I felt that my opportunity had come. Carried away as I was by the interest and excitement of the proceedings, I repeated from memory, without embarrassment, the first five lines of Mr. Spence's poem entitled "A Fragment (written after a night passed in the grave)."
"I lay a living soul within the tomb,—
A ghastly cabin damp with church-yard loam,
Where worms are rampant and where night enthrones
Darkness and horror, dust, decay, and bones;
Extremity of doleful comprehension."
There was a murmur of applause.
"Exquisitely apposite!" cried Mr. Fleisch, and for the first time he surveyed me through his eye-glass with evident interest.
Mr. Spence bent forward in acknowledgement of the quotation. Mrs. Marsh repeated after her neighbor,—
"Exquisitely apposite!"
"A fine passage and finely rendered," said Paul Barr; and he sighed (though it was not obvious why), and emptied his glass.
I glanced at my hostess. To my surprise she was examining a tea-cup, and as she looked up I saw that her face was no longer radiant. Our eyes met, and in an instant the truth flashed upon me. She was jealous! Without design I had too much absorbed the attention of the lion of the evening. Or was it Paul Barr's glances that I had estranged?
For a moment I was both confounded and regretful, but in the next I had decided that her resentment, if it were real, was unjustifiable. Any success I had won was unpremeditated, and there was no reason why I should be otherwise than natural, or decline to use to the best advantage the talents which Heaven had given me. It was Mr. Spence undoubtedly whom my hostess considered her especial property. She would have earlier indicated her disapproval had the artist-poet been the offender, for his glances had been unmistakable in their direction from the first. I felt in no wise to blame. It was not my intention or ambition to captivate either of these literary gentry; but if in my endeavors to appreciate and sympathize with their thoughts and theories I had been able to win their regard, was it for me to heed the envy of one who grudged me this trifling tribute to my enthusiasm? Assuredly not. Therefore I resolved to act exactly as if I were unconscious of Miss Kingsley's disapprobation.
I was aroused from these reflections by hearing Mr. Fleisch call me by name. He informed me in the curtailed speech we were using that he had set to music the words of the poem from which I had quoted, and that after tea he would, with the permission of the company, play it to us. From him and Mr. Spence conjointly I then learned that he had followed out the principles of moderation in a number of original productions. Most musical scores were too long, he said,—just as many people talked too much,—and he was seeking to popularize even classical works by abbreviating them, after the fashion adopted by Mr. Spence in regard to conversation. In this manner formidable pieces, like oratorios and symphonies, could be made congenial and instructive to those who usually found them tedious. In music as in literature the idea was the main consideration, and in Mr. Fleisch's opinion the vehicle by which it was conveyed should be as little cumbersome as possible. Acting on this principle, he had in one instance reduced an entire symphony to eight chords without destroying the charm. In music compression was possible to a greater extent, he believed, than in any other art.