I was reading "The Chronicles of Avonlea" by Lucy Montgomery. The third story is of a young boy, Felix who has the skill and genius to play music which the listener wants to hear in the depths of his soul. The following passages moved me. At the end of a life of Magdalene of the harbor, Naomi is scared of hell and wants forgiveness, but is unable to grasp the love of a forgiving God with an all en-compassing and unconditional love. Felix, the minister Mr.Leonard's grandson, with his music makes Naomi, on her deathbed, understand God's love.
"Felix drew the bow softly, perplexedly over the strings. He had no idea what he should play. Then his eyes were caught and held by Naomi's burning, mesmeric, blue gaze as she lay on her crumpled pillow. A strange, inspired look came over the boy's face. He began to play as if it were not he who played, but some mightier power, of which he was but the passive instrument.
Sweet and soft and wonderful was the music that stole through the room. Mr. Leonard forgot his heartbreak and listened to it in puzzled amazement. He had never heard anything like it before. How could the child play like that? He looked at Naomi and marvelled at the change in her face. The fear and frenzy were going out of it; she listened breathlessly, never taking her eyes from Felix. At the foot of the bed the idiot girl sat with tears on her cheeks.
In that strange music was the joy of the innocent, mirthful childhood, blent with the laughter of waves and the call of glad winds. Then it held the wild, wayward dreams of youth, sweet and pure in all their wildness and waywardness. They were followed by a rapture of young love—all-surrendering, all-sacrificing love. The music changed. It held the torture of unshed tears, the anguish of a heart deceived and desolate. Mr. Leonard almost put his hands over his ears to shut out its intolerable poignancy. But on the dying woman's face was only a strange relief, as if some dumb, long-hidden pain had at last won to the healing of utterance.
The sullen indifference of despair came next, the bitterness of smouldering revolt and misery, the reckless casting away of all good. There was something indescribably evil in the music now—so evil that Mr. Leonard's white soul shuddered away in loathing, and Maggie cowered and whined like a frightened animal.
Again the music changed. And in it now there was agony and fear—and repentance and a cry for pardon. To Mr. Leonard there was something strangely familiar in it. He struggled to recall where he had heard it before; then he suddenly knew—he had heard it before Felix came in Naomi's terrible words! He looked at his grandson with something like awe. Here was a power of which he knew nothing—a strange and dreadful power. Was it of God? Or of Satan?
For the last time the music changed. And now it was not music at all—it was a great, infinite forgiveness, an all-comprehending love. It was healing for a sick soul; it was light and hope and peace. A Bible text, seemingly incongruous, came into Mr. Leonard's mind—"This is the house of God; this is the gate of heaven."
