George MacDonald - Robert Falconer

Certainly Miss St. John could not have understood the half of the words Robert used, but she understood his story notwithstanding. Herself an enthusiast in music, her sympathies were at once engaged for the awkward boy who was thus trying to steal an entrance into the fairy halls of sound. But she forbore any further allusion to the violin for the present, and contented herself with assuring Robert that he was heartily welcome to go through the garden as often as he pleased. She accompanied her words with a smile that made Robert feel not only that she was the most beautiful of all princesses in fairy-tales, but that she had presented him with something beyond price in the most self-denying manner. He took off his cap, thanked her with much heartiness, if not with much polish, and hastened to the gate of his grandmother’s little garden. A few years later such an encounter might have spoiled his dinner: I have to record no such evil result of the adventure.

With Miss St. John, music was the highest form of human expression, as must often be the case with those whose feeling is much in advance of their thought, and to whom, therefore, may be called mental sensation is the highest known condition. Music to such is poetry in solution, and generates that infinite atmosphere, common to both musician and poet, which the latter fills with shining worlds.—But if my reader wishes to follow out for himself the idea herein suggested, he must be careful to make no confusion between those who feel musically or think poetically, and the musician or the poet. One who can only play the music of others, however exquisitely, is not a musician, any more than one who can read verse to the satisfaction, or even expound it to the enlightenment of the poet himself, is therefore a poet.—When Miss St. John would worship God, it was in music that she found the chariot of fire in which to ascend heavenward. Hence music was the divine thing in the world for her; and to find any one loving music humbly and faithfully was to find a brother or sister believer. But she had been so often disappointed in her expectations from those she took to be such, that of late she had become less sanguine. Still there was something about this boy that roused once more her musical hopes; and, however she may have restrained herself from the full indulgence of them, certain it is that the next day, when she saw Robert pass, this time leisurely, along the top of the garden, she put on her bonnet and shawl, and, allowing him time to reach his den, followed him, in the hope of finding out whether or not he could play. I do not know what proficiency the boy had attained, very likely not much, for a man can feel the music of his own bow, or of his own lines, long before any one else can discover it. He had already made a path, not exactly worn one, but trampled one, through the neglected grass, and Miss St. John had no difficulty in finding his entrance to the factory.

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In Scotch the ch and gh are almost always guttural. The gh according to Mr. Alexander Ellis, the sole authority in the past pronunciation of the country, was guttural in England in the time of Shakspere.

An exclamation of pitiful sympathy, inexplicable to the understanding. Thus the author covers his philological ignorance of the cross-breeding of the phrase.