"It may be so," replied one of the party: "we do not need their friendship, and do not ask it. But it were well if they understood a little more about the arts, which they affect to patronize. When we played in the best style, there was none to mind us: it was all sheer partiality. Any one they chose to favor, pleased; and they did not choose to favor those that merited to please. It was intolerable to observe how often silliness and mere stupidity attracted notice and applause."
"When I abate from this," said Wilhelm, "what seemed to spring from irony and malice, I think we may nearly say, that one fares in art as he does in love. And, after all, how shall a fashionable man of the world, with his dissipated habits, attain that intimate presence with a special object, which an artist must long continue in, if he would produce any thing approaching to perfection,—a state of feeling without which it is impossible for any one to take such an interest, as the artist hopes and wishes, in his work?
"Believe me, my friends, it is with talents as with virtue; one must love them for their own sake, or entirely renounce them. And neither of them is acknowledged and rewarded, except when their possessor can practise them unseen, like a dangerous secret."
"Meanwhile, until some proper judge discovers us, we may all die of hunger," cried a fellow in the corner.
"Not quite inevitably," answered Wilhelm. "I have observed, that, so long as one stirs and lives, one always finds food and raiment, though they be not of the richest sort. And why should we repine? Were we not, altogether unexpectedly, and when our prospects were the very worst, taken kindly by the hand, and substantially entertained? And now, when we are in want of nothing, does it once occur to us to attempt any thing for our improvement, or to strive, though never so faintly, towards advancement in our art? We are busied about indifferent matters; and, like school-boys, we are casting all aside that might bring our lesson to our thoughts."
"In sad truth," said Philina, "it is even so! Let us choose a play: we will go through it on the spot. Each of us must do his best, as if he stood before the largest audience."
They did not long deliberate: a play was fixed on. It was one of those which at that time were meeting great applause in Germany, and have now passed away. Some of the party whistled a symphony; each speedily bethought him of his part; they commenced, and acted the entire play with the greatest attention, and really well beyond expectation. Mutual applauses circulated: our friends had seldom been so pleasantly diverted.
On finishing, they all felt exceedingly contented, partly on account of their time being spent so well, partly because each of them experienced some degree of satisfaction with his own performance. Wilhelm expressed himself copiously in their praise: the conversation grew cheerful and merry.
"You would see," cried our friend, "what advances we should make, if we continued this sort of training, and ceased to confine our attention to mere learning by heart, rehearsing and playing mechanically, as if it were a barren duty, or some handicraft employment. How different a character do our musical professors merit! What interest they take in their art! how correct are they in the practisings they undertake in common! What pains they are at in tuning their instruments; how exactly they observe time; how delicately they express the strength and the weakness of their tones! No one there thinks of gaining credit to himself by a loud accompaniment of the solo of another. Each tries to play in the spirit of the composer, each to express well whatever is committed to him, be it much or little.
"Should not we, too, go as strictly and as ingeniously to work, seeing we practise an art far more delicate than that of music,—seeing we are called on to express the commonest and the strangest emotions of human nature, with elegance, and so as to delight? Can any thing be more shocking than to slur over our rehearsal, and in our acting to depend on good luck, or the capricious choice of the moment? We ought to place our highest happiness and satisfaction in mutually desiring to gain each other's approbation: we should even value the applauses of the public only in so far as we have previously sanctioned them among ourselves. Why is the master of the band more secure about his music than the manager about his play? Because, in the orchestra, each individual would feel ashamed of his mistakes, which offend the outward ear; but how seldom have I found an actor disposed to acknowledge or feel ashamed of mistakes, pardonable or the contrary, by which the inward ear is so outrageously offended! I could wish, for my part, that our theatre were as narrow as the wire of a rope-dancer, that so no inept fellow might dare to venture on it, instead of being, as it is, a place where every one discovers in himself capacity enough to flourish and parade."