Charles Auchester Volume I Part 1

Charles Auchester.

Volume 1.

by Elizabeth Sheppard.

INTRODUCTION.

The romance of "Charles Auchester," which is really a memorial to Mendelssohn, the composer, was first published in England in 1853. The t.i.tlepage bore the name of "E. Berger," a French pseudonym, which for some time served to conceal the ident.i.ty of the author. Its motto was a sentence from one of Disraeli's novels: "Were it not for Music, we might in these days say, The Beautiful is dead." The dedication was also to the same distinguished writer, and ran thus: "To the author of 'Contarini Fleming,' whose perfect genius suggested this imperfect history." To this flattering dedication, Mr. Disraeli replied in a note to the author: "No greater book will ever be written upon music, and it will one day be recognized as the imaginative cla.s.sic of that divine art."

Rarely has a book had a more propitious introduction to the public; but it was destined to encounter the proverbial fickleness of that public. The author was not without honor save in her own country. It was reserved for America first to recognize her genius. Thence her fame travelled back to her own home; but an early death prevented her from enjoying the fruits of her enthusiastic toil. Other works followed from her busy pen, among them "Counterparts,"--a musico-philosophical romance, dedicated to Mrs. Disraeli, which had a certain success; "Rumor," of which Beethoven, under the name of Rodomant, is supposed to have been the hero; "Beatrice Reynolds,"

"The Double Coronet," and "Almost a Heroine:" but none of them achieved the popularity which "Charles Auchester" enjoyed. They shone only by the reflected light of this wonderful girl's first book. The republication of this romance will recall to its readers of an earlier generation an old enthusiasm which may not be altogether lost, though they may smile as they read and remember. It should arouse a new enthusiasm in the younger generation of music-lovers.

Elizabeth Sheppard, the author of "Charles Auchester," was born at Blackheath, near London, in 1837. Her father was a clergyman of the Established Church, and her mother a Jewess by descent,--which serves to account for the daughter's strong Jewish sympathies in this remarkable display of hero-worship. Left an orphan at a tender age, she was thrown upon her own resources, and chose school-teaching for her profession. She was evidently a good linguist and musician, for she taught music and the languages before she was sixteen. She had decided literary ambition also, and wrote plays, poems, and short stories at an age when other children are usually engaged in pastimes.

Notwithstanding the arduous nature of her work and her exceedingly delicate health, she devoted her leisure hours to literary composition. How this frail girl must have toiled is evidenced by the completion of "Charles Auchester" in her sixteenth year. In her seventeenth she had finished "Counterparts,"--a work based upon a scheme even more ambitious than that of her first story. When it is considered that these two romances were written at odd moments of leisure intervening between hours of wearing toil in the school-room, and that she was a mere child and very frail, it will be admitted that the history of literary effort hardly records a parallel case. Nature however always exacts the penalty for such mental excesses. This little creature of "spirit, fire, and dew" died on March 13, 1862, at the early age of twenty-five.

Apart from its intrinsic merits as a musical romance, there are some features of "Charles Auchester" of more than ordinary interest. It is well known that Seraphael, its leading character, is the author's ideal of Mendelssohn, and that the romance was intended to be a memorial of him. More thoroughly to appreciate the work, and not set it down as mere rhapsody, it must be remembered that Miss Sheppard wrote it in a period of Mendelssohn worship in England as ardent and wellnigh as universal as the Handel worship of the previous century had been. It was written in 1853. Mendelssohn had been dead but six years, and his name was still a household word in every English family. He was adored, not only for his musical genius, but also for his singular purity of character. He was personally as well known in England as any native composer. His Scotch Symphony and Hebrides Overture attested his love of Scotch scenery. He had conducted concerts in the provinces; he appeared at concerts in London in 1829 and in subsequent years, and was the idol of the drawing-rooms of that day. Some of his best works were written on commissions from the London Philharmonic Society. He conducted his "Lobgesang" at Birmingham in 1840, and he produced his immortal "Elijah" in the same town in 1846,--only a year before his death. There were numerous ties of regard, and even of affection, binding him to the English people.

From a pa.s.sing remark in the course of the romance, we learn that it opens about the year 1833, when Mendelssohn was in his prime; and as it closes with his death, it thus covers a period of fourteen years,--the most brilliant and productive part of his life.

Curious critics of "Charles Auchester" have found close resemblances between its characters and other musicians. There is good reason to believe that Starwood Burney was intended for Sterndale Bennett, not only from the resemblance of the names in sound and meaning, but also from many other events common to each. It requires, however, some stretch of the imagination to believe that Charles Auchester was intended as a portrait of Joachim the violinist; that Aronach, the teacher at the St. Cecilia School, was meant for Zelter; Clara Benette for Jenny Lind; and Laura Lemark for Taglioni. It is altogether likely that the author in drawing these characters had the types in mind, and without intending to produce a parallel or to preserve anything like synchronism, invested them with some of the characteristics of the real persons, all of whom, it may be added, except Taglioni, were intimately a.s.sociated with Mendelssohn.

All this lends the charm of human interest to the book; but, after all, it is the author's personality that invests it with its rare fascination. It would not bear searching literary criticism; fortunately, no one has been so ungracious as to apply it. It is more to the purpose to remember that here is a young girl of exquisite refinement, rare intellectuality, and the most overwhelming enthusiasm, who has written herself into her work with all her girlish fancies, her great love for the art, her glowing imagination, and that rapturous devotion for the hero of her exalted world which is characteristic of her s.e.x at sixteen. And in doing this she has pictured her dreams with most glowing colors, and told them with delicate _navete_ and exuberant pa.s.sion. In a word, she has expressed the very spirit of music in language, and in a language so pure and adoring as to amount to worship. In Disraeli's words, it is "the imaginative cla.s.sic of the divine art." To those who have not lost their early enthusiasms, this little book will come like the perfume of a flower, or some tone of a well-remembered voice, recalling the old days and reviving an old pleasure. To those who have lost such emotions, what is left but Lethe?

In preparing the work for publication, I have added some brief notes, indicating the connection between the real and the ideal, and making the meaning of the text clearer to the general reader of to-day.

Anything which will throw light upon this charming romance should be welcome, and the more so that the gifted author has been strangely neglected both in musical and general biographical dictionaries. It is to be hoped that an adequate sketch of her life may some day appear.

GEORGE P. UPTON.

_Chicago, 1891._

CHARLES AUCHESTER.

CHAPTER I.

I never wrote a long letter in my life. It is the manual part I dislike,--arranging the paper, holding the pen in my fingers, and finding my arm exhausted with carrying it to and from the inkstand. It does not signify, though; for I have made arrangements with my free-will to write more than a letter,--a life, or rather the life of a life. Let none pause to consider what this means,--neither quite Germanly mysterious, nor quite Saxonly simple, like my origin.

There are many literal presentations of ordinary personages in books which, I am informed, and I suppose I am to a.s.sure myself, are introduced expressly to intensify and ill.u.s.trate the chief and peculiar interest where an interest is, or to allure the attention of the implicit, where it is not. But how does it happen that the delineations of the G.o.ds among men, the heroic, gifted few, the beings of imaginative might or genius, are so infinitely more literal?

Who--worshipping, if not strong enough to serve, the Ideal--can endure the graceless ignorance of his subject betrayed by many a biographer, accepted and accomplished in his style? Who, so worshipping, can do anything but shudder at the meagre, crude, mistakable portraits of Shakspeare, of Verulam, of Beethoven? Heaven send my own may not make me shudder first, and that in my attempt to recall, through a kind of artistic interlight, a few remembered lineaments, I be not self-condemned to blush for the spiritual craft whose first law only I had learned.

I know how many notions grown persons entertain of their childhood as real, which are fact.i.tious, and founded upon elder experience, until they become confounded with it; but I also feel that in great part we neglect our earliest impressions, as vague, which were the truest and best we ever had. I believe none can recall their childish estimate or essence without identifying within their present intimate selves. In my own case the a.n.a.logy is perfect between my conceptions then and my positive existence now. So every one must feel who is at all acquainted with the liabilities of those who follow art.

The man of power may manage to merge his individuality in his expansive a.s.sociation with the individuality of others; the man of science quenches self-consciousness in abstraction; and not a few who follow with hot energy some worldly calling, become, in its exercise, as itself, nor for a solitary moment are left alone with their personality to remember even that as separate and distinctly real.

But all artists, whether acknowledged or amateur, must have proved that, for themselves, the gauge of immortality, in life as in art, consists in their self-acquaintance, their self-reliance, their exact self-appreciation with reference to their masters, their models, their one supreme ideal.

I was born in a city of England farthest from the sea, within whose liberties my grandfather and father had resided, acquiring at once a steady profit and an honorable commercial fame. Never mind what they were, or in which street or square their stocked warehouses were planted, alluring the eyes and hearts of the pupils of Adam Smith. I remember the buildings well; but my elder brother, the eldest of our family, was established there when I first recall them, and he was always there, residing on the premises. He was indeed very many years my senior, and I little knew him; but he was a steady, excellent person, with a tolerable tenor voice and punctilious filial observances towards our admirable mother. My father was born in England; but though his ancestors were generally Saxon, an infusion of Norman blood had taken place in his family a generation or two behind him, and I always suspected that we owed to the old breeding of Claire Renee de Fontenelle some of our peculiarities and refinements; though my father always maintained that they flowed directly from our mother.

He was travelling for the house upon the Continent when he first found her out, embedded like a gem by a little German river; and she left with him, unrepiningly, her still but romantic home, not again to revisit it.

My mother must have been in her girlhood, as she was in her maturest years, a domestic presence of purity, kindliness, and home-heartedness; she had been accustomed to every kind of household manoeuvre, and her needlework was something exquisite. From her German mother she inherited the quietness of which grace is born, the prudence with which wisdom dwells, and many an attribute of virtue; but from her father she inherited the right to name herself of Hebrew origin.

Herein my chief glory lies; and whatever enlightenment my destiny has boasted, streams from that radiant point. I know that there are many who would as genuinely rejoice in descent from Mahomet, from Attila, or from Robin Hood, as from any of Israel's children; but I claim the golden link in my genealogy as that which connects it with eternity and with all that in my faith is glorious.[1]

My mother had lived in a certain seclusion for some years before I first began to realize; for my father died before my first year's close. We still resided near the house of business,--not in it, for that was my brother's now, and Fred had lately brought home a wife.

But we were quite settled and at home in the house I first remember, when it breaks, picture-like, on my dawning memory. I had three sisters: Clotilda was the oldest, and only a year younger than Fred.

She was an extraordinarily clever person, though totally dest.i.tute of art or artistic yearnings. She had been educated unwontedly, and at least understood all that she had learned. Her favorite pursuits were reading, and comparing lexicons and a.n.a.lyses of different languages, and endeavoring to find common roots for all; but she could and did work perfectly, write a fine, close hand, and very vigorously superintend the household in my mother's absence or indisposition. She had rather a queer face, like one of the Puritan visages in antique portraits; but a very cheerful smile, and perfect composure of manner,--a great charm in mine eyes, O ye nymphs and graces! Millicent, three years younger, was a spirit of gentleness,--imperceptibly instructing me, she must be treated with a sort of awe. Her melancholy oval face and her pale eyelids showed more of the Hebrew than any of us excepting myself; only I was plain, and she remarkably pleasing.

Lydia, my youngest sister, was rather showy than brilliant, and rather bright than keen,--but not much of either; and yet she was always kind to me, and I should have grieved to miss her round brown eyes at our breakfast-table, or her loud, ringing laugh upstairs from the kitchen; for she had the pantry key.

Both Millicent and Lydia played and sang, if not very powerfully, yet with superior taste. Millicent's notes, not many in number, were as the notes of a cooing dove. Before I was five years old I used to sit upon the old grand piano and watch their faces while they sang on Sunday evenings,--my mother in a tremulous soprano, with Fred's tenor, and the ba.s.s of a friend of his. This did not please me; and here let me say that musical temperament as surely a.s.serts itself in aversion to discordant, or not pure, as in desire for sweet and true sounds. I am certain this is true. I was always happy when Millicent sang alone, or even when she and Lydia mixed their notes; for both had an ear as accurate for tune and for time as can be found in England, or indeed in Germany. But oh! I have writhed beneath the dronings of Hatchardson's ba.s.s, on quartet or chorale an audible blemish, and in a rare composition now and then, the distorting and distracting point on which I was morbidly obliged to fasten my attention. We had no other music, except a little of the same kind, not quite so good, from various members of families in the neighborhood professing to play or sing. But I will not dwell on those, for they are displaced by images more significant.

I can never recollect a time when I did not sing. I believe I sang before I spoke. Not that I possessed a voice of miraculous power, but that everything resolved itself into a species of inward rhythm, not responsive to by words, but which pa.s.sed into sound, tone, and measure before I knew it was formed. Every sight as well as all that touched my ears produced this effect. I could not watch the smoke ascending, nor the motions of the clouds, nor, subtler yet, the stars peeping through the vaulted twilight, without the framing and outpouring of exuberant emotion in strains so expressive to my own intelligence that it was entranced by them completely. I was a very ailing child for several years, and only the cares I received preserved me then; but now I feel as if all healthfulness had been engendered by the mere vocal abstraction into which I was plunged a great part of every day. I had been used to hear music discussed, slightly, it is true, but always reverently, and I early learned there were those who followed that--the supreme of art--in the very town we inhabited,--indeed, my sisters had taken lessons of a lady a pupil of Clementi; but she had left for London before I knew my notes.

Our piano had been a n.o.ble instrument,--one of the first and best that displaced the harpsichords of Kirkman.[2] Well worn, it had also been well used, and when deftly handled, had still some delights extricable. It stood in our drawing-room, a chamber of the red-brick house that held us,--rather the envy of our neighbors, for it had a beautiful ceiling, carved at the centre and in the corners with bunches and knots of lilies. It was a high and rather a large room. It was filled with old furniture, rather handsome and exquisitely kept, and was a temple of awe to me, because I was not allowed to play there, and only sometimes to enter it,--as, for example, on Sundays, or when we had tea-parties, or when morning callers came and asked to see me; and whenever I did enter, I was not suffered to touch the rug with my feet, nor to approach the sparkling steel of the fire-irons and fender nearer than its moss-like edge. Our drawing-room was, in fact, a curious confusion of German stiffness and English comfort; but I did not know this then.

We generally sat in the parlor looking towards the street and the square tower of an ancient church. The windows were draped with dark-blue moreen, and between them stood my mother's dark-blue velvet chair, always covered with dark-blue cloth, except on Sundays and on New Year's day and at the feast of Christmas.

The dark-blue drugget covered a polished floor, whose slippery, uncovered margin beneath the wainscot has occasioned me many a tumble, though it always tempted me to slide when I found myself alone in the room. There were plenty of chairs in the parlor, and a few little tables, besides a large one in the centre, over which hung a dark-blue cover, with a border of glowing orange. I was fond of the high mantelshelf, whose ornaments were a German model of a bad Haus, and two delicate wax nuns, to say nothing of the china candlesticks, the black Berlin screens, and the bronze pastille-box.

Of all things I gloried in the oak closets--one filled with books, the other with gla.s.s and china--on either side of the fireplace; nor did I despise the blue cloth stools, beautifully embroidered by Clo, just after her sampler days, in wool oak-wreaths rich with acorns. I used to sit upon these alternately at my mother's feet, for she would not permit one to be used more than the other; and I was a very obedient infant.

My greatest trial was going to church, because the singing was so wretchedly bad that it made my ears ache. Often I complained to my mother; but she always said we could not help it if ignorant persons were employed to praise G.o.d, that it ought to make us more ready to stand up and sing, and answer our very best, and that none of us could praise him really as the angels do. This was not anything of an answer, but I persisted in questioning her, that I might see whether she ever caught a new idea upon the subject. But no; and thus I learned to lean upon my own opinion before I was eight years old, for I never went to church till I was seven. Clo thought that there should be no singing in church,--she had a dash of the Puritan in her creed; but Lydia horrified my mother oftentimes by saying she should write to the organist about revising the choir. But here my childish wisdom crept in, and whispered to me that nothing could be done with such a battered, used-up, asthmatic machine as our decrepit organ, and I gave up the subject in despair.

Still, Millicent charmed me one night by silencing Fred and Mr.

Hatchardson when they were prosing of Sternhold and Hopkins, and Tate and Brady,[3] and singing-galleries and charity-children, by saying,--

"You all forget that music is the highest gift that G.o.d bestows, and its faculty the greatest blessing. It must be the only form of worship for those who are musically endowed,--that is, if they employ it aright."

Millicent had a meek manner of administering a wholesome truth which another would have pelted at the hearer; but then Millicent spoke seldom, and never unless it was necessary. She read, she practised, she made up mantles and caps _a ravir_, and she visited poor sick people; but still I knew she was not happy, though I could not conceive nor conjecture why. She did not teach me anything, and Lydia would have dreamed first of scaling Parna.s.sus. But Clo's honorable ambition had always been to educate me; and as she was really competent, my mother made no objection. I verily owe a great deal to her. She taught me to read English, French, and German between my eighth and tenth years; but then we all knew German in our cradles, as my mother had for us a nurse from her own land. Clo made me also spell by a clever system of her own, and she got me somehow into subtraction; but I was a great concern to her in one respect,--I never got on with my writing. I believe she and my mother entertained some indefinite notion of my becoming, in due time, the junior partner of the firm. This prescience of theirs appalled me not, for I never intended to fulfil it, and I thought, justly enough, that there was plenty of time before me to undo their arrangements. I always went to my lessons in the parlor from nine till twelve, and again in the afternoon for an hour, so that I was not overworked; but even when I was sitting by Clo,--she, glorious creature! deep in Leyden or Gesenius--I used to chant my geography or my Telemachus to my secret springs of song, without knowing how or why, but still chanting as my existence glided.

I had tolerable walks in the town and about through the dusty lanes with my sisters or my nurse, for I was curious; and, to a child, freshness is inspiration, and old sights seen afresh seem new.

I liked of all things to go to the chemist's when my mother replenished her little medicine-chest. There was unction in the smell of the packeted, ticketed drugs, in the rosy cinnamon, the golden manna, the pungent vinegar, and the aromatic myrrh. How I delighted in the copper weights, the spirit-lamp, the ivory scales, the vast magazines of lozenges, and the delicate lip-salve cases, to say nothing of the glittering toilet bagatelles, and perfumes and soaps! I mention all this just because the only taste that has ever become necessary to me in its cultivation, besides music, is chemistry, and I could almost say I know not which I adhere to most; but Memory comes,--

"And with her flying finger sweeps my lip."

I forbear.

I loved the factories, to some of which I had access. I used to think those wheels and whirring works so wonderful that they were like the inside of a man's brain. My notion was nothing pathetic of the pale boys and lank girls about, for they seemed merely stirring or moveless parts of the mechanism. I am afraid I shall be thought very unfeeling; I am not aware that I was, nevertheless.

I sometimes went out to tea in the town; I did not like it, but I did it to please my mother. At one or two houses I was accustomed to a great impression of m.u.f.fins, cake, and marmalade, with coffee and cream; and the children I met there did nothing adequately but eat. At a few houses, again, I fared better, for they only gave us little loaves of bread and little cups of tea, and we romped the evening long, and dramatized our elders and betters until the servants came for us. But I, at least, was always ready to go home, and glad to see my short, wide bed beside my mother's vast one, and my spotless dimity curtains with the lucid muslin frills; and how often I sang the best tunes in my head to the nameless effect of rosemary and lavender that haunted my large white pillow!

We always went to bed, and breakfasted, very early, and I usually had an hour before nine wherein to disport myself as I chose. It was in these hours Millicent taught me to sing from notes and to discern the aspect of the key-board. Of the crowding a.s.sociations, the teeming remembrances, just at infancy and early childhood, I reject all, except such as it becomes positively necessary I should recall; therefore I dwell not upon this phase of my life, delightful as it was, and stamped with perfect purity,--the reflex of an unperverted temperament and of kindly tenderness.

FOOTNOTES: