heavy figures and limbs, roughened by coarse toil in the fields, as they
stood mute, motionless, and ruminating in the darkness like tired beasts.

Camors, like all men possessed by a dominant idea, had, ever since he
adopted the religion of his father as his rule of life, taken the pains
to analyze every impression and every thought. He now said to himself,
that between these countrymen and a refined man like himself there was
doubtless a greater difference than between them and their beasts of
burden; and this reflection was as balm to the scornful aristocracy that
was the cornerstone of his theory. Wandering on to an eminence, his
discouraged eye swept but a fresh horizon of apple-trees and heads of
barley, and he was about to turn back when a strange sound suddenly
arrested his steps. It was a concert of voice and instruments, which in
this lost solitude seemed to him like a dream, or a miracle. The music
was good-even excellent. He recognized a prelude of Bach, arranged by
Gounod. Robinson Crusoe, on discovering the footprint in the sand, was
not more astonished than Camors at finding in this desert so lively a
symptom of civilization.

Filled with curiosity, and led by the melody he heard, he descended
cautiously the little hill, like a king's son in search of the enchanted
princess. The palace he found in the middle of the path, in the shape of
the high back wall of a dwelling, fronting on another road. One of the
upper windows on this side, however, was open; a bright light streamed
from it, and thence he doubted not the sweet sounds came.

To an accompaniment of the piano and stringed instruments rose a fresh,
flexible woman's voice, chanting the mystic words of the master with such
expression and power as would have given even him delight. Camors,
himself a musician, was capable of appreciating the masterly execution of