"Poor Mara!"
The celebrated Rosenthal, in Germany, was the retreat where Goethe passed so many hours of leisure when a student. It was indeed a valley of roses, especially in early summer, when flowers are most abundant, and the tender green of the rich foliage is freshest and brightest. It was a lovely afternoon, but not sultry; a large awning was spread for temporary use; and just in the shade of a group of trees was set out a table with refreshments. A dozen seats were arranged round it, evidently for a small and select company. Ere long, carriages drove up, and some ladies alighted, and began to arrange the collation. Two of them were the wife and daughter of Doles, the musician; they brought flowers which they had gathered, and decorated the table, placing a wreath of roses and laurels over the seat destined to be occupied by their honored guest, no less a person than Mozart, who had come to give his last concert in Leipsic. The rest of the company soon joined them; and it would be interesting, had we space, to relate the conversation that formed the most delightful part of their entertainment. They were a few choice spirits, met to enjoy the society of Mozart in an hour sacred to friendship. There was no lack of humor and mirth; indeed, the composer would have acted at variance with his character had he not beguiled even the gravest by his amusing sallies; but the themes of their discourse were the musical masters of the world, and the state and prospect of their art.
"Oh! could we only entice you to live here," said one of the company to the great composer.
"No; the atmosphere does not suit me," replied Mozart; "the reserve would chill my efforts, for I live upon the love of those who suffer me to do as I please. Some other time, perhaps, I may come to Leipsic; just now Vienna is the place for me. By the way, what think you of Bonn?"
"You cannot think of Bonn for a residence?"
"Not I. Had you asked me where art had the least chance of spreading her wings for a bold flight—where she was most securely chained down and forbidden to soar, I should have answered, 'Bonn.' But that unpromising city has produced one of the greatest geniuses of our day."
"Who? who?" eagerly demanded several among the company.
"A lad, a mere lad, who has been under the tutelage of the elector's masters, and shocked them all by his musical eccentricities. They were ready to give him up in disgust. He came to me just before I left Vienna; modest, abashed, doubting his own genius, but eager to learn his fate from my lips. I gave him one of my most difficult pieces; he executed it in a manner so spirited, so admirable—carried away by the music, which entered his very soul, forgetful of his faint-heartedness—full of inspiration! 'Twas an artist, I assure you; a true and noble one, and I told him so."
"His name?"
"Louis von Beethoven."
"I know his father well," said Hiller.
"Then you know one who has given the world a treasure! For, mark me, railed at as he may be for refusing to follow in the beaten path, decried for his contempt of ordinary rules, the lad Beethoven will rise to a splendid fame! But his forte will be sacred music."
The conversation turned to the works of Bach and Handel.
As the sun declined westward, the company rose and returned to the city. When they had left the grounds, a figure came forward from the concealment of the foliage, and walked pensively to and fro. He had heard most of the conversation unobserved. It was the artist Mara, a violoncellist of great merit—famous, indeed—but ruined by dissipation. His wife had left him in despair of reforming his intemperate habits; his friends had deserted him; all was gone but his love of art; and that had brought him to see the great Mozart.
"Well, well," he said to himself, "I have heard and know him now. His taste is the same with mine; he glories in Handel and old Sebastian. Ah! that music in my dream." He struck his forehead. "But I can keep nothing in my head; Mara— Mara—non e pen com era prima! If 'twere not for this vertigo, this throbbing that I feel whenever I strive to collect my thoughts and fix them on an idea; if I could but grasp the conception, oh! 'twould be glorious!"
The spirit of art had not yet left the degraded being it had once inspired; but how sad were the struggles of the soul against her painful and contaminating bonds!
"Why," resumed the soliloquist—"why was I not invited to make one among the company assembled here to welcome the great chapel-master? I, too, am a famous artist; I can appreciate music; the public have pronounced me entitled to rank among the first. But nobody will associate with Mara in the day-time!
It is only at night, at the midnight revels, where such grave ones as the director scorn to appear, that Mara, like a bird of evil omen, is permitted to show his face. Then they shout and clap for me, and call me a merry fellow; and I am the merriest of them all! But I do not like such welcome. I would rather be reasonable if I could, and the wine would let me. The wine! Am I a slave to that? Ha, a slave! Alas! it is so; wine is my master; and he is jealous of every other, and beats me when I rebel, till I cry mercy, and crouch at his feet again. Oh! if I had a friend strong enough to get me out of his clutches. But I have no friends—none, not even Gertrude. She has left me; and there is no one at home now even to reproach me when I come back drunk, or make a noise in the house over the table with a companion or two. Heinrich—no; he laughs and makes game of me like the rest. I am sick of this miserable life; I am tired of being laughed at and shunned; I will put an end to it all, and then they will say once again, 'Poor Mara!'"
With a sudden start the wretched man rushed away, and was presently hid among the branches of the trees. A whistle was heard just then, and a lad, walking briskly, followed, hallooing after him. He came just in time. A stream, a branch of the Pleysse, watered the bottom of the valley; Mara was about to throw himself into it in the deepest spot, when his arm was caught by his pursuer.
"What the mischief are you about?"
"Let me alone!" cried Mara, struggling.
"Do you mean to be drowned?"
"Yes; that is just what I want. I came here for that purpose; and what have you to say against it, Friedrich?"
"Nothing, if your fancy runs that way," replied the lad, laughing; "only you have plenty of leisure for it hereafter, and just now you are wanted."
"Wanted?"
"Yes; I came to look for you."
"Who wants the poor drunkard Mara?"
"They want you at Breithoff's, tonight, at the supper given to Mozart after the concert; and you must bring your instrument; we are to have some rare fun. Come, if you are obedient, you shall go with me to the concert."
Mozart's concert! Surprised and pleased that some of his acquaintances had remembered him, Mara suffered himself to be led away by his companion.
The concert was a splendid one, and attended by all the taste and fashion of Leipsic. The orchestra was admirable, the singers were full of spirit and good humor, the audience delighted, the composer gratified and thankful. Mozart thanked the performers in a brief speech, and as soon as the concert was at an end was led off in triumph by the connoisseurs, his friends.
Magnificent beyond expectation was the entertainment prepared, and attended by many among the wealthy and the noble, as well as the most distinguished artists. The revelry was prolonged beyond midnight, and, as the guests became warmed with good cheer, we are bound to record that the conversation lost its rational tone, and that comical sallies and uproarious laughter began to usurp the place of critical discourse. They had songs from all who were musical; Mara, among the rest, was brought in, dressed in a fantastic but slovenly manner, and made to play for the amusement of the company. When he had played several pieces, the younger guests began to put their practical jokes upon him, and provoke him to imitate the noises of different animals on his violoncello. Mara entered into all their fun, convulsing them with his grotesque speeches and gestures, drinking glass after glass, till, at last, he fell back quite overpowered and insensible. Then his juvenile tormentors painted his face and clipped his mustaches, and tricked him out in finery that gave him the look of a candidate for Bedlam, and had him carried to his own house, laughing to imagine what his sensations would be, next morning, when he should discover how ludicrously he had been disfigured. In short, the whole party were considerably beyond the bounds of propriety and sound judgment, Mozart included.
It was considerably after noon, the next day, that poor Mara, the victim of those merciless revellers, might be seen sitting disconsolately in his deserted home. He had no heart even to be enraged at the cruelties practised on him. Pale as death, his eyes sunken and bloodshot, his limbs shivering, sat this miserable wretch, dressed in the same mockery of finery which had been heaped upon him in wicked sport.
The door soon opened, and Mozart entered. At sight of the composer, Mara rose and mechanically returned his salutation. Mozart looked grave and sad.
"You are much the worse for last night's dissipation, my good fellow," said he.
"Ah Master Mozart!" said the violoncellist, with a faint smile, "it is too good of you to visit such a dog as poor Mara."
"I have something to say to you, friend," answered the composer, in a voice of emotion. "In the first place, let me thank you for your music, last night."
The bewildered artist passed his hand across his forehead.
"I say, let me thank you. It is long since I have heard such music."
"You were pleased with it?" asked Mara, looking up, while a beam of joy shot into the darkness of his soul.
"Pleased? It was noble—heart-stirring! I must own I did not expect such from you. I expected to be shocked, but I was charmed. And when you played the air from Idomenio—sacré! but it went to my soul. I have never had my music so thoroughly appreciated—so admirably executed. Mara, you are a master of your art! I reverence you!"
"You?" repeated the artist, drawing his breath quickly.
"Yes; I own you for my brother, and so I told them all, last night."
The poor man gave a leap and seized the master by both hands; rapture had penetrated his inmost heart.
"Oh! you make me very happy," faltered he.
"I am glad of it, for now I am going to say something painful."
Mara hung his head.
"Nay, I reproach myself as much as you. We both behaved ill, last night; we both forgot the dignity of the artist and the man."
Again the poor violoncellist looked bewildered.
"We forgot that such as we are set up for an example to the uninitiated, and yielded to the tempter wine! Art—our mother—has reason to blush for us."
"For me," cried Mara, deeply moved; "but not for you."
"Yes, for me," repeated Mozart, "and for all who were there. It was a shameful scene. What," he continued, with rising indignation—"what would the true friends of art have thought of such beastly orgies, celebrated in her name? Why, they would have said, perhaps, 'These men are wild fellows, but we must let them have their way; we owe the fine music they give us to their free living; they must have stimulants to compose or play well.' No, no, no! it is base to malign the holy science we love. Such excesses but unfit us for work. I have never owed a good thought to the bottle. I tell you, I hate myself for last night's foolery."
"Ah master, you who are so far above me?" sighed Mara.
"And lo, here the wreck of a noble being!" said the composer, in a low voice and with much bitterness; then resuming: "Listen to me, Mara. You have been your own enemy, but your fall is not wholly your own work. You are wondrously gifted; you can be, you shall be, snatched from ruin. You can, you shall, rise above those who would trample on you now; become renowned and beloved, and leave an honored name to posterity. You have given me a lesson, Mara—a lesson which I shall remember my life long—which I shall teach to others. You have done me good—I will do something for you. Come with me to Vienna."
The poor violoncellist had eagerly listened to the words of him he so venerated—whom he looked on as a superior being. While he talked to him as an equal, while he acknowledged his genius, lamented his faults, and gave him hope that all was not yet lost, the spirit of the degraded creature revived within him. It was the waking of his mind's energies; the struggle of the soul for life against the lethargy of a mortal malady. Life triumphed! Mara was once more a man; but overcome by the conflict and by the last generous offer, he sank back, bowed his face upon his hands, and wept aloud.
"Come," cried Mozart, after a pause, during which his own eyes moistened—"come, we have no time to lose. I go out to-night by the evening post for Vienna; you must accompany me. Take this purse, put your dress in order, and make haste. I will call for you at eight. Be ready then. Not a word more." And forcing a well-filled purse into his trembling hands, the master hastened away too quickly to hear a word of thanks from the man he had saved from worse than death.
The great composer was early summoned from this and many other works of mercy and benevolence. But if this noble design was unaccomplished, at least good seed was sown, and Mara placed once more within view of the goal of virtuous hope. Rescued from the mire of degradation, he might, by perseverance, have won the prize; if he did not, the fault was wholly his own. Whatever the termination of his career, the moral lesson is for us the same.