Cord and Creese Part 76

Beatrice had opened her mouth to begin, but as that thunder of admiration arose she fell back a pace. Was it the applause that had overawed her?

Her eyes were fixed on one spot at the extreme right of the pit. A face was there which enchained her. A face, pale, sad, mournful, with dark eyes fixed on hers in steadfast despair.

Beatrice faltered and fell back, but it was not at the roar of applause.

It was that face--the one face among three thousand before her, the one, the only one that she saw. Ah, how in that moment all the past came rushing before her--the Indian Ocean, the Malay pirate, where that face first appeared, the Atlantic, the shipwreck, the long sail over the seas in the boat, the African isle!

She stood so long in silence that the spectators wondered.

Suddenly the face which had so transfixed her sank down. He was gone, or he had hid himself. Was it because he knew that he was the cause of her silence?

The face disappeared, and the spell was broken. Langhetti stood at the side-scenes, watching with deep agitation the silence of Beatrice. He was on the point of taking the desperate step of going forward when he saw that she had regained her composure.

She regained it, and moved a step forward with such calm serenity that no one could have suspected her of having lost it. She began to sing. In an opera words are nothing--music is all in all. It is sufficient if the words express, even in a feeble and general way, the ideas which breathe and burn in the music. Thus it was with the words in the opening song of Beatrice.

But the music! What language can describe it?

Upon this all the richest stores of Langhetti's genius had been lavished. Into this all the soul of Beatrice was thrown with sublime self-forgetfulness. She ceased to be herself. Before the audience she was Athene.

Her voice, always marvelously rich and full, was now grander and more capacious than ever. It poured forth a full stream of matchless harmony that carried all the audience captive. Strong, soaring, penetrating, it rose easily to the highest notes, and flung them forth with a lavish, and at the same time far-reaching power that penetrated every heart, and thrilled all who heard it. Roused to the highest enthusiasm by the sight of that vast a.s.semblage, Beatrice gave herself up to the intoxication of the hour. She threw herself into the spirit of the piece; she took deep into her heart the thought of Langhetti, and uttered it forth to the listeners with harmonies that were almost divine--such harmonies as they had never before heard.

There was the silence of death as she sang. Her voice stilled all other sounds. Each listener seemed almost afraid to breathe. Some looked at one another in amazement, but most of them sat motionless, with their heads stretched forward, unconscious of any thing except that one voice.

[Ill.u.s.tration: "THE APPEARANCE OF BEATRICE WAS LIKE A NEW REVELATION."]

At last it ceased. For a moment there was a pause. Then there arose a deep, low thunder of applause that deepened and intensified itself every moment till at last it rose on high in one sublime outburst, a frenzy of acclamation, such as is heard not seldom, but, once heard, is never forgotten.

Beatrice was called out. She came, and retired. Again and again she was called. Flowers were showered down in heaps at her feet. The acclamations went on, and only ceased through the consciousness that more was yet to come. The piece went on. It was one long triumph. At last it ended. Beatrice had been loaded with honors. Langhetti was called out and welcomed with almost equal enthusiasm. His eyes filled with tears of joy as he received this well-merited tribute to his genius. He and Beatrice stood on the stage at the same time. Flowers were flung at him. He took them and laid them at the feet of Beatrice.

At this a louder roar of acclamation arose. It increased and deepened, and the two who stood there felt overwhelmed by the tremendous applause.

So ended the first representation of the "Prometheus!"

CHAPTER x.x.xVIII.

THE SECRET.

The triumph of Beatrice continued. The daily papers were filled with accounts of the new singer. She had come suddenly before them, and had at one bound reached the highest eminence. She had eclipsed all the popular favorites. Her sublime strains, her glorious enthusiasm, her marvelous voice, her perfect beauty, all kindled the popular heart. The people forgave her for not having an Italian name, since she had one which was so aristocratic. Her whole appearance showed that she was something very different from the common order of artistes, as different, in fact, as the "Prometheus" was from the common order of operas. For here in the "Prometheus" there were no endless iterations of the one theme of love, no perpetual repet.i.tions of the same rhyme of _amore_ and _cuore_, or _amor'_ and _cuor'_; but rather the effort of the soul after sublimer mysteries. The "Prometheus" sought to solve the problem of life and of human suffering. Its divine sentiments brought hope and consolation. The great singer rose to the alt.i.tude of a sibyl; she uttered inspirations; she herself was inspired.

As she stood with her grand Grecian beauty, her pure cla.s.sic features, she looked as beautiful as a statue, and as ideal and pa.s.sionless. In one sense she could never be a popular favorite. She had no archness or coquetry like some, no voluptuousness like others, no arts to win applause like others. Still she stood up and sang as one who believed that this was the highest mission of humanity, to utter divine truth to human ears. She sang loftily, thrillingly, as an angel might sing, and those who saw her revered her while they listened.

And thus it was that the fame of this new singer went quickly through England, and foreign journals spoke of it half-wonderingly, half-cynically, as usual; for Continentals never have any faith in English art, or in the power which any Englishman may have to interpret art. The leading French journals conjectured that the "Prometheus" was of a religious character, and therefore Puritanical; and consequently for that reason was popular. They amused themselves with the idea of a Puritanical opera, declared that the English wished to Protestantize music, and suggested "Calvin" or "The Sabbath" as good subjects for this new and entirely English cla.s.s of operas.

But soon the correspondents of some of the Continental papers began to write glowing accounts of the piece, and to put Langhetti in the same cla.s.s with Handel. He was an Italian, they said, but in this case he united Italian grace and versatility with German solemnity and melancholy. They declared that he was the greatest of living composers, and promised for him a great reputation.

Night after night the representation of the "Prometheus" went on with undiminished success; and with a larger and profounder appreciation of its meaning among the better cla.s.s of minds. Langhetti began to show a stronger and fuller confidence in the success of his piece than he had yet dared to evince. Yet now its success seemed a.s.sured. What more could he wish?

September came on, and every succeeding night only made the success more marked. One day Langhetti was with Beatrice at the theatre, and they were talking of many things. There seemed to be something on his mind, for he spoke in an abstracted manner. Beatrice noticed this at last, and mentioned it.

He was at first very mysterious. "It must be that secret of yours which you will not tell me," said she. "You said once before that it was connected with me, and that you would tell it to me when the time came.

Has not the time come yet?"

"Not yet," answered Langhetti.

"When will it come?"

"I don't know."

"And will you keep it secret always?"

"Perhaps not."

"You speak undecidedly."

"I am undecided."

"Why not decide now to tell it?" pleaded Beatrice. "Why should I not know it? Surely I have gone through enough suffering to bear this, even if it bring something additional."

Langhetti looked at her long and doubtfully.

"You hesitate," said she.

"Yes."

"Why?"

"It is of too much importance."

"That is all the more reason why I should know it. Would it crush me if I knew it?"

"I don't know. It might."

"Then let me be crushed."

Langhetti sighed.

"Is it something that you know for certain, or is it only conjecture?"

"Neither," said he, "but half-way between the two."

Beatrice looked earnestly at him for some time. Then she put her head nearer to his and spoke in a solemn whisper.

"It is about my mother!"

Langhetti looked at her with a startled expression.