1.
Oh Galuppi, Baldassaro, this is very sad to find!I can hardly misconceive you; it would prove me deaf and blind;But, although I take your meaning, ’tis with such a heavy mind!
— St. 1. Galuppi, Baldassaro (rather Baldassare): b. 1703, in Burano, an island near Venice, and thence called Buranello; d. 1785; a distinguished composer, whose operas, about fifty in number, and mostly comic, were at one time the most popular in Italy; Galuppi is regarded as the father of the Italian comic opera.
2.
Here you come with your old music, and here’s all the good it brings.What, they lived once thus at Venice where the merchants were the kings,Where Saint Mark’s is, where the Doges used to wed the sea with rings?
—St. 2. Saint Mark’s: see Ruskin’s description of thisglorious basilica, in ‘The Stones of Venice’.
3.
Ay, because the sea’s the street there; and ’tis arched by…what you call…Shylock’s bridge with houses on it, where they kept the carnival:I was never out of England—it’s as if I saw it all.
4.
Did young people take their pleasure when the sea was warm in May?Balls and masks begun at midnight, burning ever to mid-day,When they made up fresh adventures for the morrow, do you say?
5.
Was a lady such a lady, cheeks so round and lips so red,—On her neck the small face buoyant, like a bell-flower on its bed,O’er the breast’s superb abundance where a man might base his head?
6.
Well, and it was graceful of them: they’d break talk off and afford—She, to bite her mask’s black velvet, he, to finger on his sword,While you sat and played Toccatas, stately at the clavichord?
— St. 6. Toccatas: the Toccata was a form of musical composition for the organ or harpsichord, somewhat in the free and brilliant style of the modern fantasia or capriccio; clavichord: “a keyed stringed instrument, now superseded by the pianoforte {now called a piano}.”—Webster.
7.
What? Those lesser thirds so plaintive, sixths diminished, sigh on sigh,Told them something? Those suspensions, those solutions—“Must we die?”Those commiserating sevenths—“Life might last! we can but try!”
—St. 7. The musical technicalities used in this stanza,any musician can explain and illustrate.
8.
“Were you happy?”—“Yes.”—“And are you still as happy?”—“Yes.And you?”—“Then, more kisses!”—“Did I stop them, when a million seemed so few?”Hark, the dominant’s persistence till it must be answered to!
— St. 8. The questions in this stanza must be supposed to be caused by the effect upon the revellers of the “plaintive lesser thirds”, the “diminished sixths”, the “commiserating sevenths”, etc., of the preceding stanza.
9.
So, an octave struck the answer. Oh, they praised you, I dare say!“Brave Galuppi! that was music! good alike at grave and gay!I can always leave off talking when I hear a master play!”
10.
Then they left you for their pleasure: till in due time, one by one,Some with lives that came to nothing, some with deeds as well undone,Death stepped tacitly, and took them where they never see the sun.
11.
But when I sit down to reason, think to take my stand nor swerve,While I triumph o’er a secret wrung from nature’s close reserve,In you come with your cold music till I creep through every nerve.
—St. 11. While I triumph o’er a secret wrung from nature’sclose reserve: the secret of the soul’s immortality.
12.
Yes, you, like a ghostly cricket, creaking where a house was burned:“Dust and ashes, dead and done with, Venice spent what Venice earned.The soul, doubtless, is immortal—where a soul can be discerned.
13.
“Yours for instance: you know physics, something of geology,Mathematics are your pastime; souls shall rise in their degree;Butterflies may dread extinction,—you’ll not die, it cannot be!
— St. 13. The idea is involved in this stanza that the soul’s continued existence is dependent on its development in this life; the ironic character of the stanza is indicated by the merely intellectual subjects named, physics, geology, mathematics, which do not of themselves, necessarily, contribute to SOUL-development. All from the 2d verse of the 12th stanza down to “Dust and ashes” in the 15th, is what the music, “like a ghostly cricket, creaking where a house was burned”, says to the speaker, in the monologue, of the men and women for whom life meant simply a butterfly enjoyment.
14.
“As for Venice and her people, merely born to bloom and drop,Here on earth they bore their fruitage, mirth and folly were the crop:What of soul was left, I wonder, when the kissing had to stop?
15.
“Dust and ashes!” So you creak it, and I want the heart to scold.Dear dead women, with such hair, too—what’s become of all the goldUsed to hang and brush their bosoms? I feel chilly and grown old.
Abt Vogler.
(After he has been extemporizing upon the Musical Instrument of his Invention.)
1.
Would that the structure brave, the manifold music I build,Bidding my organ obey, calling its keys to their work,Claiming each slave of the sound, at a touch, as when Solomon willedArmies of angels that soar, legions of demons that lurk,Man, brute, reptile, fly,—alien of end and of aim,Adverse, each from the other heaven-high, hell-deep removed,—Should rush into sight at once as he named the ineffable Name,And pile him a palace straight, to pleasure the princess he loved!
— St. 1. The leading sentence, “Would that the structure brave”, etc., is interrupted by the comparison, “as when Solomon willed”, etc., and continued in the 2d stanza, “Would it might tarry like his”, etc.; the construction of the comparison is, “as when Solomon willed that armies of angels, legions of devils, etc., should rush into sight and pile him a palace straight”; the reference is to the legends of the Koran in regard to Solomon’s magical powers.
2.
Would it might tarry like his, the beautiful building of mine,This which my keys in a crowd pressed and importuned to raise!Ah, one and all, how they helped, would dispart now and now combine,Zealous to hasten the work, heighten their master his praise!And one would bury his brow with a blind plunge down to hell,Burrow a while and build, broad on the roots of things,Then up again swim into sight, having based me my palace well,Founded it, fearless of flame, flat on the nether springs.
— St. 2. the beautiful building of mine: “Of all our senses, hearing seems to be the most poetical; and because it requires most imagination. We do not simply listen to sounds, but whether they be articulate or inarticulate, we are constantly translating them into the language of sight, with which we are better acquainted; and this is a work of the imaginative faculty.” —‘Poetics: an Essay on Poetry’. By E. S. Dallas.
The idea expressed in the above extract is beautifully embodied in the following lines from Coleridge’s ‘Kubla Khan’:—
“It was a miracle of rare device,A sunny pleasure-dome, with caves of ice!A damsel with a dulcimerIn a vision once I saw:It was an Abyssinian maid,And on her dulcimer she played,Singing of Mount Abora.Could I revive within meHer symphony and song,To such a deep delight ‘twould win me,That with music loud and long,I would build that dome in air,That sunny dome! those caves of ice!And all who HEARD should SEE them there”, etc.
3.
And another would mount and march, like the excellent minion he was,Ay, another and yet another, one crowd but with many a crest,Raising my rampired walls of gold as transparent as glass,Eager to do and die, yield each his place to the rest:For higher still and higher (as a runner tips with fire,When a great illumination surprises a festal night—Outlining round and round Rome’s dome from space to spire)Up, the pinnacled glory reached, and the pride of my soul was in sight.
4.
In sight? Not half! for it seemed, it was certain, to match man’s birth,Nature in turn conceived, obeying an impulse as I;And the emulous heaven yearned down, made effort to reach the earth,As the earth had done her best, in my passion, to scale the sky:Novel splendors burst forth, grew familiar and dwelt with mine,Not a point nor peak but found, but fixed its wandering star;Meteor-moons, balls of blaze: and they did not pale nor pine,For earth had attained to heaven, there was no more near nor far.
5.
Nay more; for there wanted not who walked in the glare and glow,Presences plain in the place; or, fresh from the Protoplast,Furnished for ages to come, when a kindlier wind should blow,Lured now to begin and live, in a house to their liking at last;Or else the wonderful Dead who have passed through the body and gone,But were back once more to breathe in an old world worth their new:What never had been, was now; what was, as it shall be anon;And what is,—shall I say, matched both? for I was made perfect too.
6.
All through my keys that gave their sounds to a wish of my soul,All through my soul that praised as its wish flowed visibly forth,All through music and me! For think, had I painted the whole,Why, there it had stood, to see, nor the process so wonder-worth.Had I written the same, made verse—still, effect proceeds from cause,Ye know why the forms are fair, ye hear how the tale is told;It is all triumphant art, but art in obedience to laws,Painter and poet are proud, in the artist-list enrolled:—
7.
But here is the finger of God, a flash of the will that can,Existent behind all laws: that made them, and, lo, they are!And I know not if, save in this, such gift be allowed to man,That out of three sounds he frame, not a fourth sound, but a star.Consider it well: each tone of our scale in itself is naught;It is everywhere in the world—loud, soft, and all is said:Give it to me to use! I mix it with two in my thought,And, there! Ye have heard and seen: consider and bow the head!
8.
Well, it is gone at last, the palace of music I reared;Gone! and the good tears start, the praises that come too slow;For one is assured at first, one scarce can say that he feared,That he even gave it a thought, the gone thing was to go.Never to be again! But many more of the kindAs good, nay, better perchance: is this your comfort to me?To me, who must be saved because I cling with my mindTo the same, same self, same love, same God: ay, what was, shall be.
9.
Therefore to whom turn I but to thee, the ineffable Name?Builder and maker, thou, of houses not made with hands!What, have fear of change from thee who art ever the same?Doubt that thy power can fill the heart that thy power expands?There shall never be one lost good! What was, shall live as before;The evil is null, is naught, is silence implying sound;What was good, shall be good, with, for evil, so much good more;On the earth the broken arcs; in the heaven, a perfect round.
10.
All we have willed or hoped or dreamed of good, shall exist;Not its semblance, but itself; no beauty, nor good, nor powerWhose voice has gone forth, but each survives for the melodist,When eternity affirms the conception of an hour.The high that proved too high, the heroic for earth too hard,The passion that left the ground to lose itself in the sky,Are music sent up to God by the lover and the bard;Enough that he heard it once: we shall hear it by-and-by.
11.
And what is our failure here but a triumph’s evidenceFor the fulness of the days? Have we withered or agonized?Why else was the pause prolonged but that singing might issue thence?Why rushed the discords in, but that harmony should be prized?Sorrow is hard to bear, and doubt is slow to clear,Each sufferer says his say, his scheme of the weal and woe:But God has a few of us whom he whispers in the ear;The rest may reason and welcome; ’tis we musicians know.
— St. 11. And what is our failure here: “As long as effort is directed to the highest, that aim, though it is out of reach, is the standard of hope. The existence of a capacity, cherished and quickened, is a pledge that it will find scope. The punishment of the man who has fixed all his thoughts upon earth, a punishment felt on reflection to be overwhelming in view of possibilities of humanity, is the completest gratification of desires unworthily limited:—
“‘Thou art shutOut of the heaven of spirit; glutThy sense upon the world: ’tis thineFor ever—take it!’ (‘Easter Day’, xx.).
On the other hand, the soul which has found in success not rest but a starting-point, which refuses to see in the first-fruits of a partial victory the fulness of its rightful triumph, has ever before it a sustaining and elevating vision:—
“‘What stops my despair?This:—’tis not what man Does which exalts him, but what manWould do!’ (‘Saul’, 18).
“‘What I aspired to be,And was not, comforts me;A brute I might have been, but would not sink i’ the scale.’”(‘Rabbi Ben Ezra’, 7).—Rev. Prof. Westcott on Browning’sView of Life (‘Browning Soc. Papers’, iv., 405, 406).
12.
Well, it is earth with me; silence resumes her reign:I will be patient and proud, and soberly acquiesce.Give me the keys. I feel for the common chord again,Sliding by semitones, till I sink to the minor,—yes,And I blunt it into a ninth, and I stand on alien ground,Surveying a while the heights I rolled from into the deep;Which, hark, I have dared and done, for my resting-place is found,The C Major of this life: so, now I will try to sleep.
“Touch him ne’er so lightly.”
{Epilogue to Dramatic Idyls. Second Series.}
— * See ‘Pages from an Album’, in ‘The Century Illustrated Monthly Magazine’ (Scribner’s), for November 1882, pp. 159, 160, where is given a fac-simile of the poet’s Ms. of these verses and of the ten verses he afterwards added, in response, it seems, to a carping critic. —
“Touch him ne’er so lightly, into song he broke:Soil so quick-receptive,—not one feather-seed,Not one flower dust fell but straight its fall awokeVitalizing virtue: song would song succeedSudden as spontaneous—prove a poet-soul!”Indeed?Rock’s the song-soil rather, surface hard and bare:Sun and dew their mildness, storm and frost their rageVainly both expend,—few flowers awaken there:Quiet in its cleft broods—what the after ageKnows and names a pine, a nation’s heritage.