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Updated: June 15, 2025
Thus in the three novels mentioned we have all that can be had of Elizabeth Sheppard herself: in the third, her theory of life; in the second, her aspirations and opinions; in the first, her passion. The orphaned daughter of an English clergyman, and self-dependent, in 1853 she translated her name into French and published "Charles Auchester," a book written at the age of sixteen.
That great novelist who lived in England and who was prime minister there, Lord Beaconsfield, was a Jew, and he was proud of it; and the Mendelssohns were Jews; and there are those wonderful musical novels Uncle George gave me to read last summer, 'Charles Auchester' and 'Counterparts, they are full of Jews and their genius "
One may put "Consuelo" side by side with "Charles Auchester," but what novel in the wide world deserves a place by "Counterparts"? It was worth having lived, to have once thrown broadcast such handfuls of beauty.
This was succeeded by many other tales, and finally by "Charles Auchester," which romance, as well as that of "Counterparts," was written in the few hours she could command after her teaching was over: for in her mother's school she taught music the greater part of every day, both theoretically and practically, and also Latin.
Thus yet more, when we recall that even were the musician's life not so, still it ought to be, and it is the right of the author to idealize, one can believe "Charles Auchester" to be but a faithful transcript.
By John Todd. Northampton. Bridgman & Childs. 18mo. pp. 374. 75 cts. The Cavalier, an Historical Novel. By G.P.R. James, Esq. Philadelphia. T.B. Peterson & Brothers. 12mo. pp. 391. $1.25. Counterparts, or the Cross of Love. By the Author of "Charles Auchester." Boston. Mayhew & Baker. 8vo. pp. 262. $1.00. Love. Translated from the Fourth Paris Edition by J.W. Palmer, M.D. New York.
The ordinary descriptions of music are all couched in emotional or even ideational terms, from the musical adventures of "Charles Auchester" down, and yet we know, as Gurney says, that when, in listening to music, we think we are yearning after the unutterable, we are really yearning after the next note; and when we think it is the yearning that gives us pleasure, it is really the triumphant acceptance of the melodic rightness of that next note.
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