Charles Auchester, Volume 2 (of 2)Sheppard, Elizabeth Sara
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Charles Auchester, Volume 2 (of 2)
Sheppard, Elizabeth Sara
Musical fiction
As he retreated, and folding his slender arms and raising his glorious
head, still stood, Maria entered with Anastase. Florimond led her
forward in her white dress, as he had promised himself to lead her
captive on the day of her espousals; neither hurried nor abashed, she
came in her virgin calm, her virgin paleness. But as they stood for
one moment at the foot of the orchestra, he paused, arrested her, his
hand was raised; and in a moment, with a smile whose tenderness for
that moment triumphed, he had placed the silver rose in her dark hair,
where it glistened, an angelic symbol to the recognition of every one
present. She did not smile in return, nor raise her eyes, but mounted
instantly and stood amidst us.
I had no idea, until, indeed, she stood there, a girl amidst
us,--until she appeared in that light of which she herself was
light,--how very small she was, how slightly framed; every emotion was
articulated by the fragility of her form as she stirred so calmly,
silently. The bright afternoon from many windows poured upon the
polish of her forehead, so arched, so eminent; but, alas! upon the
languors also that had woven their awful mists around her eyes. Her
softly curling lips spoke nothing now but the language of sleep in
infancy, so gently parted, but not as in inspiration. As she raised
that arm so calmly, and the first movement came upon me, I could not
yet regard her, nor until a rest occurred. Then I saw her the same
again, except that her eyes were filled with tears, and over all her
face that there was a shadow playing as from some sweeping solemn
wing, like the imagery of summer leaves that trembles upon a moonlit
grass.
Only once I heard that music, but I do not remember it, nor can call
upon myself to describe it. I only know that while in the full
thrilling tide of that first movement I was not aware of playing, or
how I played, though very conscious of the weight upon my heart and
upon every instrument. Even Anastase, next whom I stood, was not
himself in playing. I cannot tell whether the conductress were herself
unsteady, but she unnerved us all, or something too near unnerved
us,--we were noiselessly preparing for that which was at hand.
At the close of the movement a rushing cadence of ultimate rapidity
broke from the stringed force, but the wind flowed in upon the final
chords; they waned, they expanded, and at the simultaneous pause she
also paused. Then strangely, suddenly, her arm fell powerless, her
paleness quickened to crimson, her brow grew warm with a bursting
blood-red blush,--she sank to the floor upon her side silently as in
the south wind a leaf just flutters and is at rest; nor was there a
sound through the stricken orchestra as Florimond raised her and
carried her from us in his arms.
Public-domain text, read in full here on John Shaqi.
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