broke and now, as they went on slowly along the avenues, the trees and the scattered lights in the villas soothed their minds. The air of wealth and repose diffused about them seemed to comfort their neediness. Behind a hedge of laurel a light glimmered in the window of a kitchen and the voice of a servant was heard singing as she sharpened knives. She sang, in short broken bars,
Rosie O'Grady—
Cranly stopped to listen, saying:
—Mulier cantat.—
The soft beauty of the Latin word touched with an enchanting touch the dark of the evening, with a touch fainter and more persuading than the touch of music or of a woman's hand. The strife of their minds was quelled. The figure of a woman as she appears in the liturgy of the church passed silently through the darkness: a white robed figure, small and slender as a boy, and with a falling girdle. Her voice, frail and high as a boy's, was heard intoning from a distant choir the first words of a woman which pierce the gloom and clamour of the first chanting of the passion:
—Et tu cum Jesu Galilæo eras.—
And all hearts were touched and turned to her voice, shining like a young star, shining clearer as the voice intoned the proparoxytone and more faintly as the cadence died.
The singing ceased. They went on together, Cranly repeating in strongly stressed rhythm the end of the refrain:
And when we are married,
O, how happy we'll be
For I love sweet Rosie O'Grady
And Rosie O'Grady loves me.
[288]
