Working constantly for so many years, she had yet known nothing of her readers, had felt her literary life to be an utter failure, had thrown a voice into the world and heard no echo; and when for the first time told of the admiration she elicited in this country and of one who rejoiced in her, her face kindled and she desired to come and be among her own people. Those who have failed to appreciate her can hardly be blamed, as it is owing entirely to their deficiency; but the cavillers—those who have ears and hear not—are less excusable. Almost a recluse,—declining even an interview with her publishers,—in ill-health, in poverty, and with waning youth, she poured out her precious ointment from alabaster boxes, and there were not wanting Pharisees. But hampered by precedent and somewhat barren of enthusiasms as are almost all productions now, how could we do aught but welcome this spontaneous and ever-fresh fountain bubbling into the sunlight, albeit without geometrical restrictions, and bringing as it did such treasures from its secret sources? Yet, welcomed or not, there is no record of any female prose-writer's ever having lived who possessed more than a portion of that genius which permeated Elizabeth Sheppard's whole being. Genius,—the very word expresses her: in harmony with the great undertone of the universe, the soul suffused with light. Flower-warmth and fragrance are on her page, the soft low summer wind seems to be speaking with you as you read, her characters are like the stars impersonated, and still, however lofty her nature, always and forever genial. You catch her own idiosyncrasy throughout, and believe, that, like Evelyn Hope, she was made of spirit, fire, and dew. When we remember the very slight effect ever visible to her of all her labor, there is something sad in the thought of this young soul, thrilled with its own fervors and buoyant in anticipation, sending forth the first venture. But then we recognize as well, that she was one of those few to whom creation is a necessity, that in truth she scarcely needed human response, and that when men were silent God replied.
Miss Sheppard's style was something very novel. Based, perhaps, on an admiration of one whose later exploits have dwarfed his earlier in the general estimation, there was yet no more resemblance than between the string-courses of a building and its sculptured friezes. Indeed, writing was not her virtual expression: this may be learned even in her peculiar way of loving Nature, for it was not so much Nature itself as Nature's effects that she prized; and between the work now performed and that awaiting her in some further life one feels the difference that exists between the soft clay model with its mild majesty, its power clogged and covered, and the same when it issues in the white radiance of marble. She does not seem to have been an extensive reader, and certainly no student, while she totally disregarded all rules and revision. Her sentences were so long that one got lost in them, and had finally to go back and clutch a nominative case and drag it down the page with him; there were ambiguities and obscurities in plenty: her thoughts were so bright that they darkened her words; one must go through a process of initiation,—but having mastered the style, one knew the writer. It was well worth while, this shrouding rhetoric, for beneath it were no reserves; superficially no one ever kept more out of sight, but the real reader could not fail to know that here he had the freedom of the author's nature: and although she somewhere said that a woman "thus intensely feminine, thus proud and modest, betraying herself to the world in her writings, is an exception, and one in the whole world the most rare," she knew not that she sketched herself in that exception. But there are not elsewhere to be found pages so drenched with beauty as hers; and for all her vague abstractions of language, and wide, suffused effects, she possessed yet the skill to present a picture, keenly etched and vividly colored, in the fewest words, when she chose. Not to mention Rose and Bernard, who, oddly enough, are a series of the most exquisite pictures in themselves, bathed in changing and ever-living light, let us take, for instance, Maria Cerinthia walking in the streets of Paris, having worn out her mantilla, and with only a wreath of ivy on her head,—or Clotilda at her books, "looking very much like an old picture of a young person sitting there,"—or the charming one of Laura's pas, which the little boy afterwards describes in saying, "She quite swam, and turned her eyes upward,"—or, better, yet, that portrait of a Romagnese woman: "of the ancient Roman beauty, rare now, if still remembered, with hair to her knees, wrapping her form in a veil vivid as woven gold, with the emerald eyes of Dante's Beatrice, a skin of yellow whiteness, and that mould of figure in which undulating softness quenches majesty,—the mould of the mystical Lucretia." There are sea-sketches scattered among these leaves which no painter's brush will ever equal, and morning and twilight gain new splendor and tenderness beneath her touch.
But, after all, this was not her style's chief excellence; she cared little for such pictorial achievements, and in presenting her fancies she often sacrificed outline to melody; it is necessary for you to feel rather than to see her meaning. What distinguished her yet more was the ability by means of this style to interpret music into words. Although this may not be correct practice, there was never a musical critic who did not now and then attempt it: musicians themselves never do, because music is to them nothing to see or to describe, but the air they breathe, and in fact a state of being. Do you remember that tone-wreath of heather and honeysuckle? "It was a movement of such intense meaning that it was but one sigh of unblended and unfaltering melody isolated as the fragrance of a single flower, and only the perfumes of Nature exhale a bliss as sweet, how far more unexpressed! This short movement, that in its oneness was complete, grew, as it were, by fragmentary harmonies, intricate, but most gradual, into another,—a prestissimo so delicately fitful that it was like moonlight dancing upon crested ripples; or, for a better similitude, like quivering sprays in a summer wind. And in less than fifty bars of regularly broken time—how ravishingly sweet I say not—the first subject in refrain flowed through the second, and they, interwoven even as creepers and flowers densely tangled, closed together simultaneously." And if you have not the book by you, will you pardon another,—the awful and eternal flow of the Mer de Glace?
"At first awoke the strange, smooth wind-notes of the opening adagio; the fetterless chains of ice seemed to close around my heart. The movement had no blandness in its solemnity; and so still and shiftless was the grouping of the harmonies, that a frigidity, actual as well as ideal, passed over my pores and hushed my pulses. After a hundred such tense yet clinging chords, the sustaining calm was illustrated, not broken, by a serpentine phrase of one lone oboë, pianissimo over the piano-surface, which it crisped not, but on and above which it breathed like the track of a sunbeam aslant from a parted cloud. The slightest possible retardation at its close brought us to the refrain of the simple adagio, interrupted again by a rush of violoncello-notes, rapid and low, like some sudden under-current striving to burst through the frozen sweetness. Then spread wide the subject, as plains upon plains of water-land; though the time was gradually increased. Amplifications of the same harmonies introduced a fresh accession of violoncelli and oboi contrasted artfully in syncopation, till at length the strides of the accelerando gave a glittering precipitation to the entrance of the second and longest movement.
"Then Anastase turned upon me, and with the first bar we fell into a tumultuous presto. Far beyond all power to analyze as it was just then, the complete idea embraced me as instantaneously as had the picturesque chillness of the first. I have called it tumultuous,—but merely in respect of rhythm:—the harmonies were as clear and evolved as the modulation itself was sharp, keen, and unapproachable. Through every bar reigned that vividly enunciated ideal, whose expression pertains to the one will alone in any age,—the ideal, that, binding together in suggestive imagery every form of beauty, symbolizes and represents something beyond them all.
"Here over the surge-like, but fast-bound motivo—only like those tost ice-waves, dead still in their heaped-up crests—were certain swelling crescendos of a second subject, so unutterably if vaguely sweet, that the souls of all deep blue Alp-flowers, the clarity of all high blue skies, had surely passed into them, and was passing from them again….
"It was not until the very submerging climax that the playing of Anastase was recalled to me. Then, amidst long ringing notes of the wild horns, and intermittent sighs of the milder wood, swept from the violins a torrent of coruscant arpeggi, and above them all I heard his tone, keen but solvent, as his bow seemed to divide the very strings with fire, and I felt as if some spark had fallen upon my fingers to kindle mine. As soon as it was over, I looked up and laughed in his face with sheer pleasure."
Nothing of the kind was ever half so delightful, if one excepts Mr. Dwight's translation of a Gondel-lied. As literal description it is wondrous, but as imagination it equals the music itself. Let us pause for an instant here and recall the singular inventive and combining grace with which a Spectacle is always given in these stories. It is well known that Mendelssohn contemplated an opera upon the "Tempest," although he did not live to execute the idea; but how charmingly is that taken and mingled with what he had already done in the "Midsummer-Night's Dream," at the festival of the Silver Wedding, when the lonely tones from age to age frozen on the cups of lilies, the orbed harmonies bound burning within the roses, the dreaming song thrilled along the veins of violets, intricate sounds hushed under green gloom of myrtle-leaves, mourning chords with which the cedars stood charged,—were all disenchanted and stole forth on longing wind-instruments and on the splendor of violins, "accumulating in orchestral richness, as if flower after flower of music were unsheathing to the sun"!
Yet the unlovely is not to be found within these covers: there was a quality in the writer's mind like that fervid, all-vivifying sunshine which so illumines the cities of the desert, so steeps the pavements, so soaks through the pores of solids, so sharpens angles and softens curves, as Fromentin tells us, that even squalor borrows brilliant dyes, and rags and filth lighten into picturesque and burnished glory. And this is well for the reader, as all have not time for philosophy, nor can all transmute pain into treasure. But for her, sweet sounds and sights abound in everything; bird and breeze and bee alike are winged with melody; the music of the sea satisfies her heart, and there "the artist-ear,—which makes a spectrum for all sounds that are not separate, distinguishes the self-same harmonies that govern the gradations of the orchestra, from deep to deep descending, until sounds are lost in sound as lights in light";—the trains have their thunderous music in her hearing; and the bells to which Cecilia listens seem to be ringing in the last day:—"The ravishing and awful sound of them, which is only heard by the few,—the passion in their rise and fall,—their wavering,—their rushing fulness,—drew off all consciousness: most like the latest and last passion,—the passion of death."
There seems to be no subject which this woman has not pondered deeply. Her theory of Temperament is an attendant fairy that does marvellous things for her, and not only apportions natures, but corresponding bodies, so that we can easily see how the golden age is to return again, when peradventure deceits shall be impossible, and all the virtues thrive by mere necessity under the reign of this perfected Science of the Soul. Yet, roam where she would, there were always two mysteries that allured her back again, as Thoné's curt sentence told,—"Tonkunst und Arzenei"; and to these might be added Race, in defiance of Mr. Buckle. Assuredly the Hebrew owes acknowledgment to her, and not George Borrow, with all his weird learning, enters more deeply into the Burden of Egypt; Browning's appreciation of the gypsy standing alone beside hers,—Browning, between whose writings and her own a rich sympathy exists, both being so possessed of fulness. Yet verse could not chain her wide eloquence in its fetters; and whenever she attempted it, its music made her thought shapeless. There is one exception to this, however, and we give it below,—for, inartistic as this mould may seem, and amorphous as its ideas may be, it is the only instance of any rhymes fully translating the meaning of music, and it is as full of clinging pathos and melody as the great creation it paraphrases, and to which no words will quite respond.