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Aunt Hitty was right; it did mean something out of the common. It meant the growth of an all-engrossing, grateful, divinely tender passion between two love-starved souls. On the one hand, Lyddy, who though she had scarcely known the meaning of love in all her dreary life, yet was as full to the brim of all sweet, womanly possibilities of loving and giving as any pretty woman; on the other, the blind violin-maker, who had never loved any woman but his mother, and who was in the direst need of womanly sympathy and affection.

Anthony Croft, being ministered unto by Lyddy’s kind hands, hearing her sweet voice and her soft footstep, saw her as God sees, knowing the best; forgiving the worst, like God, and forgetting it, still more like God, I think.

And Lyddy? There is no pen worthy to write of Lyddy. Her joy lay deep in her heart like a jewel at the bottom of a clear pool, so deep that no ripple or ruffle on the surface could disturb the hidden treasure. If God had smitten these two with one hand, he had held out the other in tender benediction.

There had been a pitiful scene of unspeakable solemnity when Anthony first told Lyddy that he loved her, and asked her to be his wife. He had heard all her sad history by this time, though not from her own lips, and his heart went out to her all the more for the heavy cross that had been laid upon her. He had the wit and wisdom to put her affliction quite out of the question, and allude only to her sacrifice in marrying a blind man, hopelessly and helplessly dependent on her sweet offices for the rest of his life, if she, in her womanly mercy, would love him and help him bear his burdens.

When his tender words fell upon Lyddy’s dazed brain she sank beside his chair, and, clasping his knees, sobbed: “I love you, I cannot help loving you, I cannot help telling you I love you! But you must hear the truth; you have heard it from others, but perhaps they softened it. If I marry you, people will always blame me and pity you. You would never ask me to be your wife if you could see my face; you could not love me an instant if you were not blind.”

“Then I thank God unceasingly for my infirmity,” said Anthony Croft, as he raised her to her feet.

. . . . . .

Anthony and Lyddy Croft sat in the apple orchard,
one warm day in late spring.

Anthony’s work would have puzzled a casual on-looker. Ten stout wires were stretched between two trees, fifteen or twenty feet apart, and each group of five represented the lines of the musical staff. Wooden bars crossed the wires at regular intervals, dividing the staff into measures. A box with many compartments sat on a stool beside him, and this held bits of wood that looked like pegs, but were in reality whole, half, quarter, and eighth notes, rests, flats, sharps, and the like. These were cleft in such a way that he could fit them on the wires almost as rapidly as his musical theme came to him, and Lyddy had learned to transcribe with pen and ink the music she found in wood and wire, He could write only simple airs in this way, but when he played them on the violin they were transported into a loftier region, such genius lay in the harmony, the arabesque, the delicate lacework of embroidery with which the tune was inwrought; now high, now low, now major, now minor, now sad, now gay, with the one thrilling, haunting cadence recurring again and again, to be watched for, longed for, and greeted with a throb of delight.

Davy was reading at the window, his curly head buried in a well-worn Shakespeare opened at Midsummer Night’s Dream. Lyddy was sitting under her favorite pink apple-tree, a mass of fragrant bloom, more beautiful than Aurora’s morning gown. She was sewing; lining with snowy lawn innumerable pockets in a square basket that she held in her lap. The pockets were small, the needles were fine, the thread was a length of cobweb. Everything about the basket was small except the hopes that she was stitching into it; they were so great that her heart could scarcely hold them. Nature was stirring everywhere. The seeds were springing in the warm earth. The hens were clucking to their downy chicks just out of the egg. The birds were flying hither and thither in the apple boughs, and there was one little home of straw so hung that Lyddy could look into it and see the patient mother brooding her nestlings. The sight of her bright eyes, alert for every sign of danger, sent a rush of feeling through Lyddy’s veins that made her long to clasp the little feathered mother to her own breast.

A sweet gravity and consecration of thought possessed her, and the pink blossoms falling into her basket were not more delicate than the rose-colored dreams that flushed her soul.

Anthony put in the last wooden peg, and taking up his violin called, “Davy, lad, come out and tell me what this means!”

Davy was used to this; from a wee boy he had been asked to paint the changing landscape of each day, and to put into words his uncle’s music.

Lyddy dropped her needle, the birds stopped to listen, and Anthony played.

“It is this apple orchard in May time,” said Davy; “it is the song of the green things growing, isn’t it?”

“What do you say, dear?” asked Anthony, turning to his wife.

Love and hope had made a poet of Lyddy. “I think Davy is right,” she said. “It is a dream of the future, the story of all new and beautiful things growing out of the old. It is full of the sweetness of present joy, but there is promise and hope in it besides. It is like the Spring sitting in the lap of Winter, and holding a baby Summer in her bosom.”

Davy did not quite understand this, though he thought it pretty; but Lyddy’s husband did, and when the boy went back to his books, he took his wife in his arms and kissed her twice,–once for herself, and then once again.