Page:The House of the Seven Gables - Hawthorne - 1851.djvu/159

 his face, brighter now, and now a little dimmer, as the song happened to float near him, or was more remotely heard. It pleased him best, however, when she sat on a low footstool at his knee.

It is perhaps remarkable, considering her temperament, that Phœbe oftener chose a strain of pathos than of gayety. But the young and happy are not ill pleased to temper their life with a transparent shadow. The deepest pathos of Phœbe's voice and song, moreover, came sifted through the golden texture of a cheery spirit, and was somehow so interfused with the quality thence acquired, that one's heart felt all the lighter for having wept at it. Broad mirth, in the sacred presence of dark misfortune, would have jarred harshly and irreverently with the solemn symphony that rolled its undertone through Hepzibah's and her brother's life. Therefore, it was well that Phœbe so often chose sad themes, and not amiss that they ceased to be so sad while she was singing them.

Becoming habituated to her companionship, Clifford readily showed how capable of imbibing pleasant tints and gleams of cheerful light from all quarters his nature must originally have been. He grew youthful while she sat by him. A beauty,—not precisely real, even in its utmost manifestation, and which a painter would have watched long to seize and fix upon his canvas, and, after all, in vain,—beauty, nevertheless, that was not a mere dream, would sometimes play upon and illuminate his face. It did more than to illuminate; it transfigured him with an expression that could only be interpreted as the glow of an exquisite and happy spirit. That gray hair, and those furrows—with their record of infinite sorrow, so deeply written across his brow, and so compressed, as with a futile effort to crowd in all the tale, that the whole inscription was made illegible,—these, for the moment vanished. An eye, at once tender