Charles Auchester, Volume 1 (of 2)Sheppard, Elizabeth Sara
General
Charles Auchester, Volume 1 (of 2)
Sheppard, Elizabeth Sara
Musical fiction
"As you please," muttered Davy, merrily, as he turned again to me. "My
boy, we must not stand here; we shall lose our old places. Do not
forget to remain in yours, when it is over, till I come to fetch you."
When it is over! Oh, cruel Lenhart Davy! to remind me that it would
ever end. I felt it cruel then, but perhaps I felt too much,--I always
do, and I hope I always shall.
Again marshalled in our places (I having crept to mine), and again
fitted in very tightly, we all arose. I suppose it was the oppression
of so many round me standing, superadded to the strong excitement, but
the whole time the chorus lasted, "Behold the Lamb of God!" I could
not sing. I stood and sobbed; but even then I had respect to Davy's
neatly copied alto sheet, and I only shaded my eyes with that, and
wept upon the floor. Nobody near observed me; they were all singing
with all their might; I alone dared to look down, ever down, and weep
upon the floor.
Such tears I never shed before; they were as necessary as dew after a
cloudless day, and, to pursue my figure, I awoke again at the
conclusion of the chorus to a deep, rapturous serenity, pure as
twilight, and gazed upwards at the stars, whose "smile was Paradise,"
with my heart again all voice.
I believe the chorus, "Lift up your heads!" will never again be heard
in England as it was heard then, and I am quite certain of the
"Hallelujah." It was as close, as clear, and the power that bound the
band alike constrained the chorus; both seemed freed from all
responsibility, and alone to depend upon the will that swayed, that
stirred, with a spell real as supernatural, and sweet as strange.
Perhaps the most immediate consequence of such faultless
interpretation was the remarkable stillness of the audience. Doubtless
a few there were who were calm in critical pique, but I believe the
majority dared not applaud, so decided had been the negative of that
graceful sign at the commencement of the performance; besides, a
breathless curiosity brooded, as distinctly to be traced in the
countenance of the crowd as in their thrilling quietude,--for
thrilling it was indeed, though not so thrilling as the outbreak, the
tempest out-rolling of pent-up satisfaction at the end of the final
chorus. That chorus (it was well indeed it was the last) seemed alone
to have exhausted the strength of the conductor; his arm suddenly
seemed to tire, he entirely relaxed, and the delicate but burning
hectic on each cheek alone remained, the seal of his celestial
passion.
Public-domain text, read in full here on John Shaqi.
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