Elizabeth Davis Leavitt - "The Grasshopper Stories"

James Hay, Jr. - "The Winning Clue"

Jane L. Stewart - "A Campfire Girl's First Council Fire"

Mary Robinson - "Beaux and Belles of England"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

Little Journeys to the Homes of the Great Volume 14

E >> Elbert Hubbard >> Little Journeys to the Homes of the Great Volume 14




We know that Bach's wife had a thorough sympathy with his work, and that
he used to sing or play his compositions to her, and when the children
got big enough, they tried the new-made hymn tunes, too. These children
sang before they could talk plain, and the result was that the two elder
sons, Wilhelm Friedemann and Phillip Emmanuel, became musicians of
marked ability. Half a dozen other sons became musicians also, but the
two named above made some valuable additions to the music fund of the
world. Haydn has paid personal tribute to Emmanuel Bach, acknowledging
his obligation, and expressing to him the belief that he was a greater
man than his father.

The nine years Bach spent at Weimar, under the patronage of the Duke
Wilhelm Ernest, were years rich in results. His office was that of
Concert Master, and Leader of the Choir at Ducal Chapel. The duties not
being very exacting, he had plenty of time to foster his bent. Freed
from all apprehension along the line of the bread-and-butter question he
devoted himself untiringly to his work. It was here he developed that
style of fingering that was to be followed by the players on the
harpsichord, and which further serves as the basis for our present
manner of piano-playing. Bach was the first man to make use of the thumb
in organ-playing, and I believe it was James Huneker who once said that
"Bach discovered the human hand."

Bach made a complete study of the mechanism of the organ, invented
various arrangements for the better use of the pedals, and gave his
ideas without stint to the makers, who, it seems, were glad to profit by
them. Even then Weimar was a place of pilgrimage, although Goethe had
not yet come to illumine it with his presence. But the traditions of
Weimar have been musical and artistic for four hundred years, and this
had its weight with Goethe when he decided to make it his home.

In Bach's day, pilgrims from afar used to come to attend the musical
festivals given by the Duke of Saxe-Weimar; and these pilgrims would go
home and spread the name of Johann Sebastian Bach. Many invitations used
to come for him to go and play at the installation of a new organ, or to
superintend the construction of an organ, or to lead a chorus. Gradually
his fame grew, and although he might have lived his life and ended his
days there in the rural and peaceful quiet of Weimar, yet he harkened to
the voice and arose and went forth with his family into a place that
afforded a wider scope for his powers.

As Kapellmeister to the Court at Kothen he had the direction of a large
orchestra, and it seems also supervised a school of music.

When the Court moved about from place to place it was the custom to take
the orchestra, too, in order to reveal to the natives along the way what
good music really was. This was all quite on the order of the Duke of
Mantua, who used to travel with a retinue of two hundred servants and
attendants.

On one such occasion the Kothen Court went to Carlsbad. The visit
extended itself to six months, when Bach became impatient to return to
his family, and was allowed to go in advance of the rest of the company.
On reaching home he found his wife had died and been buried several
weeks before.

It was a severe shock to the poor man, but fortunately there was more
philosophy to his nature than romance, which is a marked trait in the
German character. All this is plainly evidenced by the fact that in many
German churches when a good wife dies, the pastor, at the funeral, as
the best friend of the stricken husband, casts his eyes over the
congregation for a suitable successor to the deceased. And very often
the funeral baked meats do coldly furnish forth the marriage feast. Man
is made to mourn, but most widowers say but a year.

The prompt second marriage of Bach was certainly a compliment to the
memory of his first wife, who was a most amiable helpmeet and friend. No
soft sentiment disturbed the deep immersement of this man in his work.
He was as businesslike a man as Ralph Waldo Emerson, who arranged his
second marriage by correspondence, and then drove over in a buggy one
afternoon to bring home the promised bride, making notes by the way on
the Over-Soul and man's place in the Universal Cosmos.

Events proved the wisdom of Johann Sebastian Bach's choice. His first
wife filled his heart, but this one was not only to do as much, but
often to guide his hand and brain. He was thirty-eight with a brood of
nine. Anna Magdalena was twenty-three, strong, fancy-free, and by a
dozen, lacking one, was to increase the limit.

As the years went by, Bach occasionally would arise in public places,
and with uncovered head thank God for the blessings He had bestowed upon
him, especially in sending him such a wife.

Anna Magdalena Wulken was a singer of merit, a player on the harp, and a
person of education. She certainly had no seraglio notions of wanting to
be petted and pampered and taken care of, or she would not have assumed
the office of stepmother to that big family and married a poor man. Bach
never had time to make money. Very soon after their marriage Bach began
to dictate music to his wife. A great many pieces can be seen in Leipzig
and Berlin copied out in her fine, painstaking hand, with an occasional
interlining by the Master. Other pieces written by him are amended by
her, showing plainly that they worked together.

As proof that this was no honeymoon whim, the collaboration continued
for over a score of years, in spite of increasing domestic
responsibilities.

From Kothen, Bach was called to Leipzig and elected by the municipal
authorities the Musical Director and Cantor of the Thomas School. For
twenty-seven years he labored here, doing the work he liked best, and
doing it in his own way. He escaped the pitfalls of petty jealousies,
into which most men of artistic natures fall, by rising above them all.
He accepted no insults; he had no grievances against either man or fate;
earnest, religious, simple--he filled the days with useful effort.

He was so well poised that when summoned by Frederick the Great to come
and play before him, he took a year to finish certain work he had on
hand before he went. Then he would have forgotten the engagement, had
not his son, who was Chamber Musician to the King, insisted that he
come. In the presence of Frederick it was the King who was abashed, not
he. He knew his kinship to Divinity so well that he did not even think
to assert it. And surely he was one fit to stand in the presence of
kings. For number, variety and excellence, only two men can be named as
his competitors: these are Mozart and Handel. But in point of
performance, simplicity and sterling manhood, Bach stands alone.




[Illustration: FELIX MENDELSSOHN]

FELIX MENDELSSOHN


The correspondence of Goethe and Zelter displeases me. I always
feel out of sorts when I have been reading it. Do you know that I
am making great strides in water-colors? Schirmer comes to me every
Saturday at eleven, and paints for two hours at a landscape, which
he is going to make me a present of, because the subject occurred
to him whilst I was playing the little "Rivulet" (which you know).
It represents a fellow who saunters out of a dark forest into a
sunny little nook; trees all about, with stems thick and thin; one
has fallen across the rivulet; the ground is carpeted with soft,
deep moss, full of ferns; there are stones garlanded with
blackberry-bushes; it is fine warm weather; the whole will be
charming.

--_Mendelssohn to Devrient_


FELIX MENDELSSOHN

Thirty-eight years is not a long life, but still it is long enough to do
great things. Felix Mendelssohn-Bartholdy was born in the year Eighteen
Hundred Nine, at Hamburg, and died at Leipzig in the year Eighteen
Hundred Forty-seven. His career was a triumphal march. The road to
success with him was no zigzag journey--from the first he went straight
to the front. Whether as a baby he crowed in key, and cried to a
one-two-three melody, as his old nurse used to aver, is a little
doubtful, possibly. But all agree that he was the most precocious
musical genius that ever lived, excepting Mozart; and Goethe, who knew
them both, declared that Mendelssohn's music bore the same relationship
to Mozart's as the talk of a grown-up cultured person to the prattle of
a child.

But then Goethe was not a musician, and sixty years had passed from the
time Goethe saw Mozart before he met Mendelssohn. Goethe loved the
brown-curled Jewish boy at sight; and whether on meeting Mozart he ever
recovered from the taint of prejudice that most people feel when a
prodigy is introduced, is a question.

But who can wonder that the old poet's heart went out to the youthful
Mendelssohn as soon as he saw him!

He was a being to fill a poet's dream--such a youth as the Old Masters
used to picture as the Christ when He confounded the wise men. And then
the painters posed this same type of boy as Daniel in the lions' den;
and back in the days of Pericles, the Greeks were fond of showing the
beautiful youth, just approaching adolescence, in the nude, as the god
of Love. When the face has all the soft beauty of a woman, and the
figure, slight, slender, lithe and graceful, carries only a suggestion
of the masculine strength to come--then beauty is at perihelion. The
"Eros" of Phidias was not the helpless, dumpy cherub "Cupid"--he was a
slender-limbed boy of twelve years who showed collar-bone and revealed
every rib.

Beauty and strength of the highest type are never complete--their lure
lies in a certain reserve, and behind all is a suggestion of unfoldment.
Maturity is not the acme of beauty, because in maturity there is nothing
more to hope for--only the uncompleted fills the heart, for from it we
construct the Ideal.

Goethe looked out of his window and seeing Felix Mendelssohn playing
with the children, exclaimed to Zelter, "He is a Greek god in the germ,
and I here solemnly protest against his wearing clothes."

The words sound singularly like the remark of Doctor Schneider, made ten
years later, when Herr Doctor removed the sheet that covered the dead
body of Goethe, and gazing upon the full-rounded limbs, the mighty
chest, the columnar neck and the Jovelike head, exclaimed, "It is the
body of a Greek god!" And the surgeons stood there in silent awe,
forgetful of their task.

Zelter, who introduced Mendelssohn to Goethe, was a fine old character,
nearly as fine a type as Goethe himself. Heine once said, "Musicians
constitute a third sex." And that there have been some unsexed, or at
least unmanly men, who were great musicians, need not be denied. The art
of music borders more closely upon the dim and mystic realms of the
inspirational than any of the other arts. Music refuses to give up its
secrets in a formula and at last eludes the sciolist with his ever-ready
theorem. But still, all musicians are not dreamers. Zelter, for
instance, was a most hard-headed, practical man: a positivist and
mathematician with a turn for economics, and a Gradgrind for facts. He
was a stone-mason, and worked at his trade at odd times all through his
life, just because he felt it was every man's duty to work with his
hands. Imagine Tolstoy playing the piano and composing instead of making
shoes, and you have Zelter.

This curious character was bound to the Mendelssohn family by his love
for Moses Mendelssohn, the grandfather of Felix. Moses Mendel added the
"sohn" in loving recognition of his father, just as "Bartholdy" was
added by the father of Felix in loving token to his wife. It was the
grandfather of Felix who first gave glory to the name. We sometimes
forget that Moses Mendelssohn was one of the greatest thinkers Germany
has produced--the man who summed up in his own head all the philosophy
of the time and gave Spinoza to the world. This was the man to whom the
erratic Zelter was bound in admiration, and when it was suggested that
he teach musical composition to the grandchild of his idol, he accepted
the post with zest.

But there came a shade of disappointment to the grim and bearded Zelter
when he failed to find a trace of resemblance between the child and the
child's grandfather. The boy was sprightly, emotional, loving; and could
play the piano from his tenth year better than Zelter himself. When
Goethe teasingly suggested this fact, Zelter replied, "You mean he plays
different, not better." Goethe apologized.

Yet the boy was not a philosopher, and this grieved Zelter, who wanted
him to be the grandson of his grandfather, and a musician besides.

The lad's skill in composition, however, soon turned the old teacher's
fears into joy. Such a pupil he had never had before! And he did not
reason it out that no one else had ever had, either. The child, like
Chopin, read music before he read print, and improvised, merging one
tune with another, bringing harmony out of hopeless chaos. Zelter
followed, fearing success would turn the boy's head--berating, scolding,
chiding, encouraging--and all the time admiring and loving. The pretty
boy was not much frightened by the old man's rough ways, but seized
upon such of the instruction as he needed and filled in the rest with
his own peerless soul.

The parents were astounded at such progress. At first they had wished
merely to round out the boy's education with a proper amount of musical
instruction, and now they reluctantly allowed the old teacher to have
his way--the lad must make his career a musical one. The boy composed a
cantata, which was given in the parlors of his parents' home, with an
orchestra secured for the occasion. Felix stood on a chair and led his
band of musicians with that solemn dignity which was his through life.
Zelter grumbled, ridiculed and criticized--that was the way he showed
his interest. The old musician declared they were making a "Miss Nancy"
of his pupil--saturating him with flattery, and he threatened to resign
his office--most certainly not intending to do so.

It was about this time that Zelter threw out the hint that he was going
down to Weimar to see his friend Goethe--would Felix like to go? Felix
would be delighted, and when the boy's father and mother were
interviewed, they were pleased, too, at the prospect of their boy's
making the acquaintance of the greatest poet of Germany. Felix was duly
cautioned about how he should conduct himself. He promised, of course,
and also agreed to write a letter home every day, recording the exact
language that the author of "Werther" used in his presence.

Goethe and the Carlylian Zelter had been cronies for many years. The
poet delighted in the company of the gruff old stone-mason musician, and
together they laughed at the world over their pipes and mugs. And
sometimes, alas, they hotly argued and raised their voices in
donner-und-blitzen style, as Germans have been known to do. Yet they
were friends, and the honest Zelter's yearly visits were as a godsend to
the old poet, who was often pestered to distraction by visitors who only
voiced the conventional, the inconsequential and absurd. Here was a man
who tried his steel.

Now, Zelter had his theories about teaching harmony--theories too finely
spun for any one but himself to grasp. Possibly he himself did not seize
them very firmly, but only argued them in a vain attempt to clear the
matter up in his own mind. The things we are not quite sure of are those
upon which we insist.

Goethe had pooh-poohed and smitten the table with his "stein" in denial.

And now Zelter, the frank and bold, stealthily and by concocted plot and
plan took his pupil, Felix Mendelssohn, with him on a visit to Weimar.
He wanted to confound his antagonist and to reveal by actual proof the
success that could be achieved where correct methods of instruction were
followed.

Jean Jacques had written a novel showing what right theories, properly
followed up, could do for his hero. Zelter had done better--he exhibited
the youth.

"A girl in boy's clothes, I do believe," said Goethe, with his usual
banter, in the evening when a little company had gathered in the
parlors. Felix sat on his teacher's knee, with his arms around the old
man's neck, girl-like. "Does he play?" continued Goethe, going over and
opening the piano.

"Oh, a little!" answered Zelter indifferently.

The ladies insisted--they always had music when Zelter made them a
visit.

"Come, make some noise and awaken the spirits that have so long lain
slumbering!" ordered the old poet.

Zelter advanced to the piano and played a stiff, formal little tune of
his own.

He arose and motioned to Felix.

"Play that!" said the teacher.

The child sat down, and with an impatient little gesture and half-smile
at the audience, played the piece exactly as Zelter had played it, with
a certain drawling style that was all Zelter's own. It was so funny that
the listeners burst into shouts of laughter. But the boy instantly
restored order by striking the bass a strong stroke with both hands,
running the scale, and weaving that simple little air into the most
curious variations.

For ten minutes he played, bringing in Zelter's little tune again and
again, and then Zelter in a voice of pretended wrath cried, "Cease that
tin-pan drumming and play something worth while."

Goethe arose, stroked the boy's pretty brown curls, kissed him on the
forehead and said: "Yes, play something worth while. I know you two
rogues--you have been practising on that piece for a year or more, and
now you pretend to be improvising--I'll see whether you can play!"

And going to a portfolio he took out a manuscript piece of music written
out in the fine, delicate hand of Mozart, and placed it on the
music-rack of the piano. Felix played the piece as if it were his own;
and then laying it aside, went back and played it through from memory.

Then piece after piece was brought out for him to play, and Zelter
leaned back and by his manner said, "Oh, it is nothing!"

And certainly it was nothing to the boy--he played with such ease that
his talent was quite unknown to himself. He had not yet discovered that
every one could not produce music just as they could talk.

Goethe's admiration for the boy was unbounded. The two weeks of
Mendelssohn's prescribed visit had expired and Goethe begged for an
extension of two weeks more. Every evening there was the little
impromptu concert. After that Felix paid various visits to Weimar.
Goethe's house was his home, and the affection between the old poet and
the young musician was very gentle and very firm. "All souls are of one
age," says Swedenborg. Goethe was seventy-three and Mendelssohn thirteen
when they first met, but very soon they were as equals--boys together.

Goethe was a learner to the day of his passing: he wanted to know. In
the presence of those who had followed certain themes further than he
had, he was as an eager, curious child. When Goethe was seventy-eight
and Mendelssohn eighteen, they spent another month together; and a
regular program of instruction was laid out. Each morning at precisely
nine, they met for the poet's "music lesson," as Goethe called it, and
the boy would play from some certain composer, showing the man's
peculiar style, and the features that differentiated him from others.
Goethe himself has recorded in his correspondence that it was Felix
Mendelssohn who taught him of Hengstenberg and Spontini, introduced him
to Hegel's "AEsthetics," and revealed to him for the first time the
wonders of Beethoven.

Can you not close your eyes and see them--the mighty giant of fourscore,
with his whitened locks, and the slight, slender, handsome boy?

The old man is seated in his armchair near the window that opens on the
garden. The youth is at the piano and plays from time to time to
illustrate his thought, then turns and talks, and the old man nods in
recognition. The boy sings and the old man chords in with a deep, mellow
bass which the years have not subdued.

When there are others present these two may romp, joke and talk
much--masking their hearts by frivolity--but together they sit in
silence, or speak only in lowered voices as all true lovers always do.
Their conversation is sparse and to the point; each is mindful of the
dignity and worth that the other possesses: each recognizes the respect
that is due to the mind that knows and the heart that feels. "All souls
are of one age."

* * * * *

With one exception, Felix Mendelssohn was unlike all the great composers
who lived before him--he was born in affluence; during his life all the
money he could use was his. No struggle for recognition marked his
growth. He never knew the pang of being misunderstood by the public he
sought to serve. Whether these things were to his lasting disadvantage,
as many aver, will forever remain a question of opinion.

Felix Mendelssohn was the culminating flower of a long line of exquisite
culture. He was an orchid that does not reproduce itself. With him died
the race. All that beauty of soul, vivacity, candor and sparkling
gaiety, with the nerved-up capacity for work, were but the flaring up of
life ere it goes out in the night of death. Such men never found either
a race or a school. They are the comets that dash across the plane of
our vision, obeying no orbit, leaving behind only a memory of blinding
light.

The character of Mendelssohn was distinctly feminine, and it follows
that his music should be played by men and not by women, otherwise we
get a suggestion of softness and tameness that is apt to pall. Man, like
Deity, creates in his own image.

Sorrow had never pierced the heart of this prosperous and very
respectable person.

He was never guilty of indiscretion or excess, and no demon of
discontent haunted his dreams.

In Mendelssohn's music we get no sense of Titanic power such as we feel
when "Wagner" is being played; no world problems vex us. The delicate,
plaintive, spiritual seductions of Chopin, who swept the keys with an
insinuating gossamer touch, are not there. The brilliant extravaganzas
of Liszt--passages illumined by living lightning--are wholly wanting.
But in it all you feel the deep, measured pulse of a religious
conviction that never halts nor doubts. There are grace, ease, beauty,
sweetness and exquisite harmony everywhere. In the "Saint Paul," as in
his other oratorios, are such arias for the contralto as, "But the Lord
is mindful of His own"; for the bass, "God have mercy upon us," and for
the tenor, "Be thou faithful unto death." These reveal pure and exalted
melody of highest type. It uplifts but does not intoxicate. Spontaneity
is sacrificed to perfection, and the lack of self-assertion allows us to
keep our wits and admire sanely.

Heinrich Heine, the pagan Jew, once taunted Mendelssohn with being a Jew
and yet conducting a "Passion Play." The gibe was a home-thrust and a
cruel one, since Mendelssohn had neither the wit nor the mental
acuteness to avoid the pink of the man who was hated by Jew and
Christian alike. Towards the exiled Heine, Mendelssohn had only a
patronizing pity--"Why should any man offend the people in power?" he
once asked.

Only the exiled can sympathize with the exile--only the downtrodden and
the sore-oppressed understand the outcast. Golgotha never came to
Mendelssohn, and this was at once his blessing and his misfortune.

And the grim fact still remains that world-poets have never been
"respectable," and that the saviors of the world are usually crucified
between thieves.

In life Mendelssohn received every token of approbation that men can pay
to other men. For him wealth waited, kings uncovered, laurel bloomed and
blossomed, and love crowned all. His popularity was greater than that of
any other man of his time. He had no enemies, no detractors, no
rivals--his pathway was literally and poetically strewn with roses. What
more can any man desire? Lasting fame and a name that never dies?
Avaunt! but first know this, that immortality is reserved alone for
those who have been despised and rejected of men.

* * * * *

Saintship is the exclusive possession of those who have either worn out,
or never had, the capacity to sin.

Fortunately for Felix Mendelssohn he never had it--he was ever the
bright, joyous, gracious, beautiful being that all his friends describe,
and every one who met him was his friend thereafter. The character of
"Seraphael" in the novel of "Charles Auchester," by Miss Sheppard,
portrays Mendelssohn in a glowing, seraphic light. The book reveals the
emotional qualities of a woman given over to her idol, and yet the man
is Mendelssohn--he was equal to the best that could be said of him.

The weakness of Miss Sheppard's book lies in the fact that she is so
true to life that we tire of the goodness and beauty, and long for a
rogue to keep us company and break the pall of a sweetness that cloys.

The bitterest thing Mendelssohn ever said of a public performer was to
describe a certain prima donna as acting like an "arrogant cook." All
the good orchestra leaders are supposed to have fine fits of frenzy when
they tear their hair in wrath at the discordant braying of careless
players. But Mendelssohn never lost his temper. When his men played
well, as soon as the piece was done he went among them shaking hands,
congratulating and thanking them. This would have been a great stroke of
policy in the eyes of a groundling, for the action never failed to catch
the audience, and then the applause was uproarious. At such times
Mendelssohn seemed to fail in knowing the applause was for him, and
appeared as one half-dazed or embarrassed, when suddenly remembering
where he was, he would seize the nearest 'cello, violin or oboe, and
drag the astonished man to the front to share the honors and bouquets.
If this was artistry it was of a high order and should be ranked as art.

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