“And I shall take my knitting-needles along, and if it should try to bite, I will hit it on the beak. Let us go now, madame.”
And the two women walked boldly across the anteroom, toward the door of the small parlor, in order to commence the campaign against the parrot. The cat followed them gravely and solemnly, and with an air as though it had taken the liveliest interest in the conversation, and thought it might greatly assist them in pacifying the screaming bird.
CHAPTER VI. JOSEPH HAYDN
While the parrot’s screams had rendered the mistress and her maid so uneasy, the most profound stillness and quiet reigned in the upper rooms of the little house. Not a sound interrupted the silence of this small, elegantly-furnished sitting-room. Even the sun apparently dared only to send a few stealthy beams through the windows, and the wind seemed to hold its breath in order not to shake the panes of the small chamber adjoining, venerated by all the inmates of the house as a sacred temple of art.
In this small chamber, in this temple of art, a gentleman, apparently engaged in reading, was seated at a table covered with papers and music-books, close to an open piano. He was no longer young; on the contrary, beholding only the thin white hair hanging down on his expansive and wrinkled forehead, and his stooping form, it became evident that he was an old man, nearly seventy years of age. But as soon as he raised his eyes from the paper, as soon as he turned them toward heaven with an air of blissful enthusiasm, the fire of eternal youth and radiant joyousness burst forth from those eyes; and whatever the white hair, the wrinkled forehead, the furrowed cheeks and the stooping form might tell of the long years of his life, those eyes were full of youthful ardor and strength—only the body of this white haired man was old; in his soul he had remained young—a youth of fervid imagination, procreative power, and nervous activity.
This venerable man with the soul, the heart, and the eyes of a youth, was Joseph Haydn, the great composer, whose glory, even at that time, filled the whole world, although he had not yet written his greatest masterpieces—the “Creation” and the “Seasons.”
He was working to-day at the “Creation.” [Footnote: Haydn commenced the “Creation” in 1797, and finished it in April, 1798.] The poem, which had been sent to him from England, and which his worthy friend Von Swieten had translated into German, lay before him. He had read it again and again, and gradually it seemed as if the words were transformed into music; gradually he heard whispering—low at first, then louder, and more sublime and majestic—the jubilant choirs of heaven and earth, that were to resound in his “Creation.”
As yet he had not written a single note; he had only read the poem, and composed in reading, and inwardly weighed and tried the sublime melodies which, when reduced to time and measure, and combined into an harmonious whole, were to form the new immortal work of his genius. While thus reading and composing, the aged musician was transformed more and more into a youth, and the glowing enthusiasm which burst forth from his eyes became every moment more radiant, surrounding his massive forehead with a halo of inspiration, and shedding the purple lustre of ecstatic joy upon his furrowed cheeks.