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Anglo-American Alliance: A Serio-Comic Romance and Forecast of the Future

<h2 class="label">CHAPTER XIII</h2> <h2 class="main">Spencer Hamilton</h2></div> <div class="divBody"> Thunderous applause of appreciation greeted Abou Shimshek, at the conclusion of his interesting recital, and bowing right and left his acknowledgements, with beaming countenance he retired to his seat An intermezzo of mellifluent music in the interim was followed by the celebrated “Dusky Quartette.” This aggregation consisted of the following members: Madam Celeste D’oumbalooloo, a south African soprano of heavenly sweetness, and a beauty of “hippopotamic gracefulness;” Miss Guza Mulomba, the Kaffir prodigy, with a contralto voice of tremulous colorature; Signor Bombasto Reales, of Kabaloogan, a Filipino tenor of high pitch and clearness, and the basso, Signor Dido Abazuza, a Maori celebrity of thunderous profundity. <div class="figure xd22e1691width"><ANTIMG src="images/p136.jpg" alt="“The Dusky Quartette”" width-obs="553" height-obs="348"> “The Dusky Quartette” </div> [137] Indeed, under the felicitous protection of British and American sovereignty, these colonies had made such rapid advancement toward civilization, that they had produced an abundance of men and women of extraordinary talent and capacity in art and music, so as to eclipse their confreres of Hungarian and Polish origin, in days gone by. The portfolio of their operatic creations was a revelation. Especially did an operetta, called “Phantasie Senegambienne” arouse the enthusiasm of the audience to such a high pitch of spirituelle tension that at the conclusion—regardless of the (color line)—there was a simultaneous rush of both sexes to where the singers stood. A scene of indescribable osculatory battle raged, the sound of the contact of those luscious thick lips of the Dusky Quartette echoing and reverberating to the utmost recesses of the spacious hall. It took quite a long time before this charming labial fusillade of musical appreciation subsided. After another soothing interlude, giving the assemblage a chance to recover their composure, a clamorous applause brought forth the American violinist, to make his first debut in [138]Bombay. As he stepped forward, Spencer Hamilton instantly made a deep impression upon the audience. His masterful technique and wonderful skill of execution, when he rendered a new composition of his own, called “The Niagara,” aroused anew the enthusiasm of the throng and, under pressure of vociferous acclamation, he was obliged to render another selection. With the appearance of this splendid young specimen of manhood upon the platform there was created in the bosom of Aurora a strange psychological condition. Although surrounded with many gallant officers and youths of noble lineage, she was perceptibly affected by the sight of this handsome young American musician. At a glance at the violinist there sprang in her heart afresh the memories of her college days in America. A sudden sense of sadness swept over her, and her infatuation for her chum Margaret, and the recollection of their solemn vows, flashed vividly through her perplexed brain, evoking several deep sighs from the depths of her constant heart. Notwithstanding the cringing advances of many officers of position [139]and wealth, as well as scions of nobles, she had fallen desperately in love with the stranger at first sight. He seemed to her as an ideal, her affinity, but alas! she remembered her vow! Aurora was in a very disturbed frame of mind when Spencer Hamilton came forward for the encore. Spencer Hamilton, the violin virtuoso had, in the meantime, another mission to perform in connection with his appearance as a musical artist. He was no other than Margaret MacDonald herself, metamorphosed by Hyder Ben Raaba into the virile, manly fellow who had assumed the name of Spencer Hamilton and, as a violinist, had come to lay siege to the heart of Aurora. With his furtive glances now and then he was reading the soul of Aurora, now full of perplexing emotions. He could hardly control his own emotions and began to render as an encore a tune which he expected would create a tumult in the breast of Aurora Cunningham. Putting forth all his energy so as to make it his best effort in execution, he played to one alone. At first Aurora thought that the tune had [140]some vague resemblance to a musical production which she had heard before, but could not tell when and where. As it proceeded it gradually dawned upon her that, somehow there was a connection between the thought of Margaret and the music. She became more and more agitated and was quite certain now that this soul-stirring melody was the creation of her dear, beloved friend and confidant, Margaret MacDonald. Then she realized that the words were her own. “Oh, the oath!” she gasped, her brain in a delirium of intoxication. Realizing fully that the melody was nothing else than the very composition of Margaret, and that she had written the words at the Diana Seminary on the very eventful night of the moonlight reception, she was unable to conceive how it had become a public property. Was Margaret after all a capricious traitor, a recalcitrant, who had forsaken her solemn vow and desecrated their covenant? These and other thoughts drove Aurora to the verge of collapse, and as Spencer Hamilton concluded the piece with a finale of deep pathos that reached the pinnacle of tragic intensity, [141]there was commotion around where Aurora was enthroned, for she had lost consciousness. Thinking that the intense interest and excitement of the occasion had caused her faintness, she was gently removed to her apartment and the program of the evening’s festivities was completed with a brilliant reception and dance. Hamilton himself, however, was so affected that he left the reception at once and returned to his hotel and there tried to regain strength for the ordeal that he was planning to carry out next day. The following morning, at the proper time for calling in India, he left his hostelry and directed his steps toward the Viceregal palace on the pretense of making inquiry concerning the health of Aurora, but ostensibly to reveal the mysterious metempsychosis of himself and to reassert his undying love for her. Having arrived at the gate he learned that Aurora had been restored to her normal state of health and spirits. He consequently sent in his card and a few minutes later was summoned to the drawing-room of the palace where, after a second’s waiting, Aurora Cunningham [142]appeared on the threshold, somewhat flushed and agitated. Hamilton, on seeing Aurora, came forward and, extending his hand, inquired most anxiously for her health, and intimated that it would give him extreme pleasure to explain certain circumstances which would lead to the gratification of her own unspoken desires. “I know,” he said, “that the encore at last night’s musicale affected you very powerfully. I could intuitively read from your perturbed countenance that you had become aware of the authorship of the same. Aurora, Aurora, I am Margaret MacDonald! I am your confidant at the Diana Seminary, whom you loved, and am now metamorphosed into a man by the miraculous powers of the vivisectionist and re-incarnator—Hyder Ben Raaba. I have come to claim you as my own. Aurora, I love you!” <div class="figure xd22e1743width"><ANTIMG src="images/p142.jpg" alt="“And With a Piercing Shriek, She Fell Into His Arms”" width="562" height="362"> “And With a Piercing Shriek, She Fell Into His Arms” </div> Aurora, bewildered at this remarkable and dramatic declaration and revelation, too spellbound to speak even a word, uttered a piercing shriek and fell into the open arms of Spencer Hamilton. At the sound of this cry of distress, which echoed throughout the palace, footsteps were heard approaching from every [143]direction. Soldiers, foot-guards, servants, and the Viceroy Cunningham himself with his guests, rushed into the drawing-room and beheld this highly surprising tableau of romantic love. Explanations of very delicate and discreet nature were promptly given to the Viceroy by the two lovers, and consent to their union was presently forthcoming. </div> </div> <div id="ps" class="div1 postscript">[Contents] <div class="divHead"> <h2 class="main">Postscript</h2></div> <div class="divBody"> After a triumphal bridal tour through England and America, Aurora and Spencer Hamilton settled in the Central African Commonwealth, and by the strenuous qualities inherent in both they had become popular and prominent in civic affairs. Fifteen years later, in 1976, through sheer merit of a public life of usefulness and rectitude, Hamilton was gazetted as Viceroy to the African Commonwealth. The year 1976 was indeed an epoch-making period. It was the two hundredth anniversary of the Declaration of Independence, and at the same time the semi-centennial of the happy [144]Anglo-American Alliance. The double jubilee of these two nations, comprising nearly one-half of the world’s population, was celebrated wherever the English tongue was spoken, with commensurate grandeur, enthusiasm and eclat, such as absolutely to eclipse all the Durbars, Volksfests and celebrations in the history of the world. And none the less, the composite but flourishing African Commonwealth, under the wise regime of Spencer Hamilton, was ablaze with prosperous pride in unison with England and America, for this grand and felicitous dual occasion. [THE END] </div> </div></div> <div class="back"> <div class="transcribernote"> <h2 class="main">Colophon</h2> <h3 class="main">Availability</h3> This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. This eBook is produced by the Online Distributed Proofreading Team at www.pgdp.net. Scans of this book are available from The Internet Archive (copy 1, 2). Related Library of Congress catalog page: 06019934. Related Open Library catalog page (for source): OL24178692M. Related Open Library catalog page (for work): OL12181595W. Related WorldCat catalog page: 29370103. <h3 class="main">Encoding</h3> <h3 class="main">Revision History</h3> <ul> <li>2016-08-27 Started.</li> </ul> <h3 class="main">External References</h3> This Project Gutenberg eBook contains external references. These links may not work for you. <h3 class="main">Corrections</h3> The following corrections have been applied to the text: <table class="correctiontable" summary= "Overview of corrections applied to the text."> <tr> <th>Page</th> <th>Source</th> <th>Correction</th> </tr> <tr> <td class="width20">v, 28, 32, 118</td> <td class="width40 bottom">Soiree</td> <td class="width40 bottom">Soirée</td> </tr> <tr> <td class="width20">viii</td> <td class="width40 bottom">Shepards</td> <td class="width40 bottom">Shepherds</td> </tr> <tr> <td class="width20">viii</td> <td class="width40 bottom">shepards</td> <td class="width40 bottom">shepherds</td> </tr> <tr> <td class="width20">viii</td> <td class="width40 bottom">statemen</td> <td class="width40 bottom">statesmen</td> </tr> <tr> <td class="width20">30</td> <td class="width40 bottom">“</td> <td class="width40 bottom">‘</td> </tr> <tr> <td class="width20">30</td> <td class="width40 bottom">[Not in source]</td> <td class="width40 bottom">’</td> </tr> <tr> <td class="width20">32</td> <td class="width40 bottom">Féte</td> <td class="width40 bottom">Fête</td> </tr> <tr> <td class="width20">35, 63</td> <td class="width40 bottom">féte</td> <td class="width40 bottom">fête</td> </tr> <tr> <td class="width20">54</td> <td class="width40 bottom">Montgoflier</td> <td class="width40 bottom">Montgolfier</td> </tr> <tr> <td class="width20">57</td> <td class="width40 bottom">Herzle</td> <td class="width40 bottom">Herzl</td> </tr> <tr> <td class="width20">59</td> <td class="width40 bottom">common-wealth</td> <td class="width40 bottom">commonwealth</td> </tr> <tr> <td class="width20">65</td> <td class="width40 bottom">soiree</td> <td class="width40 bottom">soirée</td> </tr> <tr> <td class="width20">73</td> <td class="width40 bottom">[Not in source]</td> <td class="width40 bottom">,</td> </tr> <tr> <td class="width20">85, 85, 86, 87, 87, 87, 87, 134</td> <td class="width40 bottom">[Not in source]</td> <td class="width40 bottom">“</td> </tr> <tr> <td class="width20">86</td> <td class="width40 bottom">[Not in source]</td> <td class="width40 bottom">”</td> </tr> <tr> <td class="width20">86</td> <td class="width40 bottom">determental</td> <td class="width40 bottom">detrimental</td> </tr> <tr> <td class="width20">102</td> <td class="width40 bottom">conservant</td> <td class="width40 bottom">conversant</td> </tr> <tr> <td class="width20">104</td> <td class="width40 bottom">tho</td> <td class="width40 bottom">the</td> </tr> <tr> <td class="width20">111</td> <td class="width40 bottom">tete-a-tete</td> <td class="width40 bottom">tête-à-tête</td> </tr> <tr> <td class="width20">121</td> <td class="width40 bottom">develoment</td> <td class="width40 bottom">development</td> </tr> <tr> <td class="width20">127</td> <td class="width40 bottom">ampitheatre-like</td> <td class="width40 bottom">amphitheatre-like</td> </tr> <tr> <td class="width20">129</td> <td class="width40 bottom">similiar</td> <td class="width40 bottom">similar</td> </tr> <tr> <td class="width20">134</td> <td class="width40 bottom">millenium</td> <td class="width40 bottom">millennium</td> </tr> <tr> <td class="width20">134</td> <td class="width40 bottom">[Not in source]</td> <td class="width40 bottom">‘</td> </tr> <tr> <td class="width20">134</td> <td class="width40 bottom">”</td> <td class="width40 bottom">’</td> </tr> <tr> <td class="width20">136</td> <td class="width40 bottom">Philippino</td> <td class="width40 bottom">Filipino</td> </tr> <tr> <td class="width20">137</td> <td class="width40 bottom">operatta</td> <td class="width40 bottom">operetta</td> </tr> <tr> <td class="width20">144</td> <td class="width40 bottom">Volkfests</td> <td class="width40 bottom">Volksfests</td> </tr> </table></div> </div> <div style="break-after:column;"></div>

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