And at my feet to see them curled,
For if you make the world your slave
You'll ne'er be slave unto the world.
Evidently Dr. Nestley had become friendly with his quondam enemy, for both gentlemen now seemed to be on the best of terms with one another. Either the doctor had succumbed2 to the wonderful personal fascinations4 of Beaumont, or the artist had convinced Nestley that he was wrong in regarding him in a hostile manner.
On recognizing Miss Challoner, the young physician came forward to greet her, while Beaumont remained in the background lost in admiration5 at the wonderful beauty of her face, which appealed strongly to his artistic6 nature.
"I didn't expect to find you here, Miss Challoner," said Nestley eagerly; "my friend and I heard the singing and came in to listen; by the way, will you permit me to introduce Mr. Beaumont?"
Una bowed a little coldly, for she remembered what Reginald had said about the artist, but, hearing his name mentioned, Beaumont came forward and was formally presented. In spite of her distrust, Una could not but admire the handsome, tired-looking face she beheld7 and was still further impressed by the peculiar8 timbre9 of his voice when he began to talk. Beaumont certainly possessed10 in no small degree that wonderful fascination3 of manner attributed to the ill-fated Stewarts of Scotland which atoned11 so much for their fickleness12, treachery and ingratitude13.
"It is Mr. Blake who is singing, I think," observed Basil idly, "he has a wonderful voice."
"Yes," answered Una with a pleased smile. "I have never heard a finer--not even in Germany."
"Ah! you have been in Germany, Miss Challoner?"
"For some years--I stayed at Munich."
"A charming city which affords great opportunities for studying art both in music and painting."
"Did you study either, Miss Challoner?" asked Nestley, who seemed rather annoyed at the impression Beaumont had made.
"A little of both," she answered. "I was educated in Munich, but I'm afraid my learning was rather desultory--I sing a little--paint a little--and do both badly."
"That would be impossible," said Nestley desirous of paying a compliment, but Una frowned at the remark.
"Don't, please," she said coldly, "I dislike insincerity."
Nestley reddened a little at the tone of her voice and the obvious rebuke15, on seeing which Una held out her hand to him with a charming smile.
"You must not mind what I say, Dr. Nestley," she observed, bending forward, "I'm afraid I'm dreadfully rude."
"And wonderfully charming," thought Beaumont, who, however, kept his opinion to himself, warned by the fate of his friend.
The young doctor, meanwhile, had hastily assured Una that he did not mind her severity, in fact rather liked it, and would doubtless in all sincerity14 have committed himself again only that Blake commenced to sing "Come, Marguerite come," from Sullivan's "Martyr16 of Antioch," and they all listened attentively17.
Cecilia played the graceful18 accompaniment of arpeggi lightly, while above this constant sweep of dissevered chords, rising and falling with the voice, the high, penetrating19 notes of the singer flowed smoothly20 onward21 and, as the organist played softly, the full purity of the voice could be heard with marvellous effect. Owing to want of training, Blake's voice lacked in a great measure the power to give a perfect rendering22 to the melody, but the richness and mellowness23 of his notes were undeniable.
When he had finished Beaumont's face betrayed the pleasure he felt, and Una, who was watching him closely, asked his opinion.
"A wonderful voice," he said critically, as the three walked up the aisle24, "but of course it requires a great deal of cultivation25."
"I think it's charming," interposed Nestley, eager to curry26 favour with Una by praising one whom she evidently regarded as a brother.
"Of course you would think so," replied Beaumont a little contemptuously, "because you know nothing about the subject; to an uncultivated ear Blake's voice sounds well because he has a wonderfully fine organ, but to a musician there is a crudeness of style, a want of colouring, and a lack of refinement27 which makes him regret that such a great natural gift is not trained to its full capabilities28."
"But you're not a musician?" said Nestley, nettled29 at the superior tone adopted by his friend.
"No," answered Basil complacently30, "but I have heard a great deal, and as most of my life has been passed among musicians I have picked up a general knowledge of the technicality of the art. Shakespeare never committed a murder, yet he wrote Macbeth and Hamlet. Balzac did not fall in love till somewhere about the forties, but, he wrote 'Modeste Mignon,' and 'La Lys dans la vallee,' before that age--one does not need to be an artist to possess the critical faculty31."
By this time they had arrived at the chancel, and Reginald came forward to meet them, blushing a little with modesty32 on discovering three listeners instead of one.
"I must congratulate you on your voice once more," said Beaumont looking at him, "my advice is to go to London at once and study."
"London!" echoed Blake disbelievingly, "why not Italy?"
"A tradition only," replied the artist calmly, "because Italy is the land of song every singer thinks he or she must study there, but I assure you it's a mistake--London and Paris have as good teachers as Milan and Rome--I may say better, for everyone goes to the place where the largest income is to be made."
"How cynical," said Una playfully.
"And how true--this is not the golden age, Miss Challoner, but the age of gold--there is a vast difference between Arcady and Philistia, I assure you."
"I think I'll take your advice," observed Blake gaily33, "perhaps I've got a fortune in my throat, who knows?"
"Who, indeed?" said the artist gravely, "they pay nightingales well now-a-days."
"All the better for Mr. Blake," said Una lightly, "but how rude I am, I must introduce you two gentlemen to the organist--Miss Mosser--Dr. Nestley and Mr. Beaumont."
Beaumont, not knowing Cecilia was blind, merely bowed, but Nestley took the fragile hand of the girl and grasped it warmly.
"I enjoyed your playing so much," he said heartily34, "where did you learn?"
On hearing his voice the pale face of the blind girl coloured, and a painfully eager look crossed her features, as if she were trying to see the speaker's countenance35 in spite of her infirmity.
"What a beautiful voice," she murmured softly, and Nestley had to repeat his question before she answered:
"At the school for the blind at Hampstead," she said turning towards him, which reply gave Nestley a painful shock as he realized her misfortune. With delicate tact36, however, he passed the answer off lightly in a conversational37 manner.
"I don't know much about music myself," he said easily, "it seems such a complicated affair--are you fond of it?"
"Very," answered the blind girl quickly. "You see it is the only pleasure I have. When I go out on to the common and feel the fresh wind and smell the perfume of the gorse, I come back here and try and put it all into music. I often thank God for being able to play the organ."
It was deeply pathetic to hear her talk in this strain; shut out by her affliction from all the beauties of Nature, she could yet thank God for the one gift which enabled her in some measure to understand and appreciate what she had never beheld. Doctors, as a rule, are not very soft-hearted, but Nestley could hardly help feeling moved at the thrill of sadness which ran through her speech. This she perceived, and with a light laugh, hastened to dispel38 the illusion she had created.
"You must not think I am sad," she said cheerfully, "on the contrary, I never was so happy in my life as I am here. I was brought up all my life in London, and when I was appointed organist here, you can have no idea of the pleasure I felt. I have the common and the organ, while everyone is kind to me, so what have I to wish for? Now, Doctor Nestley, I must ask you to go, as I am about to practise. I think Miss Challoner and your friends have gone."
They were waiting for the doctor at the lower end of the church, so after saying good-bye to Cecilia, he hurried away into the dusky atmosphere, and as he reached Beaumont, the organ rolled out the opening chords of a mass by Pergolesi. Reginald went outside with Nestley as he wished to speak to him about the Squire39, and Una was left standing40 with Beaumont in the grey old church. They listened in silence to the deep thunder of the bass41 notes echoing in the high roof, when suddenly in the middle of a crashing chord the sonorous42 tones died away and a sweet, pure melody thrilled through the silence, which seemed almost oppressive after the tempest of sound.
"After the fire there came a still small voice," quoted Basil dreamily. "Do you remember how perfectly43 Mendelssohn has expressed that idea in music?"
"Yes, I heard the Elijah at the Albert Hall," replied Una in a matter-of-fact way, being a healthy English girl and not moved by the subtle meaning of the sacred music which touched so quickly the highly-strung nerves of this man.
"The Albert Hall," he repeated with a shrug44. "Oh yes, very fine I've no doubt, but to my mind it secularizes sacred music to hear it there--one hears a volume of sound--an immense number of voices in chorus and solos by the best artistes; but where is the soul of the work? one only finds that in a church. The Messiah was first heard in England in Westminster Abbey, and it was there, following the example set by the king, that the whole audience arose at the Hallelujah Chorus, but it was not the music alone, grand as it is, that produced this sudden burst of emotion, it was the august fane grey with centuries of tradition, the presence of the mighty45 dead sleeping around, and to crown all the dramatic grandeur46 of the chorus. All these together wrought47 on the feelings of those present and they did homage48 to the sublimity49 of the music--such a thing would be impossible in the Albert Hall."
"Don't you think you're giving all the praise to the surroundings and nothing to the musician," said Una quickly; "a true composer could impress his ideas on his hearers without any other aid."
"I've no doubt he could," replied Beaumont carelessly, "and no doubt plenty of people have felt emotion at Handel's music in the Albert Hall, but even Handel's genius would never have created such an effect as I have described anywhere but in a church; of course I haven't mentioned the memorable50 shaft51 of sunlight which deserves praise for its share in the affair."
Something in the flippancy52 of this remark jarred upon Una's feelings, so she made no reply but walked outside into the cool fresh air, followed by Beaumont.
He accompanied her as far as the lichgate and then raised his hat.
"I won't go any further, Miss Challoner," he said. "I'm in a meditative53 mood and will take a look round this old place. I hope to see you again soon at the Grange."
"The Grange?" she questioned, looking at him inquiringly.
"Yes, I'm coming to see the Squire about painting his portrait you know."
"Of course," she replied quickly. "I remember Patience told me."
"Patience," he asked in a startled tone, "did you say Patience?"
"Yes, Patience Allerby, the housekeeper," said Una gaily. "How pale you look, just as if you had seen a ghost--I dare say it's the effect of the church and music; good-bye, at present," and she walked quickly away.
He raised his hat mechanically and stood staring at the ground, looking pale and haggard.
"Patience Allerby," he said in a low voice. "After all these years--Patience Allerby."
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收听单词发音
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1
crave
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| vt.渴望得到，迫切需要，恳求，请求 | |
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2
succumbed
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| 不再抵抗（诱惑、疾病、攻击等）( succumb的过去式和过去分词 )； 屈从； 被压垮； 死 | |
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3
fascination
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| n.令人着迷的事物，魅力，迷恋 | |
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4
fascinations
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| n.魅力( fascination的名词复数 )；有魅力的东西；迷恋；陶醉 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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7
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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8
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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9
timbre
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| n.音色，音质 | |
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10
possessed
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| adj.疯狂的；拥有的，占有的 | |
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11
atoned
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| v.补偿，赎（罪）( atone的过去式和过去分词 )；补偿，弥补，赎回 | |
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12
fickleness
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| n.易变；无常；浮躁；变化无常 | |
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13
ingratitude
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| n.忘恩负义 | |
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14
sincerity
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| n.真诚，诚意；真实 | |
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15
rebuke
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| v.指责，非难，斥责 [反]praise | |
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martyr
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| n.烈士，殉难者；vt.杀害，折磨，牺牲 | |
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17
attentively
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| adv.聚精会神地；周到地；谛；凝神 | |
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18
graceful
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| adj.优美的，优雅的；得体的 | |
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19
penetrating
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| adj.（声音）响亮的，尖锐的adj.（气味）刺激的adj.（思想）敏锐的，有洞察力的 | |
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20
smoothly
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| adv.平滑地，顺利地，流利地，流畅地 | |
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21
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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rendering
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| n.表现，描写 | |
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23
mellowness
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| 成熟； 芳醇； 肥沃； 怡然 | |
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24
aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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cultivation
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| n.耕作，培养，栽培（法），养成 | |
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26
curry
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| n.咖哩粉，咖哩饭菜；v.用咖哩粉调味，用马栉梳，制革 | |
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27
refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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28
capabilities
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| n.能力( capability的名词复数 )；可能；容量；[复数]潜在能力 | |
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29
nettled
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| v.拿荨麻打，拿荨麻刺（nettle的过去式与过去分词形式） | |
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30
complacently
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| adv. 满足地, 自满地, 沾沾自喜地 | |
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31
faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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32
modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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33
gaily
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| adv.欢乐地，高兴地 | |
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34
heartily
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| adv.衷心地，诚恳地，十分，很 | |
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35
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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36
tact
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| n.机敏，圆滑，得体 | |
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conversational
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| adj.对话的，会话的 | |
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38
dispel
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| vt.驱走，驱散，消除 | |
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39
squire
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| n.护卫, 侍从, 乡绅 | |
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40
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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41
bass
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| n.男低音(歌手)；低音乐器；低音大提琴 | |
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42
sonorous
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| adj.响亮的，回响的；adv.圆润低沉地；感人地；n.感人，堂皇 | |
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43
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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44
shrug
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| v.耸肩(表示怀疑、冷漠、不知等) | |
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45
mighty
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| adj.强有力的；巨大的 | |
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46
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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47
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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48
homage
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| n.尊敬，敬意，崇敬 | |
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49
sublimity
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| 崇高，庄严，气质高尚 | |
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50
memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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51
shaft
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| n.(工具的)柄，杆状物 | |
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52
flippancy
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| n.轻率；浮躁；无礼的行动 | |
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53
meditative
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| adj.沉思的，冥想的 | |
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