Mr. Bryan was a young man of notable gifts of speech and boundless self-assertion. When he found himself well in the saddle he began to rule despotically and to ride furiously. A party leader more short-sighted could hardly be imagined. None of his judgments came true. As a consequence the Republicans for a long time had everything their own way, and, save for the Taft-Roosevelt quarrel, might have held their power indefinitely. All history tells us that the personal equation must be reckoned with in public life. Assuredly it cuts no mean figure in human affairs. And, when politicians fall out—well—the other side comes in.
Chapter the Twenty-First
Stephen Foster, the Song-Writer—A Friend Comes to the Rescu His Originality—“My Old Kentucky Home” and the “Old Folks at Home”—General Sherman and “Marching Through Georgia”
I have received many letters touching what I said a little while ago of Stephen Collins Foster, the song writer. In that matter I had, and could have had, no unkindly thought or purpose. The story of the musical scrapbook rested not with me, but as I stated, upon the averment of Will S. Hays, a rival song writer. But that the melody of Old Folks at Home may be found in Schubert’s posthumous Rosemonde admits not of contradiction for there it is, and this would seem to be in some sort corroborative evidence of the truth of Hays’ story.
Among these letters comes one from Young E. Allison which is entitled to serious consideration. Mr. Allison is a gentleman of the first order of character and culture, an editor and a musician, and what he writes cannot fail to carry with it very great weight. I need make no apology for quoting him at length.
“I have long been collecting material about Foster from his birth to his death,” says Mr. Allison, “and aside from his weak and fatal love of drink, which developed after he was twenty-five, and had married, his life was one continuous devotion to the study of music, of painting, of poetry and of languages; in point of fact, of all the arts that appeal to one who feels within him the stir of the creative. He was, quite singularly enough, a fine mathematician, which undoubtedly aided him in the study of music as a science, to which time and balance play such an important part. In fact, I believe it was the mathematical devil in his brain that came to hold him within such bare and primitive forms of composition and so, to some extent, to delimit the wider development of his genius.
“Now as to Foster’s drinking habits, however unfortunate they proved to him they did not affect the quality of his art as he bequeathed it to us. No one cares to recall the unhappy fortunes of Burns, De Musset, Chopin or—even in our own time—of O. Henry, and others who might be named. In none of their productions does the hectic fever of over-stimulation show itself. No purer, gentler or simpler aspirations were ever expressed in the varying forms of music and verse than flowed from Foster’s pen, even as penetrating benevolence came from the pen of O. Henry, embittered and solitary as his life had been. Indeed when we come to regard what the drinkers of history have done for the world in spite of the artificial stimulus they craved, we may say with Lincoln as Lincoln said of Grant, ‘Send the other generals some of the same brand.’
“Foster was an aristocrat of aristocrats, both by birth and gifts. He inherited the blood of Richard Steele and of the Kemble family, noted in English letters and dramatic annals. To these artistic strains he added undoubtedly the musical temperament of an Italian grandmother or great-grand-mother. He was a cousin of John Rowan, the distinguished Kentucky lawyer and senator. Of Foster’s family, his father, his brothers, his sisters were all notable as patriots, as pioneers in engineering, in commerce and in society. One of his brothers designed and built the early Pennsylvania Railroad system and died executive vice-president of that great corporation. Thus he was born to the arts and to social distinction. But, like many men of the creative temperament, he was born a solitary, destined to live in a land of dreams. The singular beauty and grace of his person and countenance, the charm of his voice, manner and conversation, were for the most part familiar to the limited circle of his immediate family and friends. To others he was reticent, with a certain hauteur of timidity, avoiding society and public appearances to the day of his death.
“Now those are the facts about Foster. They certainly do not describe the ‘ne’er-do-well of a good family’ who hung round barrooms, colored-minstrel haunts and theater entrances. I can find only one incident to show that Foster ever went to hear his own songs sung in public. He was essentially a solitary, who, while keenly observant of and entering sympathizingly into the facts of life, held himself aloof from immediate contact with its crowded stream. He was solitary from sensitivity, not from bitterness or indifference. He made a large fortune for his day with his songs and was a popular idol.
“Let us come now to the gravamen of my complaint. You charge on the authority of mere gossip from the late Will S. Hays, that Foster did not compose his own music, but that he had obtained a collection of unpublished manuscripts by an unnamed old ‘German musician and thus dishonestly, by pilfering and suppression’ palmed off upon the public themes and compositions which he could not himself have originated. Something like this has been said about every composer and writer, big and little, whose personality and habits did not impress his immediate neighbors as implying the possession of genius. The world usually expects direct inheritance and a theatric impressiveness of genius in its next-door neighbor before it accepts the proof of his works alone. For that reason Napoleon’s paternity in Corsica was ascribed to General Maboeuf, and Henry Clay’s in early Kentucky to Patrick Henry. That legend of the ‘poor, unknown German musician’ who composed in poverty and secrecy the deathless songs that have obsessed the world of music lovers, has been told of numberless young composers on their way to fame, but died out in the blaze of their later work. I have no doubt they told it of Foster, as they did also of Hays. And Colonel Hays doubtless repeated it to you as the intimate gossip about Foster.