The storm sobs and soothes itself to silence. There is a hush, and then an enthusiasm of delight. The small head slightly bows, the still face scarcely smiles, the slight form disappears,—and after all, it was only a fiddle.
"When Music, heavenly maid, was young," begins the ode; but Music, heavenly maid, seems to me still so young, so very young, as scarcely to have made her power felt. Her language is yet unlearned. When a baby of a month is hungry or in pain, he contrives to make the fact understood. If he is at peace with himself and his surroundings, he leaves no doubt on the subject. To precisely this degree of intelligibility has the Heavenly Maid attained among us. When Beethoven sat down to the composition of one of his grand harmonies, there was undoubtedly in his mind as distinct a conception of that which he wished to express, of that within him which clamored for expression, as ever rises before a painter's eye, or sings in a poet's brain. Thought, emotion, passion, hope, fear, joy, sorrow, each had its life and law. The painter paints you this. This the poet sings you. You stand before a picture, and to your loving, searching gaze its truths unfold. You read the poem with the understanding, and catch its concealed meanings. But what do you know of what was in Beethoven's soul? Who grasps his conception? Who faithfully renders, who even thoroughly knows his idea? Here and there to some patient night-watcher the lofty gates are unbarred, "on golden hinges turning." But, for the greater part, the musician who would tell so much speaks to unheeding ears. We comprehend him but infinitesimally. It is the Battle of Prague. Adrianus sits down to the piano, and Dion stands by his side, music-sheet in hand, acting as showman. "The cannon," says Dion, at the proper place, and you imagine you recognize reverberation. "Charge," continues Dion, and with a violent effort you fancy the ground trembles. "Groans of the wounded," and you are partly horror-struck and partly incredulous. But what lame representation is this! As if one should tie a paper around the ankle of the Belvedere Apollo, with the inscription, "This is the ankle." A collar declares, "This is the neck." A bandeau locates his "forehead." A bracelet indicates the "arm." Is the sculpture thus significant? Hardly more does our music yet signify to us. You hear an unfamiliar air. You like it or dislike it, or are indifferent. You can tell that it is slow and plaintive, or brisk and lively, or perhaps even that it is defiant or stirring; but how insensible you are to the delicate shades of its meaning! How hidden is the song in the heart of the composer till he gives you the key! You hear as though you heard not. You hear the thunder, and the cataract, and the crash of the avalanche; but the song of the nightingale, the chirp of the katydid, the murmur of the waterfall never reach you. This cannot be the ultimatum. Music must hold in its own bosom its own interpretation, and man must have in his its corresponding susceptibilities. Music is language, and language implies a people who employ and understand it. But music, even by its professor, is as yet faintly understood. Its meanings go on crutches. They must be helped out by words. What does this piece say to you? Interpret it. You cannot. You must be taught much before you can know all. It must be translated from music into speech before you can entirely assimilate it. Musicians do not trust alone to notes for moods. Their light shines only through a glass darkly. But in some other sphere, in some happier time, in a world where gross wants shall have disappeared, and therefore the grossness of words shall be no longer necessary, where hunger and thirst and cold and care and passion have no more admittance, and only love and faith and hope and admiration and aspiration, shall crave utterance, in that blessed unseen world shall not music be the everyday speech, conveying meaning not only with a sweetness, but with an accuracy, delicacy, and distinctness, of which we have now but a faint conception? Here words are not only rough, but ambiguous. There harmonies shall be minutely intelligible. Speak with what directness we can, be as explanatory, emphatic, illustrative as we may, there are mistakes, misunderstandings, many and grievous, and consequent missteps and catastrophes. But in that other world language shall be exactly coexistent with life; music shall be precisely adequate to meaning. There shall be no hidden corners, no bungling incompatibilities, but the searching sound penetrates into the secret sources of the soul, all-pervading. Not a nook, not a crevice, no maze so intricate, but the sound floats in to gather up fragrant aroma, to bear it yonder to another waiting soul, and deposit it as deftly by unerring magnetisms in the corresponding clefts.
Toot away, then, fifer-fellow! Turn your slow crank, inexorable Italian! Thrum your thrums, Miss Laura, for Signor Bernadotti! You are a way off, but your footprints point the right way. With many a yawn and sigh subjective, I greatly fear me, many a malediction objective, you are "learning the language of another world." To us, huddled together in our little ant-hill, one is "une bete," and one is "mon ange"; but from that fixed star we are all so far to have no parallax.
But I come down from the golden stars, for the white-robed one has raised her wand again, and we float away through the glowing gates of the sunrise, over the purple waves, over the vine-lands of sunny France, in among the shadows of the storied Pyrenees. Sorrow and sighing have fled away. Tragedy no longer "in sceptred pall comes sweeping by"; but young lambs leap in wild frolic, silken-fleeced sheep lie on the slopes of the hills, and shepherd calls to shepherd from his mountain-peak. Peaceful hamlets lie far down the valley, and every gentle height blooms with a happy home. Dark-eyed Basque girls dance through the fruitful orchards. I see the gleam of their scarlet scarfs wound in with their bold black hair. I hear their rich voices trilling the lays of their land, and ringing with happy laughter. But I mount higher and yet higher, till gleam and voice are lost. Here the freshening air sweeps down, and the low gurgle of living water purling out from cool, dark chasms, mingles with the shepherd's flute. Here the young shepherd himself climbs, leaping from rock to rock, supple, strong, brave, and free as the soul of his race,—the same iron in his sinews, and the same fire in his blood that dealt the "dolorous rout" to Charlemagne a thousand years ago. Sweetly across the path of Roncesvalles blow the evening gales, wafting tender messages to the listening girls below. Green grows the grass and gay the flowers that spring from the blood of princely paladins, the flower of chivalry. No bugle-blast can bring old Roland back, though it wind long and loud through the echoing woods. Lads and lasses, worthy scions of valiant stems, may sit on happy evenings in the shadow of the vines, or group themselves on the greensward in the pauses of the dance, and sing their songs of battle and victory,—the olden legends of their heroic sires; but the strain that floats down from e darkening slopes into their heart of hearts, the song that reddens in their glowing cheeks, and throbs in their throbbing breasts, and shines in their dewy eyes, is not the shock of deadly onset, glorious though it be. It is the sweet old song,—old, yet ever new,—whose burden is,
Come live with me and be my love,"—
old, yet always new,—sweet and tender, and not to be gainsaid, whether it be piped to a shepherdess in Arcadia, or whether a princess hears it from princely lips in her palace on the sea.
But the mountain shadows stretch down the valleys and wrap the meadows in twilight. Farther and farther the notes recede as the flutesman gathers his quiet flock along the winding paths. Smooth and far in the tranquil evening-air fall the receding notes, a clear, silvery sweetness; farther and farther in the hushed evening air, lessening and lowering, as you bend to listen, till the vanishing strain just cleaves, a single thread of pearl-pure melody, finer, finer, finer, through the dewy twilight, and—you hear only your own heart-beats. It is not dead, but risen. It never ceased. It knew no pause. It has gone up the heights to mingle with the songs of the angels. You rouse yourself with a start, and gaze at your neighbor half bewildered. What is it? Where are we? Oh, my remorseful heart! There is no shepherd, no mountain, no girl with scarlet ribbon and black braids bound on her beautiful temples. It was only a fiddle on a platform!
Now you need not tell me that. I know better. I have lived among fiddles all my life,—embryotic, Silurian fiddles, splintered from cornstalks, that blessed me in the golden afternoons of green summers waving in the sunshine of long ago,—sympathetic fiddles that did me yeomen's service once, when I fell off a bag of corn up garret and broke my head, and the frightened fiddles, not knowing what else to do, came and fiddled to me lying on the settee, with such boundless, extravagant flourish that nobody heard the doctor's gig rolling by, and so sinciput and occiput were left overnight to compose their own quarrels, whereby I was naturally all right before the doctor had a chance at me, suffering only the slight disadvantage of going broken-headed through life. What I might have been with a whole skull, I don't know; but I will say, that, good or bad, and even in fragments, my head is the best part of me.
Yes, I think I may dare affirm that whatever there is to know about a fiddle I know, and I can give my affidavit that it is no fiddle that takes you up on its broad wings, outstripping the "wondrous horse of brass," which required
"the space of a day natural,
This is to sayn, four and twenty houres,
Wher so you list, in drought or elles showres,
To beren your body into every place
To which your herte willeth for to pace,
Withouten wemme of you, thurgh foule or faire,"