Charles Auchester, Volume 2 (of 2)Sheppard, Elizabeth Sara
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Charles Auchester, Volume 2 (of 2)
Sheppard, Elizabeth Sara
Musical fiction
"If you let me be so," she replied, and drew away those folds, passing
to her harp. Her hand, suddenly thrown upon the wires, whose
resistance to embrace so sweet made all their music, caught the ear
of little Josephine, who had been playing very innocently, for a
prodigy, in the corner; and now she came slowly forwards, her doll in
her arms, and stood about a yard from the harp, again putting up one
finger to her lip, and giving me a glance across the intervening
space. She looked, as she so peered, both singular and interesting in
the blended curiosity and shyness that appertain to certain
childhoods; but it seemed to me at that moment as if she were a
strayed earthling into some picture of a scene in that unknown which
men call heaven. For the harp and the form which appeared now to have
grown to it--so inseparable are the elements of harmony, so
intuitively they blend in meeting--were not a sight to suggest
anything this side of death. All beauty is the gauge of immortality;
and as I wondered at her utter loveliness, I became calm as
immortality only permits and sanctions when on it our thoughts repose,
for it our affections languish. Her arms still rested behind and
before the strings as she tuned them; still her hair swept that cloud
upon the softness of her cheek, toned the melancholy arch of her brow:
but the deep rose-hues of her now drooping mantle, and the Italian
azure of her robe, did not retrieve the fancy to any earthly
apparition. They seemed but transparent and veil-like media through
which the whiteness of light found way in colors that sheathed an
unendurable naked lustre. I thought not in such words, but such
thoughts were indeed mine; and while I was yet gazing,--dreaming, I
should say, for I ever dream on beauty,--she played some long, low
chords, attenuated golden thwarting threads of sound, and began
forthwith to sing. She sang in German, and her song was a prayer for
rest,--a Sunday song, as little Josephine said afterwards to me. But
it might have been a lay of revenge, of war, or of woe, for all I
heard that the words conveyed, as I could not exist except in the
voice itself, or the spirit of which the voice was formed. I felt then
that it is not in voice, it is not in cunning instrument, that the
thing called music hides; it is the uncreate intelligence of tone that
genius breathes into the created elements of sound. This girl's or
angel's voice was not so sweet as intelligible, not so boundless as
intense. It went straight into the brain, it stirred the soul without
disturbing; the ear was unconscious as it entered that dim gallery,
and rushed through it to the inward sympathetic spirit. The quality of
the voice, too, as much pertained to that peculiar organization as
certain scents pertain to particular flowers. It was as in the open
air, not in the hothouse, that this foreign flower expanded, and
breathed to the sun and wind its secrets. It was what dilettanti call
Public-domain text, read in full here on John Shaqi.
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