Ella was generally known as the girl with the plait. But, thick as the plait was, if it had belonged to any one less shapely, less blonde, less sprightly, hardly any one would have noticed it; the merry life which it led behind her would have passed unobserved, and that, although it was the thickest plait which any one in the little town had ever boasted. Perhaps it looked even thicker than it really was, because Ella herself was little. It is not necessary to give its exact length, but it reached below her waist; a long way below it. Its colour was doubtful but inclined a little to red, though people in the town generally called it light, and we will accept their dictum without going into the question of half-tones. Her face was noticeable for its white skin, pretty shape, and classic profile; she had a small, full mouth, and eyes of unusual frankness, a trim little figure, but with rather short legs, so that in order to get over the ground as fast as it was her nature to do, her feet had to move very quickly. She was quick, indeed, in everything which she undertook, and that no doubt was why the plait was busier than plaits are wont to be.

Her mother was the widow of a government official, had a small fortune besides her pension, and lived in her own little house opposite the hotel close by the market. She was an unassuming woman, whose husband had influenced her in everything; he had been her pride, her light, and when she lost him, the object of her life was gone; she became absorbed in religion; but, as she was not dictatorial, she allowed her only child—who much resembled her father—to follow her own inclinations. The mother associated with no one except an elder sister, who owned a large farm near the town, but Ella was allowed to bring in her companions from school, boating, skating, and snow-shoeing; this, however, made no difference, for there was an instinctive prudence in her choice of friends; her liveliness was tempered by her mother's society and the quietness of the house. So that she was active and expeditious without being noisy, frank enough, but with self-command and heedfulness.

All the more strange, then, was an incident which occurred when she was between fourteen and fifteen. She had gone with a few friends to a concert which the Choral Society of the town, and one or two amateurs, were giving in aid of the Christmas charities. At this concert, Aksel Aarö sang Möhring's "Sleep in Peace." As every one knows, a subdued chorus carries the song forward; a flood of moonlight seemed to envelop it, and through it swept Aksel Aarö's voice. His voice was a clear, full, deep baritone, from which every one derived great pleasure. He could have drawn it out, without break or flaw, from here to Vienna. But within this voice Ella heard another, a simultaneous sound of weakness or pain, which she never doubted that everybody could hear. There was an emotion in its depths, an affecting confidence, which went to her heart; it seemed to say, "Sorrow, sorrow is the portion of my life; I cannot help myself, I am lost." Before she herself knew it, she was weeping bitterly. Anything more impressive than this voice she had never experienced. With every note her agitation increased, and she lost all control over herself.

Aarö was of moderate height, and slender, with a fair, silky beard, which hung down over his chest; his head was small, his eyes large and melancholy, with something in their depths which, like the voice, seemed to say "Sorrow, sorrow." This melancholy in the eyes she had noticed before, but had not fully understood it until now, when she heard his voice. Her tears would flow. But this would not do. She glanced quickly round; no one else was crying. She set her teeth, she pressed her arms against her sides, and her knees together till they ached and trembled. Why in the world should this happen to her and to no one else? She put her handkerchief to her lips, and forced herself to think of the beam of light which she had seen flash out from the lighthouse and disappear again, leaving the sea ghostly in the darkness. But no! her thoughts would return; they would not be controlled. Nothing could check the first sob, it would break out. Before all the astonished eyes she rose, left her seat, slipped quietly from the room and got away. No one came with her; no one dared to be seen near her.

You who read this, do you realise how dreadful it was? Have you been to such a—I had nearly written silent—concert, in a Norwegian coast town of somewhat pietist savour? Hardly any men are present. Either music is not to the masculine taste in the coast towns, or they are in some other part of the club, at billiards, or cards, or in the restaurant drinking punch, or reading the papers. Two or three perhaps have come up for a moment, and stand near the door, stand like those to whom the house belongs, and who wish to have a look at the strangers; or there really are one or two men sitting on the benches, squeezed in among the many coloured dresses, or else a few specimens are seen round the walls, like forgotten overcoats.

No! those who gather at the concerts are from the harems of the place; their elder inhabitants come to dream again, amidst beautiful words and touching music, of what they once persuaded themselves that they were, and what they had once believed was awaiting them. It is a harmless passing amusement. In the main they are better understood up above than here below, so that if a whiff of the kitchen or a few household worries do find their way into the dreams, it does not disturb them. The younger denizens of the harems dream that they are what the elders once believed themselves, and that they will attain at least to something of what the eldest have never reached. They had gained some information about life. In one thing old and young resemble each other; they are practical and prosperous by descent. They never allow their thoughts to stray very far. They know quite well that the glow which they feel as they listen to the words and music of great minds is not to be taken too seriously; it is only "What one always feels, you know."

When, therefore, one among them took this really seriously and began to cry about it, good gracious! In private it was called "foolery," in public "scandalous."

Ella had made a spectacle of herself. Her own dismay was immeasurable. No girl that she knew was less given to tears than herself; that she was certain of. She had as great a dread as any one of being looked at, or talked about. What in the world was it then? She was fond of music, certainly; she played herself, but she did not believe that she had any remarkable gift. Why, then, should she especially have been overcome by his song? What must he think of the silly girl? This thought troubled her most, and on this point she dare not confide in any one. Most people concluded that she had been ill, and she actually did keep indoors for a few days, and looked pale when she reappeared. Her friends teased her about it, but she let the matter drop.

In the winter there were several children's dances, one of which was at "Andresen's at the corner," and Ella was there. Just at the conclusion of the second quadrille, she heard whispered "Aksel Aarö, Aksel Aarö!" and there he stood at the door, with three other young fellows behind him. The hostess was his elder sister. The four had come up from a card party to look on.

Ella felt a thrill of delight, and at the same time her knees threatened to give way under her. She could neither see, nor understand clearly, but she felt great eyes on her. She was engrossed in a fold of her dress which did not hang properly, when he stood before her and said, "What a beautiful plait you have." His voice seemed to sprinkle it with gold-dust. He put out his hand as though he were going to touch it, but instead of doing so he stroked his beard. When he noticed her extreme timidity, he turned away. Several times during the evening she felt conscious of his presence; but he did not come up to her again.

The other men took part in the dancing, but Aarö did not dance. There was something about him which she thought specially charming; a reserved air of distinction, a polish in his address, a deference of that quiet kind which alone could have appealed to her. His walk gave the impression that he kept half his strength in reserve, and this was the same in everything. He was tall, but not broad-shouldered; the small, somewhat narrow head, set on a rather long neck. She had never before noticed the way in which he turned his head. She felt now that there could be something, yes, almost musical about it.

The room, and all that passed in it, seemed to float in light, but suddenly this light was gone. A little later she heard some one say, "Where is Aksel Aarö? Has he left?"

Aarö was not at home for very long that winter. He had already spent two years at Havre, from which place he had recently returned; he was now going for a couple of years to Hull. Before this, music had been a favourite pursuit with Ella; she had especially loved and studied harmony, but from this time forward she devoted herself to melody. All music had given her pleasure and she had made some progress in it; but now it became speech to her. She herself spoke in it or another spoke to her. Now, whoever she was with, there was always one as well, she was never alone now, not in the street, not at home; of this the plait was the sacred symbol.

In the course of the spring Fru Holmbo met Ella in the street as she was coming from the pastor's house with her prayer-book in her hand.

"Are you going to be confirmed?" asked Fru Holmbo.

"Yes."

"I have a message for you; can you guess from whom?"

Now, Fru Holmbo was a friend of Aksel Aarö's sister and very intimate with the family. Ella blushed and could not answer.

"I see that you know who it is from," said Fru Holmbo, and Ella blushed more than ever.

With a rather superior smile—and the prettiest lady in the town had a superabundance of them—she said, "Aksel Aarö is not fond of writing. We have only just received his first letter since he left; but in it he writes that when we see 'the girl with the plait,' we are to remember him to her.' She cried at Möhring's song; other people might have done so too,'" he wrote.

The tears sprang to Ella's eyes.

"No, no," said Fru Holmbo consolingly, "there is no harm in that."

CHAPTER II

Two years later, in the course of the winter, Ella was coming quickly up from the ice with her skates in her hand. She wore her new tight-fitting jacket for the first time; in fact, it was principally this jacket which had tempted her out. The plait hung jauntily down from under her grey cap. It was longer and thicker than ever; it throve wonderfully.

As usual, she went round by "Andresen's at the corner." To see the house was enough. Just as her eyes rested on it, Aksel Aarö appeared in the doorway. He came slowly down the steps. He was at home again! His fair beard lay on the dark fur of his coat, a fur cap covered his low forehead and came down almost to his eyes; those large, attractive eyes. They looked at one another; they had to meet and pass; he smiled as he raised his cap, and she—stood still and curtseyed, like a schoolgirl in a short frock. For two years she had not dropped a curtsey, or done otherwise than bow like a grown-up person. Short people are most particular about this privilege; but to him, before whom she specially wished to appear grown-up, she had stood still and curtseyed as when he had last seen her. Occupied by this mishap she rushed into another. She said to herself, "Do not look round, keep yourself stiff, do not look round; do you hear?" But at the corner, just as she was turning away from him, she did look back for all that, and saw him do the same. From that moment there were no other people, no houses, no time or place. She did not know how she got home, or why she lay crying on her bed, with her face in the pillow.

A fortnight later, there was a large party at the club, in honour of Aksel Aarö. Every one wished to be there, every one wished to bid their popular friend welcome home. He had been greatly missed. They had heard from Hull how indispensable he had by degrees become in society there. If his voice had had a greater compass—it did not comprise a large range of notes—he would have obtained an engagement at Her Majesty's Theatre; so it was said over there. At this ball, the Choral Society—his old Choral Society—would again sing with him.

Ella was there; she came too early—only four people before her. She trembled with expectancy in the empty rooms and passages, but more especially in the hall where she had made "a spectacle of herself." She wore a red ball-dress, without any ornaments or flowers; this was by her mother's wish. She feared that she had betrayed herself by coming so early, and remained alone in a side room; she did not appear until the rooms had been fully lighted, and the perfume, the buzz of voices, and the tuning of instruments lured her in. Ella was so short, that when she came into the crowd, she had not seen Aksel Aarö when she heard several whispers of "There he is," and some one added, "He is coming towards us." It was Fru Holmbo for whom he was looking, and to whom he bowed; but just behind her stood Ella. When she felt that she was discovered, the bud blushed rosier than its calyx. He left Fru Holmbo at once.

"Good evening," he said very softly, holding out his hand, which Ella took without looking up. "Good evening," he said again, still more softly, and drew nearer.

She was aware of a gentle pressure and had to raise her eyes. They conveyed a bashful message half confident, half timid. It was a rapid glance, by which no one was enlightened or scandalised. He looked down at her, while he stroked his beard, but either because he had nothing more to say—he was not talkative—or that he could not say what he wished; he became absolutely silent. In the quiet way which was peculiar to him he turned and left her. He was on at once by his friends, and for the rest of the evening she only saw him now and again, and always at a distance.

He did not dance, but she did. Everybody said how "sweet" she was (it was said with all respect); and that evening she really did beam with happiness. In whatever part of the room Aksel Aarö chanced to be, she felt conscious of his presence, felt a secret delight in whirling past him. His eyes followed her, his nearness made all and everything resplendent.

Standing in the doorway was a heavy, sturdy fellow, who had constituted himself the critic of the assemblage. He appeared to be between thirty and forty; nearer the latter; he had a weather-beaten, coarsely-moulded, but spirited face, black hair, and hazel eyes; his figure approached the gigantic. Every one in the room knew him; Hjalmar Olsen, the fearless commander of one of the largest steamers.

He scanned the dancers as they passed him, but gave the palm to the little one in the red dress; she was the pleasantest to look at: not only was she a fine girl, but her buoyant happiness seemed to infect him. When Aksel Aarö approached, Hjalmar Olsen received a share of the love glances which streamed from her eyes. She danced every dance. Hjalmar Olsen was tall enough to catch glimpses of her in all parts of the room. She also noticed him; he soon became a lighthouse in her voyage, but a lighthouse which interested itself in the ships. Thus he now felt that she was in danger so near to Peter Klausson's waistcoat. He knew Peter Klausson.

Her tiny feet tripped a waltz, while the plait kept up an accompanying polka. Certainly Peter Klausson did press her too close to his waistcoat!

Olsen therefore sought her out as soon as the waltz was over, but it was not so easy to secure a dance; a waltz was the first one for which she was free, and she gave him that. Just as this was arranged, every one pressed towards the platform, on which the Choral Society now appeared. Ella felt herself hopelessly little when they all rushed forward and packed themselves together. Hjalmar Olsen, who saw her vain attempts to obtain a peep, offered to lift her up on to the bench which ran along the wall, by which they were standing. She dare not agree to this, but he saw that others were mounting the bench, and before she could prevent it, she was up there too. Almost at the same moment Aksel Aarö came in among his companions and was received with the most energetic hand-clapping by all his friends—men as well as women. He bowed politely though somewhat coldly, but the expressions of welcome did not cease until his companions drew back a little, while he came forward. First of all, the Society gave one of its older songs. He kept his voice on a level with the others, which was considered in very good taste. After this the conductor took his seat at the piano, to accompany a song which Aarö wished to give alone. The song was a composition of Selmer and much in fashion at the capital. It could be sung by men as well as women, only in the last verse her had to be substituted for his. Here it had never been heard before.

During the first song Aarö had searched the room with his eyes, and, from the moment when he discovered where Ella stood, he had kept them fixed there. Now he placed himself near the piano, and during the song he continued to look in her direction. As he sang, his melancholy eyes lighted up; his figure grew plastic.

I sing to one, to only one
        Of all the listening throng;
To one alone is fully known
        The meaning of my song.
Lend power, ye listeners, to each word.
        But for that only one
Who in me woke sweet music's chord
        My song had ne'er been sung.

Though deviously the path may run,
        Passing through all hearts here,
Yet still is it the only one
        Which to one heart is near.
Strengthen, oh, loving hearts, my song,
        So that it still may swell
Through all love's choir; the only one
        That in her heart may dwell.

His voice was captivating; no one had ever listened to such a love-message. This time many beside Ella had tears in their eyes. When the song ended, they all remained waiting for some moments, as though expecting another verse; and there was a short silence, but then applause broke forth such as had never been heard. They wanted to have the song again, but no one had yet known Aksel Aarö to sing anything twice running; so they relinquished the idea.

Ella had never heard the song; neither words nor music. When, with his eyes turned in her direction, he had begun to sing, she felt as though she should fall; such unheard-of boldness she had never imagined. That he, otherwise so considerate, should sing this across to her, so that all could hear! White as the wall against which she leaned for support, she suffered such anguish of mind, that she looked round for help. Immediately behind her, on the same bench, stood Fru Holmbo, magnetised, beautiful as a statue. She no more saw Ella's distress than she did the clock in the market-place. This absolute indifference calmed her, she recovered her self-possession. The neighbourhood of the others, which had been so terrible to her, was of no consequence, so long as they did not perceive anything. She could listen now without distress. More covertly, more charmingly, he could not have spoken, notwithstanding that every one heard it. If only he had not looked at her! If only she had been able to hide herself!

As soon as the last notes ceased, she jumped down from the bench. Among all the shoulders her shyness returned—her happy dream, her secret in its bridal attire. What was it that had happened? What would happen next? All round her were sparkling eyes, applauding voices, clapping hands—was it not as though they lighted torches in his honour, paid him homage—was not all this in her honour as well?

Dancing began again at once, and off she went. Off as though all were done for her, or as though she were the "only one!" Her partners tried, one after another, to talk to her, but in vain. She only laughed, laughed in their faces, as though they were mad, and she alone understood the state of the case.

She danced, beamed, laughed, from one partner to another. So when Olsen got his waltz it was as though he were received with a score of fresh bouquets and a "Long live Hjalmar Olsen!" He was more than flattered. When she laid her white arm on his black coat he felt that at the bottom he was as unworthy as Peter Klausson. He certainly would not sully her, he held her punctiliously away from him. When he fancied that she was laughing, and wished to see the little creature's merry face, down there near his waistcoat, and in the endeavour to do so, thought that he had been indiscreet, Hjalmar Olsen felt ashamed of himself, and danced on with his eyes staring straight before him, like a sleep-walker. He danced on in a dream of self-satisfaction and transport. Ella tried now and then to touch the floor; she wished to have at least some certainty that she was keeping time. Impossible! He took charge at once, of himself, her dance and his, her time and his, she never got near the floor without an effort, all the rest was an aerial flight. He could hear her laughing and was pleased that she was enjoying it, but he did not look at her. Those with whom he came into collision were less pleased, which was their affair. He was greatly put out when the music ceased; they were only just getting into swing, but he was obliged to put her down at the compulsory stopping-place.

Shortly afterwards there was some more singing, first by the Society alone, then they and Aarö together sang Grieg's "Landfall." Finally, Aarö sang to a piano accompaniment. This time Ella had hidden herself among those at the back, but as they constantly pressed forward she remained standing alone. This exactly suited her; she saw him, but he did not see her, nor even look towards the place where she was standing.

She had never heard this song, did not even know that it existed, although when the first words were heard it was evident that it was known to the others. Of course she knew that each word and note were his, but as he had before chosen a story which would only reach the one to whom he wished to sing, she did not doubt that it was the same now. The first words, "My young love's veiled," could there be a truer picture of concealed love? Once more it was for her! That the veil should be lifted but for him and dropped as soon as any one else could see. Was not that as it must be between them? That love's secrecy is like a sacred place, that in it is hidden earth's highest happiness. She trembled as she recognised it. The music swept the words over her like ice-cold water, this perfect comprehension made her shiver, with fear and joy at the same time. No one saw her, that was her safeguard. She dreaded every fresh word before it came, and each one again made her shiver. With her arms pressed against her breast, her head bowed over her hands, she stood and trembled as though waves surged over her. And when the second verse came with the line, "The greatest joy this world can give," and especially when it was repeated, her tears would well forth, as they had done once before. She checked them with all her might, but remembering how little it had helped her then, her powers of resistance gave way, she was almost sobbing when the very word was used in the song. The coincidence was too superb, it swept all emotion aside, she could have laughed aloud instead. She was sure of everything, everything now. It thus happened that the last line in its literal sense, in its jubilant sympathy, came to her like a flash of lightning, like the stab of a knife. The song ran thus:

My young love's veiled to all but me,
No eyes save mine those eyes may see,
        Which, while to others all unknown,
        Command, melt, beam for me alone.
Down falls the veil, would others see.

In every good, where two are one,
A twofold holiness doth reign;
        The greatest joy this world can give
        Is when earth's long desires shall live,
When two as soul to soul are born again.

Why must my love then veiled be?
Why sobs she piteous, silently,
        As though her heart must break for love?
        Because that veil from pain is wove,
And all our joy in yearning need we see.

Startling, deafening applause! They must, they would have the song again, this time Aarö's haughty opposition should be useless; but he would not give way, and at last some of the audience gave up the attempt, though others continued insistent.

During this interval several ladies escaped out of the crowd: they passed near Ella.

"Did you see Fru Holmbo, how she hid herself and cried?"

"Yes, but did you see her during the first song? Up on the bench? It was to her that he was singing the whole time."

Not long afterwards—it might have been about two in the morning—a little cloaked figure flew along the streets. By her hood and wraps the watchman judged that she must be one of the ladies from the ball. They generally had some one with them, but the ball was not over yet. Something had evidently happened; she was going so quickly too.

It was Ella. She passed near the deserted Town Hall, which was now used as a warehouse. The outer walls still remained, but the beautiful interior wood-work had been sold and removed. That is how it is with me, thought Ella. She flew along as fast as she could, onward to sleepless nights and joyless days.

In the course of the morning Aksel Aarö was carried home by his companions, dead drunk. By some it was maintained that he had swallowed a tumbler of whisky in the belief that it was beer; others said that he was a "bout drinker." He had long been so but had concealed it. Those are called "bout-drinkers" who at long intervals seem impelled to drink. His father had been so before him.

A few days later Aksel Aarö went quietly off to America.