CHAPTER II
THE NIGHTINGALE OF BATH
A century and a half ago Bath had reached the zenith of her fame and allurement, not only as "Queen of the West," but as Empress of all the haunts of pleasure in England. She drew, as by an irresistible magnet, rank and beauty and wealth to her shrine. In her famous Assembly Rooms, statesmen rubbed shoulders with card-sharpers, Marquises with swell mobsmen, and Countesses with courtesans, all in eager quest of pleasure or conquest or gain. The Bath season was England's carnival, when cares and ceremonial alike were thrown to the winds, when the pleasure of the moment was the only ambition worth pursuing, and when even the prudish found a fearful joy in playing hide-and-seek with vice.
But although the fairest women in the land flocked to Bath, by common consent not one of them all was so beautiful and bewitching as Elizabeth Ann Linley, the girl-nightingale, whose voice entranced the ear daily at the Assembly Rooms concerts as her loveliness feasted the eye. She was, as all the world knew, only the daughter of Thomas Linley, singing-master and organiser of the concerts, a man who had plied chisel and saw at the carpenter's bench before he found the music that was in him; but, obscure as was her birth, she reigned supreme by virtue of a loveliness and a gift of song which none of her sex could rival.
It is thus little wonder that Elizabeth Linley's fame had travelled far beyond the West Country town in which she was cradled. George III. had summoned her to sing to him in his London palace, and had been so overcome by her gifts of beauty and melody that, with tears streaming down his cheeks, he had stroked her hair and caressed her hands, and declared to the blushing girl that he had never seen any one so beautiful or heard a voice so divinely sweet.
Charles Dibdin tried to enshrine her in fitting verse, but abandoned the effort in despair, vowing that she was indeed of that company described by Milton:
"Who, as they sang, would take the prisoned soul
And lap it in Elysium."
The Bishop of Meath, in his unepiscopal enthusiasm, declared that she was "the link between an angel and a woman"; while Dr Charles Burney, supreme musician and father of the more famous Madame d'Arblay, wrote more soberly of her:
"The tone of her voice and expression were as enchanting as her countenance and conversation. With a mellifluous-toned voice, a perfect shake and intonation, she was possessed of the double power of delighting an audience equally in pathetic strains and songs of brilliant execution, which is allowed to very few singers."