“Lor bless the child!” exclaimed old Madam Melcombe, a good deal startled.

“No, don’t,” continued Peter in a persuasive tone; “stop here, but let me clean the picture, because I want to see that lobster.”

“Now I tell you what,” answered his great-grandmother rather sharply, “if you was to go and play in the gallery, it would be a deal better than arguing with me.”  So Peter departed to his play, and forgot the lobster for a little while.

But Peter was not destined that evening to please his great-grandmother, for he had no sooner got well into the spirit of his play in the gallery than he began to sing.  “I’m a coward at songs,” she would sometimes say; “and if it wasn’t for the dear birds; I could wish there was no music in the world.”

Her feeling was the same which has been beautifully described by Gassendi, who, writing in Latin, expresses himself thus:—­

“He preferred also the music of birds to the human voice or to musical instruments, not because he derived no pleasure from these last, but because, after hearing music from the human voice, there remained a certain sustained agitation, disturbing attention and sleep; while the risings and fallings, the tones and changes and sounds and concords, pass and repass through the fancy; whereas nothing of the sort can be left after the warbling of birds, who, as they are not open to our imitation, cannot move the faculty of imagination within us.” (Gassendi, in Vita Peireskii.)

In the garden was plenty of music of the sort that Madam Melcombe still loved.  Peter could not shout in his play without disturbing the storm cock as he sat up aloft singing a love-song to his wife.  As for the little birds, blackcaps haunted almost every bush, and the timid white-throat brooded there in peace over her half-transparent eggs.

So no one ever sang in old Madam Melcombe’s presence unless Peter forgot himself, and vexed his mother by chanting out snatches of songs that he had caught up from the village children.  Mrs. Peter Melcombe formed for herself few theories; she was a woman dull of feeling and slow of thought; she knew as a fact that her aged relative could not bear music.  So, as a matter of duty and self-interest, she stopped her child’s little voice when she could, and if he asked, “Why does grandmother cry when I sing?” she would answer, “Nobody knows,” for she had not reflected how those to whom music is always welcome must have neither an empty heart nor a remorseful conscience, nor keen recollections, nor a foreboding soul.

Peter was a good little boy enough; he was tolerably well tamed by the constant presence of old age and, with the restraints it brought upon him, and having less imagination than falls to the lot of most children, he was the more affected by his position.  When he strayed into a field of wheat, and there was waving and whispering above his head, it was not all one to him, as if he had been lost in some old-world forest, where uncouth creatures dwelt, and castles and caverns might be encountered before the stile.  He could not see the great world out of the parlour window, and understand and almost inherit another world beyond the hills; as to the moon, the child’s silver heaven, he never saw something marvellous and mild sitting up there and smiling to him to come.