d'Epine writ clear upon it.

"But you see I never know my man is dead.

"Any day—who can say?—any of those ships may bring him aboard of her, and he may leap out on the wharf there, and come running up the stairs as he used to do, and cry, in his merry voice, 'Annémie, Annémie, here is more flax to spin, here is more hose to weave!' For that was always his homeward word; no matter whether he had had fair weather or foul, he always knotted the flax to his mast-head.

"So you see, dear, I could not leave here. For what if he came and found me away? He would say it was an odd fashion of mourning for him.

"And I could not do without the window, you know. I can watch all the brigs come in; and I can smell the shipping smell that I have loved all the days of my life; and I can see the lads heaving, and climbing, and furling, and mending their bits of canvas, and hauling their flags up and down.

"And then who can say?—the sea never took him, I think—I think I shall hear his voice before I die.

"For they do say that God is good."

Bébée sweeping very noiselessly, listened, and her eyes grew wistful and wondering. She had heard the story a thousand times; always in different words, but always the same little tale, and she knew how old Annémie was deaf to all the bells that tolled the time, and blind to all the whiteness of her hair, and all the wrinkles of her face, and only thought of her sea-slain lover as he had been in the days of her youth.

When we suffer very much ourselves, anything that smiles in the sun seems cruel—a child, a bird, a dragonfly—nay, even a fluttering ribbon, or a spear-grass that waves in the wind.

Bébée, whose religion was the sweetest and vaguest mingling of Pagan and Christian myths, and whose faith in fairies and in saints was exactly equal in strength and in ignorance—Bébée filled the delf pot anew carefully, then knelt down on the turf in that little green corner, and prayed in devout hopeful childish good faith to the awful unknown Powers who were to her only as gentle guides and kindly playmates.

Was she too familiar with the Holy Mother?

She was almost fearful that she was; but then the Holy Mother loved flowers so well, Bébée could not feel aloof from her, nor be afraid.

"When one cuts the best blossoms for her, and tries to be good, and never tells a lie," thought Bébée, "I am quite sure, as she loves the lilies, that she will never altogether forget me."

The loveliest love is that which dreams high above all storms, unsoiled by all burdens; but, perhaps, the strongest love is that which, whilst it adores, drags its feet through mire, and burns its brow in heat for the thing beloved.

It is, perhaps, the most beautiful square in all Northern Europe, with its black timbers and gilded carvings, and blazoned windows, and majestic scutcheons, and fantastic pinnacles. This Bébée did not know, but she loved it, and she sat resolutely in front of the Broodhuis, selling her flowers, smiling, chatting, helping the old woman, counting her little gains, eating her bit of bread at noon-day like any other market girl; but, at times, glancing up to the stately towers and the blue sky, with a look on her face that made the old tinker and cobbler whisper together—"What does she see there?—the dead people or the angels?"

The truth was that even Bébée herself did not know very surely what she saw—something that was still nearer to her than even this kindly crowd that loved her. That was all she could have said had anybody asked her.

But none did.

No one wanted to hear what the dead said; and for the angels, the tinker and the cobbler were of opinion that one had only too much of them sculptured about everywhere, and shining on all the casements—in reverence be it spoken of course.

FAME

"There is no soul in them," he muttered, and he set down his lamp and frowned; a sullen mechanical art made him angered like an insult to heaven; and these were soulless; their drawing was fine, their anatomy faultless, their proportions and perspective excellent; but there all merit ended. They were worse than faulty—they were commonplace. There is no sin in Art so deadly as that.

He had been only a poor lad, a coppersmith's son, here in Munich; one among many, and beaten and cursed at home very often for mooning over folly when others were hard at work. But he had minded neither curse nor blow. He had always said to himself, "I am a painter." Whilst camps were soaked with blood and echoing only the trumpets of war, he had only seen the sweet divine smile of Art. He had gone barefoot to Italy for love of it, and had studied, and laboured, and worshipped, and been full of the fever of great effort and content with the sublime peace of conscious power. He had believed in himself: it is much. But it is not all. As years had slid away and the world of men would not believe in him, this noble faith in himself grew a weary and bitter thing. One shadow climbed the hills of the long years with him and was always by his side: this constant companion was Failure.

Fame is very capricious, but Failure is seldom inconstant. Where it once clings, there it tarries.

It was a brilliant and gay day in Munich. It was the beginning of a Bavarian summer, with the great plain like a sea of grass with flowers for its foam, and the distant Alps of Tyrol and Vorarlberg clearly seen in warm, transparent, buoyant weather.

Down by the winding ways of the river there were birch and beechen thickets in glory of leaf; big water-lilies spread their white beauty against the old black timbers of the water-mills; and in the quaint, ancient places of the old streets, under the gables and beams, pots of basil, and strings of green pease, and baskets of sweet-smelling gillyflowers and other fragrant old-fashioned things, blossomed wherever there was a breadth of blue sky over them or a maiden's hand within; whilst above the towers and steeples, above the clanging bells of the Domkirche and the melon-shaped crest of the Frauenkirche, and all the cupolas and spires and minarets in which the city abounds, the pigeons went whirling and wheeling from five at sunrise to seven of sunset, flocks of grey and blue and black and white, happy as only birds can be, and as only birds can be when they are doves of Venice or of Munich, with all the city's hearths and homes for their granaries, and with the sun and the clouds for their royal estate.

In the wide, dull new town it was dusty and hot; the big squares were empty and garish-looking; the blistering frescoes on the buildings were gaudy and out of place; the porticoes and friezes were naked and staring, and wanted all that belongs to them in Italy. All the deep, intense shadows, the sultry air, the sense of immeasurable space and of unending light, the half-naked figures graceful as a plume of maize, the vast projecting roofs, the spouts of tossing water, the brown barefoot straw-plaiter passing in a broad path of sunshine, the old bronze lamp above the painted shrine, the gateway framing the ethereal landscape of amethystine horizons and silvery olive ways—they want all these, do these classic porticoes and pediments of Italy, and they seem to stare, conscious of a discordance and a lack of harmony in the German air. But in the old town there is beauty still; in the timbered house-fronts, in the barred and sculptured casements, in the mighty gables, in the gilded and pictured signs, in the sunburnt walls, in the grey churches, in the furriers' stalls, in the toysellers' workshops, in the beetling fortresses, in the picturesque waysides, here is the old Munich of the Minnesingers and master masons, of the burghers and the burschen, of the Schefflertanz, and of the merry Christchild Fair. And old Munich keeps all to itself, whether with winter snow on its eaves, or summer leaves in its lattices; and here the maidens still wear coloured kerchiefs on their heads and clattering shoes on their feet; and here the students still look like etchings for old ballads, with long hair on their shoulders and grey cloaks worn jauntily; and here something of the odour and aspect of the Middle Ages lingers as about an illuminated roll of vellum that has lain long put away and forgotten in a desk, with faded rose-leaves and a miniature that has no name.

The Munich of builder-king Ludwig is grand, no doubt, and tedious and utterly out of place, with mountains of marble and granite, and acres of canvas more or less divine, and vast straight streets that make one weep from weariness, and frescoed walls with nude women that seem to shiver in the bitter Alpine winds; it is great, no doubt, but ponderously unlovely, like the bronze Bavaria that looks over the plain, who can hold six men in her head, but can never get fire in her eyes nor meaning in her mouth—clumsy Athenæ-Artemis that she is.

New Munich, striving to be Athens or Rome, is monotonous and tiresome, but old Munich is quaint and humble, and historical and romancical, with its wooden pavements under foot, and its clouds of doves above head; indeed, has so much beauty of its own, like any old painted Missal or golden goblet of the moyen âge, that it seems incredible to think that any man could ever have had the heart to send the hammers of masons against it, and set up bald walls of plaster in its stead. Wandering in old Munich—there is not much of it left, alas!—is like reading a black-letter ballad about Henry the Lion or Kaiser Max; it has sombre nooks and corners, bright gleams of stained casements, bold oriels, and sculptured shields, arcades and arches, towers and turrets, light and shade, harmony and irregularity, all, in a word, that old cities have, and old Teutonic cities beyond all others; and when the Metzgersprung is in full riot round the Marienplatz, or on Corpus Christi day, when the King and the Court and the Church, the guilds and the senate and the magistracy, all go humbly through the flower-strewn streets, it is easy to forget the present and to think that one is still in the old days with the monks, who gave their name to it, tranquil in their work-rooms and the sound of battle all over the lands around them.

It was the Corpus Christi day in Munich now, and the whole city, the new and the old, had hung itself with garlands and draperies, with pictures and evergreens, with flags and tapestries, and the grand procession had passed to and from the church, and the archbishop had blessed the people, and the king had bared his handsome head to the sun and the Holy Ghost, and it was all over for the year, and the people were all happy and satisfied and sure that God was with them and their town; especially the people of the old quarters, who most loved and clung to these ceremonials and feasts; good God-fearing families, labouring hard, living honestly and wholesomely, gay also in a quiet, mirthful, innocent fashion—much such people as their forefathers were before them, in days when Gustavus Adolphus called their city the golden saddle on the lean horse.

The lean horse, by which he meant the sterile plains, which yield little except hay, looks rich with verdure in the mellow afternoon light, when midsummer is come, and the whole populace, men, women, and children, on Sundays and feast-days pour out of the city gates eagerly to their own little festivities under the cherry-trees of the little blue and white coffee-houses along the course of the river, when the beanflowers are in bloom. For out of the old city you go easily beyond the walls to the grey glacier water of "Isar rolling rapidly," not red with blood now as after Hohenlinden, but brilliant and boisterous always, with washerwomen leaning over it with bare arms, and dogs wading where rushes and dams break the current, and the hay blowing breast-high along the banks, and the students chasing the girls through it, and every now and then upon the wind the music of a guitar, light and dancing, or sad and slow, according as goes the heart of the player that tunes it. At this season Bavaria grows green, and all is fresh and radiant. Outside the town all the country is a sheet of cherry-blossom and of clover. Night and day, carts full of merrymakers rattle out under the alders to the dancing places amongst the pastures, or to the Sommerfrischen of their country friends. Whoever has a kreuzer to spend will have a draft of beer and a whiff of the lilac-scented air, and the old will sit down and smoke their painted pipes under the eaves of their favourite Gasthof, and the young will roam with their best-loved maidens through the shadows of the Anlagen, or still farther on under the high beech-trees of Grosshesslohe.

MOTHS

The ear has its ecstasy as have other senses.

As there is love without dominion, so there is dominion without love.

When Fame stands by us all alone, she is an angel clad in light and strength; but when Love touches her she drops her sword, and fades away, ghostlike and ashamed.

Society only thought her—unamiable. True, she never said an unkind thing, or did one; she never hurt man or woman; she was generous to a fault; and to aid even people she despised would give herself trouble unending. But these are serious, simple qualities which do not show much, and are soon forgotten by those who benefit from them. Had she laughed more, danced more, taken more kindly to the fools and their follies, she might have been acid of tongue and niggard of sympathy; the world would have thought her much more amiable.

"If she would only listen to me!" thought her mother, in the superior wisdom of her popular little life. "If she would only kiss a few women in the morning, and flirt with a few men in the evening, it would set her all right with them in a month. It is no use doing good to anybody; they only hate you for it. You have seen them in their straits; it is like seeing them without their wig or their teeth; they never forgive it. But to be pleasant, always to be pleasant, that is the thing. And after all it costs nothing."

Marriage, as our world sees it, is simply a convenience; a somewhat clumsy contrivance to tide over a social difficulty.

A sin! did the world know of such a thing? Hardly. Now and then, for sake of its traditions, the world took some hapless boy, or some still yet unhappier woman, and pilloried one of them, and drove them out under a shower of stones, selecting them by caprice, persecuting them without justice, slaying them because they were friendless. But that was all. For the most part sin was an obsolete thing, archaic and unheard of.

Music is not a science, any more than poetry is. It is a sublime instinct, like genius of all kinds.

Charity in various guises is an intruder the poor see often; but courtesy and delicacy are visitors with which they are seldom honoured.

There is no shame more bitter to endure than to despise oneself. It is harder to keep true to high laws and pure instincts in modern society than it was in the days of martyrdom.

One weeps for the death of children, but perhaps the change of them into callous men and women is a sadder change to see after all.

Honour is an old-world thing, but it smells sweet to those in whose hand it is strong.

Young lives are tossed upon the stream of life like rose-leaves on a fast-running river, and the rose-leaves are blamed if the river be too strong and too swift for them and they perish. It is the fault of the rose-leaves.

Every pretty woman should be a flirt, every clever woman a politician; the aim, the animus, the intrigue, the rivalry which accompany each of these pursuits make the salt without which the great dinner were tasteless.

In these old Austrian towns the churches are always very reverent places; dark and tranquil; overladen, indeed, with ornament and image, but too full of shadow for these to much offend; there is the scent of centuries of incense; the walls are yellow with the damp of ages. Mountain suzerains and bold reiters, whose deeds are still sung of in twilight to the zither, deep beneath the moss-grown pavement; their shields and crowns are worn flat to the stone they were embossed on by the passing feet of generations of worshippers. High above in the darkness there is always some colossal carved Christs. Through the half-opened iron-studded door there is always the smell of pinewood, the gleam of water, the greenness of Alpine grass; often, too, there is the silvery falling of rain, and the fresh smell of it comes through the church by whose black benches and dim lamps there will be sure to be some old bent woman praying.

The moths will eat all that fine delicate feeling away, little by little; the moths of the world will eat the unselfishness first, and then the innocence, and then the honesty, and then the decency; no one will see them eating, no one will see the havoc being wrought, but little by little the fine fabric will go, and in its place will be dust. Ah, the pity of it! The pity of it! The webs come out of the great weaver's loom lovely enough, but the moths of the world eat them all.

She had five hundred dear friends, but this one she was really fond of; that is to say, she never said anything bad of her, and only laughed at her good-naturedly when she had left a room; and this abstinence is as strong a mark of sincerity now-a-days as dying for another used to be in the old days of strong feeling and the foolish expression of them.

Gratitude is such an unpleasant quality, you know; there is always a grudge behind it!

The richest soil always bears the rankest mushrooms: France is always bearing mushrooms.

Position, she thought, was the only thing that, like old wine or oak furniture, improved with years.

Position is a pillory: sometimes they pelt one with rose-leaves, and sometimes with rotten eggs, but one is for ever in the pillory!

We are too afraid of death: that fear is the shame of Christianity.

He never could prevail on his vanity to break with her, lest men should think she had broken with him.

She would go grandly to the guillotine, but she will never understand her own times. She has dignity; we have not a scrap; we have forgotten what it was like; we go into a passion at the amount of our bills; we play and never pay; we smoke and we wrangle; we laugh loud, much too loud; we inspire nothing unless, now and then, a bad war or a disastrous speculation; we live showily, noisily, meanly, gaudily.

Big brains do not easily hold trifles … little packets of starch that this world thinks are the staff of life.

Pehl, like a young girl, is prettiest in the morning. Pehl is calm and sedate, and simple and decorous. Pehl is like some tender, fair, wholesome yet patrician beauty, like the pretty aristocratic Charlotte in Kaulbach's picture, who cuts the bread-and-butter, yet looks a patrician. Pehl has nothing of the belle petite, like her sister of Baden; nothing of the titled cocadetta, like her cousin of Monaco; Pehl does not gamble or riot or conduct herself madly in any way; she is a little old-fashioned still in a courtly way; she has a little rusticity still in her elegant manners; she is like the noble dames of the past ages, who were so high of rank and so proud of habit, yet were not above the distilling-room and the spinning-wheel; who were quiet, serious, sweet, and smelt of the rose-leaves with which they filled their big jars.

The pity of modern Society is that all its habits make as effectual a disguise morally as our domino in carnival does physically. Everybody looks just like everybody else. Perhaps, as under the domino, so under the appearance, there may be great nobility or great deformity; but all look alike. Were Socrates amongst us, he would only look like a club bore; and were there Messalina, she would only look—well—look much like our Duchesse Jeunne!

She did not know that from these swamps of flattery, intrigue, envy, rivalry, and emulation there rises a miasma which scarcely the healthiest lungs can withstand. She did not know that though many may be indifferent to the tempting of men, few indeed are impenetrable to the smile and the sneer of women; that to live your own life in the midst of the world is a harder thing than it was of old to withdraw to the Thebaid; that to risk "looking strange" requires a courage perhaps cooler and higher than the soldier's or the saint's; and that to stand away from the contact and custom of your "set" is a harder and sterner work than it was of old to go into the sanctuary of La Trappe or Port Royal.

The world has grown apathetic and purblind. Critics rage and quarrel before a canvas, but the nations do not care; quarries of marble are hewn into various shapes, and the throngs gape before them and are indifferent; writers are so many that their writings blend in the public mind in a confused phantasmagoria, where the colours run into one another, and the lines are all waved and indistinct; the singer alone still keeps the old magic power, "The beauty that was Athens, once the glory that was Rome's," still holds the divine Cadmus, still sways the vast thronged auditorium, till the myriads hold their breath like little children in delight and awe. The great singer alone has the magic sway of fame; and if he close his lips, "The gaiety of nations is eclipsed," and the world seems empty and silent, like a wood in which the birds are all dead.