Jo wouldn't love him, but he might make her respect and admire him by doing something which should prove that a girl's "No" had not spoilt his life. He had always meant to do something, and Amy's advice was quite unnecessary. He had only been waiting till the aforesaid blighted affections were decently interred; that being done, he felt that he was ready to "hide his stricken heart, and still toil on."
As Goethe, when he had a joy or a grief, put it into a song, so Laurie resolved to embalm his love-sorrow in music, and compose a Requiem which should harrow up Jo's soul and melt the heart of every hearer. So the next time the old gentleman found him getting restless and moody, and ordered him off, he went to Vienna, where he had musical friends, and fell to work with the firm determination to distinguish himself. But, whether the sorrow was too vast to be embodied in music, or music too ethereal to uplift a mortal woe, he soon discovered that the Requiem was beyond him, just at present. It was evident that his mind was not in working order yet, and his ideas needed clarifying; for often, in the middle of a plaintive strain, he would find himself humming a dancing tune that vividly recalled the Christmas ball at Nice,—especially the stout Frenchman,—and put an effectual stop to tragic composition for the time being.
Then he tried an Opera,—for nothing seemed impossible in the beginning,—but here, again, unforeseen difficulties beset him. He wanted Jo for his heroine, and called upon his memory to supply him with tender recollections and romantic visions of his love. But memory turned traitor; and, as if possessed by the perverse spirit of the girl, would only recall
