Charles Auchester, Volume 2 (of 2)Sheppard, Elizabeth Sara
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Charles Auchester, Volume 2 (of 2)
Sheppard, Elizabeth Sara
Musical fiction
All was calm and warm. The slightest sound made way, and I hesitated
not to scale the green barrier, nowhere too high for me to leap it,
and to approach the parlor of the cottage in that unwonted fashion. I
was in for pictures this while, I suppose; for when I reached the
glass doors that swept the lawn wide open, and could peep through them
without disturbing foot on that soft soil, I saw, indeed, another, a
less impressive, not less expressive, view. Clara sat at her piano,
her side-face was in the light. His own, which I was sure to find
there, in profile also, was immediately behind her; but as he stood,
the shade had veiled him, the shade from the trembling leaves without,
through which one sunbeam shot, and upon the carpet kissed his feet.
She was singing, as I could hear, scarcely see, for her lips opened
not more than for a kiss, to sing. The strains moulded themselves
imperceptibly, or as a warble shaken in the throat of a careless
nightingale that knew no listener.
Seraphael, as he stood apart drinking in the notes with such eagerness
that his lips were also parted, had never appeared to me so borne out
of himself, so cradled in a second nature. I could scarcely have
believed that the face I knew so well had yet an expression hidden I
knew not of; but it was so: kindled at another fire than that which
his genius had stolen from above, his eye was charged, his cheek
flushed.
So exquisitely beautiful they looked together,--he in that soft
shadow, she in that tremulous light,--that at first I noticed not a
third figure, now brought before me. Behind them both, but sitting so
that she could see his face, was Laura,--or rather she half lay; some
antique figures carved in statuary have an attitude as listless, that
bend on monuments, or crouch in relievo. She had both her arms
outspread upon the little work-table, hanging over the edge, the hands
just clasped together, as reckless in repose; her face all colorless,
her eyes all clear, but with scarcely more tinting, were fixed, rapt,
upon Seraphael.
I could not tell whether she was feeding upon his eye, his cheek, or
his beauteous hair; all her life came forth from her glance, but it
spent itself without expression. Still, that deep, that feeding gaze
was enough for me; there was in it neither look of hope nor of
despair, as I could have interpreted it. I did not like to advance,
and waited till my feet were stiff; but neither could I retire.
I waited while Clara, without comment on her part or request of his,
glided from song to _scena_, from the romance of a wilderness to the
simplest troll. Her fingers just touched the keys as we touch them for
the violin solo,--supporting, but unnoticeable. At last, when afraid
to be caught,--for the face of the Chevalier in its new expression I
rather dreaded,--I went back, like a thief, the way I came, and still
more like a thief in that I carried away a treasure of remembrance
from those who knew not they had lost it.
Public-domain text, read in full here on John Shaqi.
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