[10] The paddle has superseded the cowhide in all jails, workhouses, and places of punishment in South Carolina, as being more effective—that is painful. In some instances it is used on the plantations. It consists of a wooden instrument, shaped like a baker's peel, with a blade from three to five inches wide, and from eight to ten long. There are commonly holes in the blade, which give the application a percussive effect. In Charleston this punishment is generally administered at the guardhouse by the police, who are all Irishmen. Any offended master or mistress sends a slave to the place of chastisement with a note, stating the desired amount, which is duly honored. Like institutions breed like results all over the world: in Sala's 'Journey Due North' we find the same system in operation in Russia.
PEN, PALLET, AND PIANO.
With the roar of cannon and tramp of armed men resounding through the land, and the fair young face of the Republic disfigured to our eyes by the deep furrows of war, it is pleasant to know that in certain nooks and corners, gentler sounds of harmony still linger, and that ateliers exist where men's fancies grow on canvas from day to day into soothing visions of loveliness.
The scarlet-and-gold and general paraphernalia of war are too tempting to pallet and brush, not to be seized on with avidity and reproduced with marvellous truth; but it is more agreeable to pass over accurate representations of the Irish zouave, with Celtic features, not purely classical in outline, glowing defiantly under the red cap of the Arab, and Teutonic cavalrymen, clinging clumsily to their steeds, and turn for solace to the grand, solemn Shores of Niagara, to wander amid the tangled luxuriance of the Heart of the Andes, or to bask in the sweet silence of Twilight in the Wilderness. There are Icebergs too, floating in the Arctic Sea, frozen white and mute with horror at the dread secrets of ages; but, responsive to the versatile talent of the hand that creates them, they glow with prismatic light of many colors. Mr. Church irradiates the frozen regions with the coruscations of his own genius, bringing to these lonely, despairing masses of ice the revivifying hope and promise of warmer climates.
In pondering over the sad mystery of these Icebergs, we float down again to Tropical Seas and Islands; and as we linger under the shade of palm and banana tree, the rude chant of the negro strikes the ear in the grotesque and characteristic framework of the 'Bananier,' the plaintive melody of 'La Savane' sighs past on the evening breeze, Spanish eyes flash out temptingly from the enticing cadence of the 'Ojos Criollos,' and Spanish guitars tinkle in the soft moonlight of the 'Minuit à Seville,' and Tropical life awakes to melody under the touch of the Creole poet of the piano, Mr. Gottschalk.
There are many beings, otherwise estimable, to whom the Tropical sense is wanting; who are ever suspicious of malaria lurking under the rich, glossy leaves of the orange groves; who look with disgust and loathing at the exaggerated proportions and venomous nature of all creeping things; who find the succulence of the fruit unpleasant to the taste, and the flowers, though fair to the eye, deadly as the upas tree to all other sense;—for whom it is no compensation to feel, with the first breath of morning air, the dull, leaden weight of life lifted, or no happiness to watch the sea heaving and palpitating with delight under the rays of the noon-day sun, and to know that the stars at night droop down lovingly and confidingly to the embrace of warm Tropical earth. With an insensibility to these influences, there can be but little sympathy or appreciation of the works of Mr. Gottschalk; for all that is born of the Tropics partakes of its beauties and its defects, its passionate languor, its useless profusion and its poetic tenderness. And where else in the United States, can we look for a spontaneous gush of melody? Plymouth Rock and its surroundings have not hitherto seemed favorable to the growth and manifestation of musical genius; for the old Puritan element, in its savage intent to annihilate the æsthetic part of man's nature, under the deadening dominion of its own Blue Laws, and to crush out whatever of noble inspiration had been vouchsafed to man by his Creator, rarely sought relief in outbursts of song.
Psalmody appears to have been the chief source of musical indulgence, and for many a long, weary year, hymns of praise, nasal in tone and dismal in tendency, have ascended from our prim forefathers to the throne of grace on high.
Such depressing musical antecedents have not prepared New England for greater efforts of melody than are to be found in the simple ballads supposed to originate with the plantation negro, who, in addition to his other burdens, is thus chosen to assume the onerous one of Northern song, as being the only creature frivolous enough to indulge in vain carolling. If we can scarcely affirm that the Americans are yet a musical people, that they would be is an undeniable fact, and one constantly evinced in their lavish support of artists, from the highest to the lowest grade. Among the musical aspirants to popular favor, none has of late enjoyed so large a share of notice and admiration as Mr. Gottschalk; and to return from our recent digression, we will proceed to the consideration of his compositions. Fragmentary and suggestive as are his ideas, there is infinite method and system in their treatment. Avoiding thus far what is termed 'sustained effort,' and which frequently implies the same demands on the patience of the listener as on the creative power of the composer, Mr. Gottschalk's compositions contain just so much of the true poetic vein as can be successfully digested and enjoyed in a piano piece of moderate length. With the power to conceive, and the will and discipline of mind to execute, there is no reason why, with perhaps a diminished tendency to fritter away positive excellence at the shrine of effect, enduring proofs of the genius of our American pianist should not be given to the world.
As a mere player, the popularity of Mr. Gottschalk with the uninitiated masses is due, in a great measure, to his tact in discerning the American craving for novelty and sensation, and to his native originality and brilliancy, which allow him to respond so fully to these exigencies of public taste, as to possess on all occasions the keynote to applause. The faculty of never degenerating into dulness, the rock on which most pianists are wrecked in early youth, is another just cause for insuring to our compatriot the preëminence which he enjoys. Viewed from a critical point, the mechanical endowments and acquirements of Gottschalk are such as to enable him to subject his playing to the test of keenest analysis without detriment to his reputation. For clearness and limpidity of touch and unerring precision, for impetuosity of style, combined with dreamy delicacy, he has few rivals. The evenness and brilliancy of his trill are unequalled, the mechanical process required to produce it being lost to sight in the wonderful birdlike nature of the effect. In the playing of classical music, Mr. Gottschalk has to contend against his own individuality. This individuality, naturally intense and of a kind calculated to meet with public favor, has been cultivated and indulged in to such an extent as to prove an occasional obstacle to the exclusive absorption and utter identification with the ideas of another composer that classical music demands. In the mere matter of execution there is no difficulty which the fingers of this skilful pianist cannot overcome, and his intellectual grasp of a subject enables him to discern and interpret the beauties of all musical themes; but where an earnest, passionate interest in the music of the old masters is not felt by the performer, it is rarely communicated to his hearers.