# Kilmeny of the Orchard/Chapter 5

CHAPTER V
A PHANTOM OF DELIGHT
Shortly before sunset that evening Eric went for a walk. When he did not go to the shore he liked to indulge in long tramps through the Lindsay fields and woods, in the mellowness of "the sweet o' the year." Most of the Lindsay houses were built along the main road, which ran parallel to the shore, or about the stores at "The Corner." The farms ran back from them into solitudes of woods and pasture lands.
Eric struck southwest from the Williamson homestead, in a direction he had not hitherto explored, and walked briskly along, enjoying the witchery of the season all about him in earth and air and sky. He felt it and loved it and yielded to it, as ​anyone of clean life and sane pulses must do.
The spruce wood in which he presently found himself was smitten through with arrows of ruby light from the setting sun. He went through it, walking up a long, purple aisle where the wood-floor was brown and elastic under his feet, and came out beyond it on a scene which surprised him.
No house was in sight, but he found himself looking into an orchard; an old orchard, evidently long neglected and forsaken. But an orchard dies hard; and this one, which must have been a very delightful spot once, was delightful still, none the less so for the air of gentle melancholy which seemed to pervade it, the melancholy which invests all places that have once been the scenes of joy and pleasure and young life, and are so no longer, places where hearts have throbbed, and pulses thrilled, and eyes brightened, and merry voices echoed. ​The ghosts of these things seem to linger in their old haunts through many empty years.
The orchard was large and long, enclosed in a tumbledown old fence of longers bleached to a silvery gray in the suns of many lost summers. At regular intervals along the fence were tall, gnarled fir trees, and an evening wind, sweeter than that which blew over the beds of spice from Lebanon, was singing in their tops, an earth-old song with power to carry the soul back to the dawn of time.
Eastward, a thick fir wood grew, beginning with tiny treelets just feathering from the grass, and grading up therefrom to the tall veterans of the mid-grove, unbrokenly and evenly, giving the effect of a solid, sloping green wall, so beautifully compact that it looked as if it had been clipped into its velvet surface by art.
Most of the orchard was grown over lushly with grass; but at the end where ​Eric stood there was a square, treeless place which had evidently once served as a homestead garden. Old paths were still visible, bordered by stones and large pebbles. There were two clumps of lilac trees; one blossoming in royal purple, the other in white. Between them was a bed ablow with the starry spikes of June lilies. Their penetrating, haunting fragrance distilled on the dewy air in every soft puff of wind. Along the fence rose-bushes grew, but it was as yet too early in the season for roses.
Beyond was the orchard proper, three long rows of trees with green avenues between, each tree standing in a wonderful blow of pink and white.
The charm of the place took sudden possession of Eric as nothing had ever done before. He was not given to romantic fancies; but the orchard laid hold of him subtly and drew him to itself, and he was never to be quite his own man again. He went into it over one of the broken ​panels of fence, and so, unknowing, went forward to meet all that life held for him.
He walked the length of the orchard's middle avenue between long, sinuous boughs picked out with delicate, rose-hearted bloom. When he reached its southern boundary he flung himself down in a grassy comer of the fence where another lilac bush grew, with ferns and wild blue violets at its roots. From where he now was he got a glimpse of a house about a quarter of a mile away, its gray gable peering out from a dark spruce wood. It seemed a dull, gloomy, remote place, and he did not know who lived there.
He had a wide outlook to the west, over far hazy fields and misty blue intervales. The sun had just set, and the whole world of green meadows beyond swam in golden light. Across a long valley brimmed with shadow were uplands of sunset, and great sky lakes of saffron and rose where a soul might lose itself in colour. The air was very fragrant with the baptism of the ​dew, and the odours of a bed of wild mint upon which he had trampled. Robins were whistling, clear and sweet and sud- den, in the woods all about him.
"This is a veritable 'haunt of ancient peace,'" quoted Eric, looking around with delighted eyes. "I could fall asleep here, dream dreams and see visions. What a sky! Could anything be diviner than that fine crystal eastern blue, and those frail white clouds that look like woven lace? What a dizzying, intoxicating fragrance lilacs have! I wonder if perfume could set a man drunk. Those apple trees now—why, what is that?"
Eric started up and listened. Across the mellow stillness, mingled with the croon of the wind in the trees and the flute-like calls of the robins, came a strain of delicious music, so beautiful and fantastic that Eric held his breath in astonishment and delight. Was he dreaming? No, it was real music, the music of a violin played by some hand inspired with the ​very spirit of harmony. He had never heard anything like it; and, somehow, he felt quite sure that nothing exactly like it ever had been heard before; he believed that that wonderful music was coming straight from the soul of the unseen violinist, and translating itself into those most airy and delicate and exquisite sounds for the first time; the very soul of music, with all sense and earthliness refined away.
It was an elusive, haunting melody, strangely suited to the time and place; it had in it the sigh of the wind in the woods, the eerie whispering of the grasses at dewfall, the white thoughts of the June lilies, the rejoicing of the apple blossoms; all the soul of all the old laughter and song and tears and gladness and sobs the orchard had ever known in the lost years; and besides all this, there was in it a pitiful, plaintive cry as of some imprisoned thing calling for freedom and utterance.
At first Eric listened as a man spell​bound, mutely and motionlessly, lost in wonderment. Then a very natural curiosity overcame him. Who in Lindsay could play a violin like that? And who was playing so here, in this deserted old orchard, of all places in the world?
He rose and walked up the long white avenue, going as slowly and silently as possible, for he did not wish to interrupt the player. When he reached the open space of the garden he stopped short in new amazement and was again tempted into thinking he must certainly be dreaming.
"FOR A FEW MOMENTS HE STOOD THERE AND LOOKED AT HER."
He had, in his twenty-four years of life, met hundreds of pretty women, scores of handsome women, a scant half dozen of really beautiful women. But he knew at once, beyond all possibility of question or doubt, that he had never seen or imagined anything so exquisite as this girl of the orchard. Her loveliness was so perfect that his breath almost went from him in his first delight of it.
Her face was oval, marked in every cameo-like line and feature with that expression of absolute, flawless purity, found in the angels and Madonnas of old paintings, a purity that held in it no faintest stain of earthliness. Her head was bare, and her thick, jet-black hair ​was parted above her forehead and hung in two heavy lustrous braids over her shoulders. Her eyes were of such a blue as Eric had never seen in eyes before, the tint of the sea in the still, calm light that follows after a fine sunset; they were as luminous as the stars that came out over Lindsay Harbour in the afterglow, and were fringed about with very long, soot-black lashes, and arched over by most delicately pencilled dark eyebrows. Her skin was as fine and purely tinted as the heart of a white rose. The collarless dress of pale blue print she wore revealed her smooth, slender throat; her sleeves were rolled up above her elbows and the hand which guided the bow of her violin was perhaps the most beautiful thing about her, perfect in shape and texture, firm and white, with rosy-nailed taper fingers. One long, drooping plume of lilac blossom lightly touched her hair and cast a wavering shadow over the flower-like face beneath it.
​There was something very child-like about her, and yet at least eighteen sweet years must have gone to the making of her. She seemed to be playing half unconsciously, as if her thoughts were far away in some fair dreamland of the skies. But presently she looked away from "the bourne of sunset," and her lovely eyes fell on Eric, standing motionless before her in the shadow of the apple tree.
The sudden change that swept over her was startling. She sprang to her feet, the music breaking in mid-strain and the bow slipping from her hand to the grass. Every hint of colour fled from her face and she trembled like one of the wind-stirred June lilies.
"I beg your pardon," said Eric hastily. "I am sorry that I have alarmed you. But your music was so beautiful that I did not remember you were not aware of my presence here. Please forgive me."
He stopped in dismay, for he suddenly ​realized that the expression on the girl's face was one of terror—not merely the startled alarm of a shy, childlike creature who had thought herself alone, but absolute terror. It was betrayed in her blanched and quivering lips and in the widely distended blue eyes that stared back into his with the expression of some trapped wild thing.
It hurt him that any woman should look at him in such a fashion, at him who had always held womanhood in such reverence.
"Don't look so frightened," he said gently, thinking only of calming her fear, and speaking as he would to a child. "I will not hurt you. You are safe, quite safe."
In his eagerness to reassure her he took an unconscious step forward. Instantly she turned and, without a sound, fled across the orchard, through a gap in the northern fence and along what seemed to be a lane bordering the fir wood beyond ​and arched over with wild cherry trees misty white in the gathering gloom. Before Eric could recover his wits she had vanished from his sight among the firs.
He stooped and picked up the violin bow, feeling slightly foolish and very much annoyed.
"Well, this is a most mysterious thing," he said, somewhat impatiently. "Am I bewitched? Who was she? What was she? Can it be possible that she is a Lindsay girl? And why in the name of all that's provoking should she be so frightened at the mere sight of me? I have never thought I was a particularly hideous person, but certainly this adventure has not increased my vanity to any perceptible extent. Perhaps I have wandered into an enchanted orchard, and been outwardly transformed into an ogre. Now that I have come to think of it, there is something quite uncanny about the place. Anything might happen here. It is no common orchard for the production of ​marketable apples, that is plain to be seen. No, it's a most unwholesome locality; and the sooner I make my escape from it the better."
He glanced about it with a whimsical smile. The light was fading rapidly and the orchard was full of soft, creeping shadows and silences. It seemed to wink sleepy eyes of impish enjoyment at his perplexity. He laid the violin bow down on the old bench."Well, there is no use in my following her, and I have no right to do so even if it were of use. But I certainly wish she hadn't fled in such evident terror. Eyes like hers were never meant to express anything but tenderness and trust. Why—why—why was she so frightened? And who—who—who—can she be?"
All the way home, over fields and pastures that were beginning to be moonlight silvered, he pondered the mystery.
"Let me see," he reflected. "Mr. Williamson was describing the Lindsay ​girls for my benefit the other evening. If I remember rightly he said that there were four handsome ones in the district. What were their names? Florrie Woods, Melissa Foster—no, Melissa Palmer—Emma Scott, and Jennie May Ferguson. Can she be one of them? No, it is a flagrant waste of time and gray matter supposing it. That girl couldn't be a Florrie or a Melissa or an Emma, while Jennie May is completely out of the question. Well, there is some bewitchment in the affair. Of that I'm convinced. So I'd better forget all about it."
But Eric found that it was impossible to forget all about it. The more he tried to forget, the more keenly and insistently he remembered. The girl's exquisite face haunted him and the mystery of her tantalized him.
True, he knew that, in all likelihood, he might easily solve the problem by asking the Williamsons about her. But somehow, to his own surprise, he found that he ​shrank from doing this. He felt that it was impossible to ask Robert Williamson and probably have the girl's name overflowed in a stream of petty gossip concerning her and all her antecedents and collaterals to the third and fourth generation. If he had to ask any one it should be Mrs. Williamson; but he meant to find out the secret for himself if it were at all possible.
He had planned to go to the harbour the next evening. One of the lobstermen had promised to take him out cod-fishing. But instead he wandered southwest over the fields again.
He found the orchard easily—he had half expected not to find it. It was still the same fragant, grassy, wind-haunted spot. But it had no occupant and the violin bow was gone from the old bench.
"Perhaps she tiptoed back here for it by the light o' the moon," thought Eric, pleasing his fancy by the vision of a lithe, girlish figure stealing with a beating heart ​through mingled shadow and moonshine. "I wonder if she will possibly come this evening, or if I have frightened her away for ever. I'll hide me behind this spruce copse and wait."
Eric waited imtil dark, but no music sounded through the orchard and no one came to it. The keenness of his disap-pointment surprised him, nay more, it vexed him. What nonsense to be so worked up because a little girl he had seen for five minutes failed to appear! Where was his common sense, his "gumption," as old Robert Williamson would have said? Naturally a man liked to look at a pretty face. But was that any reason why he should feel as if life were flat, stale, and unprofitable simply because he could not look at it? He called himself a fool and went home in a petulant mood. Arriving there, he plunged fiercely into solving algebraical equations and working out geometry exercises, determined to put out of his head forthwith all vain im​aginings of an enchanted orchard, white in the moonshine, with lilts of elfin music echoing down its long arcades.
The next day was Sunday and Eric went to church twice. The Williamson pew was one of the side ones at the top of the church and its occupants practically faced the congregation. Eric looked at every girl and woman in the audience, but he saw nothing of the face which, setting wiU power and common sense flatly at defiance, haunted his memory like a star.
Thomas Gordon was there, sitting alone in his long, empty pew near the top of the building; and Neil Gordon sang in the choir which occupied the front pew of the gallery. He had a powerful and melodious, though untrained voice, which dominated the singing and took the colour out of the weaker, more commonplace tones of the other singers. He was well-dressed in a suit of dark blue serge, with a white collar and tie. But Eric idly thought it did not become him so well as the work​ing clothes in which he had first seen him. He was too obviously dressed up, and he looked coarser and more out of harmony with his surroundings.
For two days Eric refused to let himself think of the orchard. Monday evening he went cod-fishing, and Tuesday evening he went up to play checkers with Alexander Tracy. Alexander won all the games so easily that he never had any respect for Eric Marshall again.
"Played like a feller whose thoughts were wool gathering," he complained to his wife. "He'll never make a checker player—never in this world."