All the chess-players had left their boards and were gathered around him; the windows of the café were crowded with passers-by, attracted by the noise. There was laughter enough to bring down the ceiling. He noticed nothing, but went on in such a rapt state of mind, in an enthusiasm so close to madness, that I was uncertain whether he would recover, or if he would be thrown into a cab and taken straight to the mad-house; the while he sang the Lamentations of Jomelli.
With precision, fidelity, and incredible warmth, he rendered one of the finest passages, the superb obligato recitative in which the prophet paints the destruction of Jerusalem; he wept himself, and the eyes of the listeners were moist. More could not be desired in delicacy of vocalization, nor in the expression of overwhelming grief. He dwelt especially on those parts in which the great composer has shown his greatness most clearly. When he was not singing, he took the part of the instruments; these he quickly dropped again, to return to the vocal part, weaving one into the other so perfectly that the connection, the unity of the whole, was preserved. He took possession of our souls and held them in the strangest suspense I have ever experienced. Did I admire him? Yes, I admired him. Was I moved and melted? I was moved and melted, and yet something of the ludicrous mingled itself with these feelings and modified their nature.
But you would have burst out laughing at the way he imitated the different instruments. With a rough muffled tone and puffed-out cheeks he represented horns and bassoon; for the oboe he assumed a rasping nasal tone; with incredible rapidity he made his voice run over the string instruments, whose tones he endeavored to reproduce with the greatest accuracy; the flute passages he whistled; he rumbled out the sounds of the German flute; he shouted and sang with the gestures of a madman, and so alone and unaided he impersonated the entire ballet corps, the singers, the whole orchestra,—in short, a complete performance,—dividing himself into twenty different characters, running, stopping, with the mien of one entranced, with glittering eyes and foaming mouth.... He was quite beside himself. Exhausted by his exertions, like a man awakening from a deep sleep or emerging from a long period of abstraction, he remained motionless, stupefied, astonished. He looked about him in bewilderment, like one trying to recognize the place in which he finds himself. He awaited the return of his strength, of his consciousness; he dried his face mechanically. Like one who upon awaking finds his bed surrounded by groups of people, in complete oblivion and profound unconsciousness of what he had been doing, he cried, "Well, gentlemen, what's the matter? What are you laughing at? What are you wondering about? What's the matter?"
I—My dear Rameau, let us talk again of music. Tell me how it comes that with the facility you display for appreciating the finest passages of the great masters, for retaining them in your memory, and for rendering them to the delight of others with all the enthusiasm with which the music inspires you,—how comes it that you have produced nothing of value yourself?
(Instead of answering me, he tossed his head, and raising his finger towards heaven, cried:—)
The stars, the stars! When nature made Leo, Vinci, Pergolese, Duni, she wore a smile; her face was solemn and commanding when she created my dear uncle Rameau, who for ten years has been called the great Rameau, and who will soon be named no more. But when she scraped his nephew together, she made a face and a face and a face.—(And as he spoke he made grimaces, one of contempt, one of irony, one of scorn. He went through the motions of kneading dough, and smiled at the ludicrous forms he gave it. Then he threw the strange pagoda from him.) So she made me and threw me down among other pagodas, some with portly well-filled paunches, short necks, protruding goggle eyes, and an apoplectic appearance; others with lank and crooked necks and emaciated forms, with animated eyes and hawks' noses. These all felt like laughing themselves to death when they saw me, and when I saw them I set my arms akimbo and felt like laughing myself to death, for fools and clowns take pleasure in one another; seek one another out, attract one another. Had I not found upon my arrival in this world the proverb ready-made, that the money of fools is the inheritance of the clever, the world would have owed it to me. I felt that nature had put my inheritance into the purse of the pagodas, and I tried in a thousand ways to recover it.
I—I know these ways. You have told me of them. I have admired them. But with so many capabilities, why do you not try to accomplish something great?
He—That is exactly what a man of the world said to the Abbé Le Blanc. The abbé replied:—"The Marquise de Pompadour takes me in hand and brings me to the door of the Academy; then she withdraws her hand; I fall and break both legs."—"You ought to pull yourself together," rejoined the man of the world, "and break the door in with your head."—"I have just tried that," answered the abbé, "and do you know what I got for it? A bump on the head." ... (Then he drank a swallow from what remained in the bottle and turned to his neighbor.) Sir, I beg you for a pinch of snuff. That's a fine snuff-box you have there. You are a musician? No! All the better for you. They are a lot of poor deplorable wretches. Fate made me one of them, me! Meanwhile at Montmartre there is a mill, and in the mill there is perhaps a miller or a miller's lad, who will never hear anything but the roaring of the mill, and who might have composed the most beautiful of songs. Rameau, get you to the mill, to the mill; it's there you belong . . . But it is half-past five. I hear the vesper bell which summons me too. Farewell. It's true, is it not, philosopher, I am always the same Rameau?
I—Yes, indeed. Unfortunately.
He—Let me enjoy my misfortune forty years longer. He laughs best who laughs last.