diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:22:28 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:22:28 -0700 |
| commit | ec181cca01835b9cde05d29253eff088a1e61162 (patch) | |
| tree | 1d4cd8a402b9533dae273a537a6d66479442380d | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 20318-8.txt | 17028 | ||||
| -rw-r--r-- | 20318-8.zip | bin | 0 -> 249163 bytes | |||
| -rw-r--r-- | 20318-h.zip | bin | 0 -> 580168 bytes | |||
| -rw-r--r-- | 20318-h/20318-h.htm | 17395 | ||||
| -rw-r--r-- | 20318-h/images/img01.jpg | bin | 0 -> 19199 bytes | |||
| -rw-r--r-- | 20318-h/images/img011.jpg | bin | 0 -> 2977 bytes | |||
| -rw-r--r-- | 20318-h/images/img017.jpg | bin | 0 -> 2964 bytes | |||
| -rw-r--r-- | 20318-h/images/img024.jpg | bin | 0 -> 2977 bytes | |||
| -rw-r--r-- | 20318-h/images/img049.jpg | bin | 0 -> 15188 bytes | |||
| -rw-r--r-- | 20318-h/images/img051.jpg | bin | 0 -> 2955 bytes | |||
| -rw-r--r-- | 20318-h/images/img079.jpg | bin | 0 -> 16899 bytes | |||
| -rw-r--r-- | 20318-h/images/img081.jpg | bin | 0 -> 2963 bytes | |||
| -rw-r--r-- | 20318-h/images/img113.jpg | bin | 0 -> 24660 bytes | |||
| -rw-r--r-- | 20318-h/images/img115.jpg | bin | 0 -> 2939 bytes | |||
| -rw-r--r-- | 20318-h/images/img117.jpg | bin | 0 -> 2924 bytes | |||
| -rw-r--r-- | 20318-h/images/img127.jpg | bin | 0 -> 2982 bytes | |||
| -rw-r--r-- | 20318-h/images/img141.jpg | bin | 0 -> 19044 bytes | |||
| -rw-r--r-- | 20318-h/images/img145.jpg | bin | 0 -> 2872 bytes | |||
| -rw-r--r-- | 20318-h/images/img148.jpg | bin | 0 -> 3009 bytes | |||
| -rw-r--r-- | 20318-h/images/img171.jpg | bin | 0 -> 19001 bytes | |||
| -rw-r--r-- | 20318-h/images/img197.jpg | bin | 0 -> 21962 bytes | |||
| -rw-r--r-- | 20318-h/images/img235.jpg | bin | 0 -> 19325 bytes | |||
| -rw-r--r-- | 20318-h/images/img254.jpg | bin | 0 -> 2938 bytes | |||
| -rw-r--r-- | 20318-h/images/img265.jpg | bin | 0 -> 37082 bytes | |||
| -rw-r--r-- | 20318-h/images/img267.jpg | bin | 0 -> 2839 bytes | |||
| -rw-r--r-- | 20318-h/images/img276.jpg | bin | 0 -> 2934 bytes | |||
| -rw-r--r-- | 20318-h/images/img291.jpg | bin | 0 -> 23921 bytes | |||
| -rw-r--r-- | 20318-h/images/img297.jpg | bin | 0 -> 2819 bytes | |||
| -rw-r--r-- | 20318-h/images/img317.jpg | bin | 0 -> 18940 bytes | |||
| -rw-r--r-- | 20318-h/images/img325.jpg | bin | 0 -> 2985 bytes | |||
| -rw-r--r-- | 20318-h/images/img340.jpg | bin | 0 -> 3033 bytes | |||
| -rw-r--r-- | 20318-h/images/img353.jpg | bin | 0 -> 20837 bytes | |||
| -rw-r--r-- | 20318.txt | 17028 | ||||
| -rw-r--r-- | 20318.zip | bin | 0 -> 249125 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
37 files changed, 51467 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/20318-8.txt b/20318-8.txt new file mode 100644 index 0000000..0fc7779 --- /dev/null +++ b/20318-8.txt @@ -0,0 +1,17028 @@ +The Project Gutenberg EBook of Little Journeys to the Homes of the Great - +Volume 14, by Elbert Hubbard + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Little Journeys to the Homes of the Great - Volume 14 + Little Journeys to the Homes of Great Musicians + +Author: Elbert Hubbard + +Release Date: January 9, 2007 [EBook #20318] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK GREAT MUSICIANS *** + + + + +Produced by Janet Blenkinship and the Online Distributed +Proofreading Team at https://www.pgdp.net + + + + + + + + + + Little + Journeys + To the Homes of the Great + + + Elbert Hubbard + + Anniversary Edition + + + Printed and made into a Book by + The Roycrofters, who are in East + Aurora, Erie County, New York + + Wm. H. Wise & Co. + New York + + + + + Copyright, 1916, + By The Roycrofters + + + + + CONTENTS + + + RICHARD WAGNER 9 + + PAGANINI 47 + + FREDERIC CHOPIN 75 + + ROBERT SCHUMANN 107 + + SEBASTIAN BACH 133 + + FELIX MENDELSSOHN 161 + + FRANZ LISZT 185 + + LUDWIG VAN BEETHOVEN 221 + + GEORGE HANDEL 249 + + GIUSEPPE VERDI 273 + + WOLFGANG MOZART 297 + + JOHANNES BRAHMS 331 + + INDEX + + ++---------------------------------------------------------------------+ +|Transcriber's note: Obvious spelling and punctuation errors have been| +|corrected. All other inconsistencies are as in the original. | ++---------------------------------------------------------------------+ + + + + +[Illustration: RICHARD WAGNER] + +RICHARD WAGNER + + + Was ever work like mine created for no purpose? Am I a miserable + egotist, possessed of stupid vanity? It matters not, but of this I + feel positive; yes, as positive as that I live, and this is, my + "Tristan and Isolde," with which I am now consumed, does not find + its equal in the world's library of music. Oh, how I yearn to hear + it; I am feverish; I am worn. Perhaps that causes me to be agitated + and anxious, but my "Tristan" has been finished now these three + years and has not been heard. When I think of this I wonder whether + it will be with this as with "Lohengrin," which now is thirteen + years old, and is still dead to me. But the clouds seem breaking, + they are breaking--I am going to Vienna soon. There they are going + to give me a surprise. It is supposed to be kept a secret from me, + but a friend has informed me that they are going to bring out + "Lohengrin." + + --_Wagner in a Letter to Praeger_ + + +RICHARD WAGNER + +Absurd and silly people make jokes about mothers-in-law, stepmothers and +stepfathers--we will none of this. My heart warms to the melancholy +Jacques, who dedicated his book to his mother-in-law, "my best friend, +who always came when she was needed and never left so long as there was +work to do." Richard Wagner's stepfather was his patient, loving and +loyal friend. + +The father of Wagner died when the child was six months old. The mother, +scarcely turned thirty, had a brood of seven, no money and many debts. +There is trouble for you--ye silken, perfumed throng, who nibble +cheese-straws, test the hyson when it is red, and discuss the +heartrending aspects of the servant-girl problem to the lascivious +pleasings of a lute! + +But the widow Wagner was not cast down to earth--she resolved on keeping +her family together, caring for them all as best she could. The +suggestion from certain kinsmen that the children should be given out +for adoption was quickly vetoed. The fine spirit of the woman won the +admiration of a worthy actor, in slightly reduced circumstances, who had +lodgings in the house of the widow. This actor, Ludwig Geyer by name, +loved the widow and all of the brood, and he proposed that they pool +their poverty. + +And so before Mrs. Wagner had been a widow a twelvemonth they were +married. + +In this marriage Geyer seemed to be moved to a degree by the sentiment +of friendship for his friend, the deceased husband. Geyer was a man of +many virtues--amiable, hopeful, kind. He had the artistic temperament +without its faults. To writers of novels, in search of a very choice +central character, Ludwig Geyer affords great possibilities. He was as +hopeful as Triplett and a deal more versatile. The histrionic art +afforded him his income of eleven dollars a week; but painting was his +forte--if he only had time to devote to the technique! Yet all the arts +being one he had written a play; he also modeled in clay and sang tenor +parts as understudy to the great Schudenfeldt. Hope, good-cheer and a +devotion to art were the distinguishing features of Mein Herr Geyer. + +All this was in the city of Leipzig; but Herr Geyer becoming a member of +the Court Theater, the family moved to Dresden, where at this time lived +one Weber, a composer, who used to walk by the Geyer home and +occasionally stop in for a little rest. At such times one of the +children would be sent out with a pitcher, and the great composer and +Herr Geyer would in fancy roam the realm of art, and Herr Geyer would +impart to Herr Weber valuable ideas that had never been used. The little +boy, Richard, used to cherish these visits of Weber, and would sit and +watch for hours for the coming of the queer old man in the long gray +cloak. + +The stork, one fine day, brought Richard a little sister. He was scarce +two years older than she. These two sort of grew up together, and were +ever the special pets of Herr Geyer, who used to take them to the +theater and seat them on a bench in the wings where they could watch him +lead the assault in "The Pirate's Revenge." + +Richard regarded his stepfather with all the affection that ever a child +had for its own parent; and until he was twenty-one was known to the +world as Richard Wilhelm Geyer. + +The comparison of Ludwig Geyer with Triplett is hardly fair, for Geyer's +fine effervescence and hopeful, rainbow-chasing qualities were confined +to early life. + +As the years passed Geyer settled down to earnest work and achieved a +considerable success both as an actor and as a painter. The unselfish +quality of the man is shown in that his income was freely used to +educate the Wagner children. He was sure that Richard had the germ of +literary ability in his mental make-up, and his ambition was that the +boy should become a writer. But alas! Geyer did not live long enough to +know the true greatness of this child he had fostered and befriended. + +Unlike so many musicians Richard was not precocious. He was slow, +thoughtful and philosophic; and music did not attract him so much as +letters. Incidentally he took lessons in music with his other studies, +and his first teacher, Gottlieb Muller, has left on record the statement +that the boy was "self-willed and eccentric, and not fluid enough in +spirit to succeed in music." + +The mother of Wagner seems to have been a woman of marked mentality--not +especially musical or poetic, but possessing a fine appreciation of all +good things, and best of all, she had commonsense. She very early came +to regard Richard as her most promising child, and before he was ten +years of age, said to a friend, "Richard will be able to succeed at +anything he concentrates his mind upon." + +The truth of the remark has often been reiterated. The youth was superb +in his mental equipment--strong, capable, independent. Had he turned his +attention to any other profession, or any branch of art or science, he +could have probed the problem to its depths, and made his mark upon the +age in which he lived. + +In height Wagner was a little under size, but his deep chest, well-set +neck, and large, shapely head gave him a commanding look. In physique he +resembled the "big little men" like Columbus, Napoleon, Aaron Burr, +Alexander Hamilton and John Bright--men born to command, with ability to +do the thinking for a nation. + +It's magnificent to be a great musician, and many musicians are nothing +else, but it is better to be a man than a musician. Richard Wagner was a +man. Environment forced literature upon his attention: he desired to be +a great poet. He wrote essays, stories, quatrains, epics. Chance sent +the work of Beethoven within his radius, and he became filled with the +melody of the master. Young men of this type, full of the pride of +youth, overflowing with energy, search for a something on which to try +their steel. Wagner could write poetry, that was sure, and more, he +could prepare the score and set his words to music. He fell upon the +work like one possessed--and he was. To his amazement the difficulties +of music all faded away, and that which before seemed like a hopeless +task, now became luminous before the heat of his spirit. + +Nothing is difficult when you put your heart in it. + +The obstacles to be overcome in setting words to sounds were like a game +of chess--a pleasing diversion. In a month he knew as much of the +science of music as many men did who had grubbed at the work a lifetime. +"The finances! Get your principles right and then 'tis a mere matter of +detail, requiring only concentration--I will arrange it," said Napoleon. + +Wagner focused on music, yet here seems a good place to say that he +never learned either to play the piano or to sing. He had to trust the +"details" to others. Yet at twenty he led an orchestra. Soon after he +became conductor of the opera at Magdeburg. + +In some months more he drifted to Konigsberg, and there acted as +conductor at the Royal Theater. In the company of this theater was a +young woman by the name of Wilhelmina Planer. Wagner got acquainted with +her across the footlights. She was young, comely and all that--they +became engaged. Shortly afterwards, one fine moonlight night, in +response to her merry challenge, they rang up the "Dom" and were +married. They got better acquainted afterward. + + * * * * * + +It is a fact that Wagner's imprudent marriage at the age of twenty-three +has been much regretted and oft lamented. "What," say the Impressionable +Ones, "Oh, what could he not have accomplished with a proper mate!" + +It is very true that Minna Planer had no comprehension of the genius of +her husband; that her two feet were always flatly planted on earth, and +her head never reached the clouds; and true it is that she was a weary +weight to him for the twenty-five years they lived together. Still men +grow strong by carrying burdens; and we must remember that Wagner was +what he was on account of what he endured and suffered. + +Wagner expressed himself in his art, and all great art is simply the +honest, spontaneous, individual expression of soul-emotion. Had Wagner's +emotions been different he would have produced a totally different sort +of art. That is to say, if Wagner in his youth had loved and wedded a +woman who was capable of giving his soul peace, we would have had no +Wagner; we would have had some one else, and therefore a totally +different expression, or no expression at all. Probably the man would +have been quite content to be a village Kapellmeister. His life being +reasonably complete, his spirit would not have roamed the Universe +crying for rest. The ideals of his wife were so low and commonplace that +she influenced his career by antithesis. His soul was ahungered for the +bread of life, and stones were given him in way of the dull, the ugly, +the affected, the smug, the ridiculous. Wagner's life was a revolt from +the ossified commonplace, a struggle for right adjustment--a heart +tragedy. And all this reaching out of the spirit, all the prayers, +hopes, fears and travail of his soul, are told and told again in his +poetry and in his music. + +All art is autobiography. + +Minna Planer was amiable and kind, but the frantic effort she made at +times, in public, to be profound or chic must have touched the great man +on the raw. He sought, however, to protect her, and at public gatherings +used to keep very near to her in order that she should not fall into the +clutches of some sharp-witted enemy and be lead on into unseemliness of +speech. The scoffs of critics and the ready-made gibes and jeers of the +mob were to her gospel truth; her husband's genius was a vagary to be +stoutly endured. So for many years she was inclined to pose as one to be +pitied--and so she was. That she suffered at times can not be denied, +yet God is good, and so has put short limit on the sensibilities of the +vain. + +But Wagner would never tolerate an unkind word spoken of Minna in his +presence, and once rebuked a friend who sought to console him by saying, +"Never mind, Minna lives her life the best she can, and expresses the +thoughts that come to her--what more do you and I do?" + +And in his later years, when calm philosophy was his, he realized that +Minna Planer had supplied him a stinging discontent, a continued unrest +that formed the sounding-board on which his sorrow and his hope and his +faith in the Ideal were echoed forth. + +Love is the recurring motif in all of Wagner's plays. A man and a woman, +joined by God, but separated by unkind condition, play their parts, and +our hearts are made by the Master to vibrate in sympathy with the +central idea. Only a broken-hearted man could have conjured forth from +his soul such couples as these: Senta and the Dutchman, Elizabeth and +Tannhauser, Elsa and Lohengrin, Tristan and Isolde, Siegmund and +Sieglinde, Walter and Eva, Siegfried and Brunhilde. + +Wagner's unhappy marriage forms the keynote of his art. Every opera he +wrote depicts a soul in bonds. From "The Flying Dutchman" to "Parsifal" +we are shown the struggle of a strong man with cruel Fate; a reaching +out for liberty and light; the halting between duty and inclination; and +the endless search for a woman who shall give deliverance through her +abiding love and faith. + + * * * * * + +All art seems controlled by fad and fashion. No fashion endures, else +'twere not fashion, and in its character the fad is essentially +transient. Still we need not rail at fashion; it is a form of +periodicity, and periodicity exists through all Nature. There are day +and night, winter and summer, equinox and solstice, work and rest, years +of plenty and years of famine. Comets return, and all fashions come +back. Keep your old raiment long enough and it will be in style. + +All things move in an orbit, even theories and religions. Certain forms +of fanaticism come with the centuries--every new heresy is old. All +extremes cure themselves, for when matters get pushed to a point where +the balance of things is in danger of being disturbed, a Reformer +appears and utters his stentorian protest. This man is always ridiculed, +hooted, reviled, mobbed, and very happy indeed is his fate if he is +hanged, crucified or made to drink of the deadly hemlock; for then his +place in the affection of men is made secure, sealed with blood, and we +proclaim him liberator or savior. The Piazza Signora is sacred soil +because there it was that Savonarola died; John Brown's body lies +a-moldering in the grave, but his soul goes marching on; J. Wilkes Booth +linked his own name with that of Judas Iscariot and made his victim +known to the Ages as the Emancipator of Men. + +These strong men, sent at the pivotal points in history, are born out +of a sore need--they are sent from God. Yet strong men always exist, but +it is the needs of the hour that develop and bring them to our +attention. Not always have the Reformers been fortunate in their takings +off--many have lingered out lengthening, living deaths in walled-up +cells. The Bastile, Chillon, London Tower, that prison joined to a +palace by the Bridge of Sighs, and all other such plague-spots of blood +are haunted by the ghosts of infamy. Before the memory of all those who +wrote immortal books behind grated bars we stand uncovered. + +Exile has been the lot of many who tried to live for sanity, justice and +truth when mad riot raged. Dante, Victor Hugo, Prince Kropotkin and +Wagner are types to which we turn. Then there is an attenuated form of +persecution known as ostracism, which consists in being exiled at home, +but of this it is not worth while to speak. + +Wagner was a strong, honest man who simply desired to express his better +self. The elements of caution and expediency were singularly lacking in +his character. These qualities of independence and self-reliance brought +him into speedy collision with those who stood in the front rank of the +artistic world of his day, and he became a marked man. His offense was +that he expressed his honest self. + +In Eighteen Hundred Forty-three, when he appeared upon the scene in +Dresden as Hofkapellmeister of the Royal Theater, matters musical were +just about where the stage now is in America. In this Year of Grace, +Nineteen Hundred One, the great Shakespeare has been elbowed from the +stage by the author of "A Texas Steer"; and where once the haughty +Richard trod the boards, the skirt-dance assumes the center of the stage +and looms lurid like the spirit of the Brocken. Recently a vaudeville +"turn" of Hamlet has been presented, where the gravediggers do their +gruesome tasks to ragtime; and on every hand we behold the Lyceum giving +way to the McClure Continuous, Lim. + +Wagner abhorred the mere tune for the sake of tune. "You can not produce +art and leave man out," he said. All art must suggest something. Mere +verbal description is not literature: it is only words, words, words; a +picture must be charged with soul, otherwise a photograph would outrank +"The Angelus." Music must be more than jingling tunes and mincing +sounds. And thus we find Wagner at thirty years of age boldly putting +forth "The Flying Dutchman," with music not written for the text, nor +text written for the music, but words and music created at the same +time--the melody mirroring forth the soul of the words. + +In this play Wagner for the first time sacrificed every precedent of +musical construction and all thought of symmetrical form, in order to +make the music tell the tale. "The Flying Dutchman" is to opera what +Walt Whitman's "Leaves of Grass" is to poetry, or Millet's "Sower" is +to painting. There is strength, heroic strength, in each of these +masterpieces I have named, but the "Dutchman" needs a listener, "Leaves +of Grass" requires a reader who has experienced, and the "Sower" demands +one who has eyes to see, before its lesson of love and patience and the +pathetic truth of endless toil are bodied forth. + +Whitman's book was well looked after by the local Antonius Ash-Box +inspector of the day, its publication forbidden, and the author +incidentally deprived of his clerkship at Washington; Millet did service +as the butt for jokes of artistic Paris, and was dubbed "The Wild Man"; +Wagner's play was hooted off the stage. + + * * * * * + +Every man is but a type representing his class. Of course the class may +be small and one man may even be its sole living representative: but +Wagner had his double in William Morris. These men were brothers in +temperament, physique, habit of thought and occupation. + +Wagner wrote largely on the subjects of Art and Sociology, and made his +appeal for the toiler in that the man should be allowed to share the +joys of Art by producing it. His argument is identical with that of +William Morris; and yet the essays of Wagner were not translated into +English until after Morris had written his "Dream of John Ball," and +Morris did not read German. + +Both men hark back to a time when Man and Nature were on friendly terms; +when the thought, best exemplified by the early Greeks, of the +sacredness of the human body was recognized; when the old medieval +feeling of helpful brotherhood yet lingered; and the restless misery of +competition and all the train of woe, squalor and ugliness that +"civilization" has brought were unknown. + +Wagner's music is made up of the sounds of Nature conventionalized. You +hear the sighing of the breeze, the song of the birds, the cries of +animals, the rush of the storm. Wagner's essay, entitled, "Art and +Revolution," is the twin to the lecture, "Art and Socialism," by Morris; +and in the "Art-Work of the Future," Wagner works out at length the +favorite recurring theme of Morris: work is for the worker, and art is +the expression of man's joy in his work. + +In Eighteen Hundred Forty-four, when Morris was ten years of age, Wagner +wrote: + +"I compose for myself; it is just a question between me and my Maker. I +grow as I exercise my faculties, and expression is a necessary form of +spiritual exercise. How shall I live? Express what I think or feel, or +what you feel? + +"No, I must be honest and sincere. I must, for the need of myself, live +my own life, for work is for the worker, at the last. Each man must +please himself, and Nature has placed her approbation on this by +supplying the greatest pleasure men ever know as a reward for doing good +work. I hate this fast-growing tendency to chain men to machines in big +factories and deprive them of all joy in their efforts--the plan will +lead to cheap men and cheap products. I set my face against it and plead +for the dignity and health of the open air, and the olden time." + +This sort of talk led straight to Wagner's arrest in the streets of +Dresden on the charge of inciting a riot; and it was the identical line +of argument that caused the arrest of Morris in Trafalgar Square, +London, when he was taken struggling to the station-house. + +Wagner was exiled and Morris merely "cautioned," placed under police +surveillance and ostracized. The difference in time explains the +difference in punishment. A century earlier and both men would have +forfeited their heads. + +In all of Wagner's operas the scene is laid at a time when the +festivals, games and religious ceremonies were touched with the thought +of beauty. Men were strong, plain, blunt and honest. Affectation, +finesse, pretense and veneer were unknown. Art had not resolved itself +into the possession of a class of idlers and dilettantes who hired +long-haired men and fussy girls in Greek gowns to make pretty things for +them. All worked with their hands, through need, and when they made +things they worked for utility and beauty. They gave things a beautiful +form, because men and women worked together, and for each other. And +wherever men and women work together we find Beauty. Men who live only +with other men are never beautiful in their work, or speech, or lives, +neither are women. But at this early time life was largely communal, +natural, and Art was the possession of all, because all had a share in +its production. Observe the setting of any Wagner opera where Walter +Damrosch has his way and get that flavor of bold, free, wholesome, +honest Beauty. And yet no stage was ever large enough to quite satisfy +Wagner, and all the properties, if he had had his way, would have been +works of Art, thought out in detail and materialized for the purpose by +human hands. + +Now turn to "The Story of the Glittering Plain," "Gertha's Lovers," +"News From Nowhere" or "The Hollow Land," by William Morris, and note +the same stage-setting, the same majesty, dignity and sense of power. +Observe the great underlying sense of joy in life, the gladness of mere +existence. A serenity and peace pervades the work of both of these men; +they are mystic, fond of folklore and legend; they live in the open, are +deeply religious without knowing it, have nothing they wish to conceal, +and are one with Nature in all her many moods and manifestations--sons +of God! + + * * * * * + +In the history of letters there is a writer by the name of Green, who +exists simply because he reviled a contemporary poet by the name of +Shakespeare. Green's name is embalmed in immortal amber with that of +Richard Quiney, who wrote a letter to the author of "The Tempest" +begging the favor of a loan of forty pounds. + +There are several ways of winning fame. Joseph Jefferson has written in +classic style of Count Johannes and James Owen O'Connor, who played +"Hamlet" to large and enthusiastic audiences, behind a wire screen; then +there was John Doe, who fired the Alexandrian Library, and Richard Roe, +the man who struck Billy Patterson. Besides these we have the Reverend +Obadiah Simmons of Nashville, Tennessee, who, in Eighteen Hundred Sixty, +produced a monograph proving that negroes had no souls, the value of +which work, to be sure, is slightly vitiated when we remember that the +same arguments were used, in Seventeen Hundred One, by Bishop Volberg, +in showing that women were in a like predicament. + +And now Henry T. Finck has compiled a list of more than one hundred +names of musical critics who placed themselves on record in opposition +to Richard Wagner and his music. Only such men as proved themselves past +masters in density and adepts in abuse are given a place in this Academy +of Immortals. + +No writer, musician or artist who ever lived brought down on his head +an equal amount of contumely and disparagement as did Richard Wagner. +Turner, Millet and Rodin have been let off lightly compared with the +fate that was Wagner's; and even the shrill outcry that was raised in +Boston at sight of MacMonnies' Bacchante was a passing zephyr to the +storm that broke over the head of Wagner in Paris, when, after one +hundred sixteen rehearsals, "Tannhauser" was produced. + +The derisive laughter, catcalls, shouts, hisses and uproar that greeted +the play were only the shadow of the criticisms that filled the daily +press, done by writers who mistook their own anserine limitations for +inanity on the part of the composer. They scorned the melody they could +not appreciate, like men who deny the sounds they can not hear; or those +who might revile the colors they could not distinguish. And worse than +all this, the aristocratic hoodlums refused to allow any one else to +enjoy, and would not tolerate the thought that that which to them was +"jumbling discord, seven times confounded" might be a succession of +harmonies to one whose perceptions were more fully developed. + +Wagner himself only escaped personal violence by discreetly keeping out +of sight. The result of the Paris experiment was that the poor man lost +nearly a year's time, all of his modest savings were gone, creditors +dogged his footsteps, and the unanimous tone of the critics, for a time, +almost made him doubt his own sanity. What if the critics were really +right? + +And this, we must remember, was in Eighteen Hundred Sixty-one, when +Wagner was forty-eight years of age. + +That even a strong man should doubt his value when he finds a world of +learned men arrayed against him is not strange. Every man who works in a +creative way craves approbation. Some one must approve. After the first +fever of ecstasy there comes the reaction, when the pulse beats slow and +the mind is filled with doubt and melancholy. This desire for approval +is not a weakness--it seems to stand as a natural need of every human +soul. When the great Peg Woffington played, you remember, she begged Sir +Henry Vane to stand in the wings so as to meet her when she came off the +stage, take her in his arms just for an instant, kiss her on the +forehead and say, "Well done!" + +Shallow people may smile at such a scene as this, but those who have +delved in the realm of creative art know this fervent need of a word of +encouragement from One who Understands. + +The one man who held the mirror up to Nature for Wagner was Franz Liszt. +Were it not for the steadfast love and faith of this noble soul, Wagner +must surely have fallen by the way. Wagner worked first to please +himself, and having pleased himself he knew it would please Franz Liszt, +and having pleased Franz Liszt he knew it would please all those as +great, noble, excellent and pure in heart as Franz Liszt. To speak to +an audience made up of such as Liszt, and have them approve, was the +sublime dream and hope of Richard Wagner. + +Some of the enemies of Wagner, having placed themselves on record +against the man, have sought to make out that Wagner and Liszt often +quarreled, but this canard has now all been exploded. Such another +friendship between two strong men I can not recall. That of Goethe and +Schiller seems a mere acquaintanceship, and the friendship of Carlyle +and Emerson a literary correspondence with an eye on posterity, as +compared with this bond of brotherhood that existed between Wagner and +Liszt. + +During the ten years of Wagner's exile in Switzerland he received barely +enough from his work in music to support him, and several times he would +have been in sore need were it not for the "loans" made him by Liszt. He +did not even own a piano, and never heard his scores played, except when +Liszt made a semi-yearly visit. At such times a piano would be borrowed, +and the friends would revel in the new scores, and occasionally talk the +entire night away. + +When Liszt would go home after such visits, Wagner would go off on long +tramps, climbing the mountains, lonely and bereft, sure that the mood +for high and splendid work would never come again. Then some morning the +mist would roll away, the old spirit would come back, and he would apply +himself with all the intense fire and burning imagination of which his +spirit was capable. + +When the score was done it was sent straight to Liszt, before the ink +was dry. + +The "Lohengrin" manuscript was sent along in parts, and Liszt was the +first man to interpret it. On one such occasion we find Liszt writing: +"Your 'Walkure' has arrived--and gladly would I sing to you with a +thousand voices your 'Lohengrin Chorus'--a wonder, a wonder! Dearest +Richard, you are surely a divine man, and my highest joy is to follow +you in your flight and be one with you in spirit!" + +On this occasion, when the "Lohengrin Chorus" first found voice, the +only auditor was the Princess von Wittgenstein, who added a postscript +to Liszt's letter, thus: "I wept bitter tears over the scene between +Siegmund and Sieglinde! This is beautiful--like heaven, like earth--like +eternity!" Was ever a woman so blest in privilege--to be the near, dear +friend of Franz Liszt and hear him play the music of Richard Wagner from +the manuscript, and then add her precious word of appreciation for the +work of the weary exile! The quotation given is only a sample of the +messages that Liszt was constantly sending to his exiled friend. And we +must understand that at this time Liszt had a world-wide reputation as +a composer himself, and was the foremost pianist of his time. And +Wagner--Wagner was only an obscure dreamer, with a penchant for erratic +music! + +The "Lohengrin" was produced at Weimar under the leadership of Liszt, +but even his magic name could not make the people believe--the critics +had their way and wrote it down. + +Yet Liszt lived to see the name of Wagner proclaimed as the greatest +contemporary name in music; and he was too great and good to allow +jealousy to enter his great soul. Yet he knew that as a composer his own +work was quite lost in the shadow of the reputation of his friend. At a +banquet given in Munich in Eighteen Hundred Eighty-one in honor of +Wagner, Liszt said, "I ask no remembrance for myself or my work beyond +this: Franz Liszt was the loved and loving friend of Wagner, and played +his scores with tear-filled eyes; and knew the Heaven-born quality of +the man when all the world seemed filled with doubt." + + * * * * * + +Among men of worth, no man of his time was more thoroughly hated, +detested and denounced than Richard Wagner. Before he became an anarch +of art, he was singled out for distinction by royalty and a price was +placed upon his head. He escaped, and for ten years lived in exile, his +sole offense being that he lifted up his voice for liberty. + +That is the only thing worth lifting up your voice, or pen, or sword +for. The men who live in history are the men who have made freedom's +fight--there is no other. These men fought for us, and some of them died +for us--Socrates, Jesus, Savonarola, John Brown, Lincoln--saviors +all--they died that we might live. + +Instead of dying for us, Wagner lived for us, but he had to run away in +order to do it. There, in exile--in Switzerland--he wrote many of his +most sublime scores, and these he did not hear played till long years +after, for although the man could compose, he could not execute. The +music was in his brain and he could not get it out at his +finger-tips--for him the piano was mute. So now and again Franz Liszt +would come and play for him the scores he had never heard, and tears of +joy would flow down his fine face; then he would stand on his head, walk +on his hands and shout for pure gladness. + +All this, I will admit, was not very dignified. + +Ostracism, exile, hatred, and stupid misunderstanding did not suppress +Wagner. In his work he is often severe, stern, tragic, but the man +himself bubbled with good-cheer. He made foolish puns, and routed the +serious ones of earth by turning their arguments into airy jests. If in +those early days he had been caught and carried in the death-tumbrel to +the Place of the Skull, he would have remarked with Mercutio, "This is a +grave subject." + +Finally, public opinion relaxed, and Wagner found his way back to +Germany. He settled at the town of Bayreuth, and very slowly it dawned +upon the thinking few that at Bayreuth there lived a Man. + +Among the very first who made this discovery was one Friedrich +Nietzsche, an idealist, a dreamer, a thinker, and a revolutionary. +Nietzsche was an honest man of marked intellect, whose nerves were worn +to the quick by the pretense of the times--the mad race for place and +power--the hypocrisy and phariseeism that he saw sitting in high places. +He longed to live a life of genuineness--to be, not to seem. And so he +had wandered here and there, footsore, weary, searching for peace, +scourged forever by the world's displeasure. + +The trouble was, of course, that Nietzsche didn't have anything the +world wanted. In the time of the Crusaders, the tired children would ask +at night-time, when the tents were pitched, "Is this Jerusalem?" + +And the only answer was: "Jerusalem is not yet! Jerusalem is not yet!" + +In Wagner, Nietzsche felt that at last he had found the Moses who would +lead the people out of captivity, into the Promised Land of Celestial +Art. + +Nietzsche came and heard the Wagnerian music and was caught as flotsam +in its whirling eddies. He read everything that Wagner had written, and +having come within the gracious sunshine of the great man's presence, he +rushed to his garret and in white heat wrote the most appreciative +criticism of Wagner and his work that has ever, even yet, been penned. +This booklet, "Wagner at Bayreuth," is a masterpiece of insight and +erudition, written by a man of imagination, who saw and felt, and knew +how to mold his feelings into words--words that burn. It is a rhapsody +of appreciation. + +Art is more a matter of heart than of head. + +The book had a wide circulation, helped on, they do say, by the Master +himself, who confessed that in the main the work rang true. + +The publication of the book sort of linked these two men, Wagner and +Nietzsche. The disciple sat at the feet of the elder man, and vowed he +would be in literature what Wagner was in music. He gazed on him, fed on +him, quoted him, waiting in patience for the pearls of thought. + +Now Wagner was a natural man--a natural son of God. He had the desires, +appetites and ambitions of a man. If he voiced great thoughts and wrote +great scores, he did these things in a mood--and never knew how. At +times he was coarse, perverse, irritable. + +The awful, serious, sober ways of Nietzsche began to pall on Wagner--he +would run away when he saw him coming, for Nietzsche had begun to give +advice about how Wagner should regenerate the race, and also conduct +himself. Now Richard Wagner had no intention of setting the world +straight--he wanted to express himself, that was all, and to make enough +money so he could be free to come and go as he chose. + +Once, at a picnic, Wagner climbed a tree and cawed like a crow; then +hooted like an owl; he ate tarts out of a tin dish with a knife; a +little later he stood on his head and yelled like a Congo chief. When +Nietzsche tearfully interposed, Wagner told him to go and get +married--marry the first woman who was fool enough to have him--she +would relieve him of some of his silliness. + +Shortly after this, the great Wagner festival came on, and Bayreuth was +filled with visitors who had read Nietzsche's book, and bought +excursion-tickets to Bayreuth. + +Wagner was over his ears in work--an orchestra of three hundred players +to manage, new music to arrange, besides the humdrum, but necessary, +work of feeding and housing and caring for the throng. Of course he did +not do all the work, but the responsibility was his. + +In this rush of work, Nietzsche was dropped out of sight--there was no +time now for long conferences on the Over-Soul and Music of the Future. + +Nietzsche was snubbed. He went off to his garret and wrote a scathing +criticism on the work of Richard Wagner. This divine music was not for +the intellectual few at all--it was getting popular and it was getting +bad. Wagner was insincere--commercial--a charlatan. + +Nietzsche was no longer interested in Wagner--he was interested only in +Nietzsche. + +Literary men do not quarrel more than other men--it only seems as if +they did. This is because your writer uses his kazoo in getting even +with his supposed enemy--he flings the rhetorical stinkpot with +precision, and his grievances come into a prominence all out of keeping +with their importance. + +In Eighteen Hundred Eighty-eight, Nietzsche issued his little book, "The +Fall of Wagner." + +After a person has greatly praised another, and wishes to say something +particularly unkind about him, one horn of the dilemma must be taken. If +you admit you were wrong in the first conclusion, you lay yourself open +to the suspicion that you are also wrong in the second--that you are one +who makes snap judgments. The safer way then is to cling close to the +presumption of your own infallibility, without, of course, actually +stating it, and claim that your idol has changed, backslidden--fallen. +This then lends an aura of virtue to your action, as it shows a +wholesome desire on your part not to associate with the base person, +and also an altruistic wish to warn the world so it shall not be undone +by him. + +Of all the bitter, unkind and malicious things ever uttered against +Wagner, none contains more free alkali than the booklet by Nietzsche. + +Nietzsche, not being satisfied with an attack on Wagner's art, also made +a few flings at his pedigree, and declared that the Master's real name +was not Wagner: this was his mother's name, he being a natural son of +Ludwig Geyer, the poet--the Jew. What this has to do with Tannhauser, +Tristan and Isolde, the Ring, Lohengrin, and Parsifal, Nietzsche does +not explain. In any event, the information about Wagner's birth comes +with very bad grace from an avowed enemy, who practically admits that he +got the facts, in confidence, from Wagner himself. Neither does +Nietzsche, the freethinking radical, recognize that good men have long +ceased taunting other men concerning their parentage, or boasting of +their own. + +A man is what he is; and the word "illegitimate" is not in God's +vocabulary, since He smiles on love-children as on none other. If you +know history, you know this: that into their keeping God has largely +given the beauty, talent, energy, strength, skill and power, as well as +that divinity which confuses its possessor with Deity Incarnate. + +Wagner might have replied to Nietzsche in kind, and pointed him out as +the product of "tired sheets," to use the phrase of Shakespeare. Wagner +might have said, "Yes, I am a member of that elect class to which belong +William the Conqueror, Leonardo da Vinci, Erasmus, the Empress +Josephine, Alexander Hamilton and Abraham Lincoln!" But he didn't--he +did better--he said nothing. Wagner had the pride that scorned a +defense--he realized his priceless birthright, and knew that his mother +and father had dowered him with a divine genius. Let those talk who +could do nothing else: silence was his only answer. + +In a year later, Nietzsche was taken to an asylum, dead at the top. He +lingered on until Nineteen Hundred, when his body, too, died, died there +at Weimar, the home of Goethe and the home of Franz Liszt--another of +life's little ironies. It is an obvious thing to say that Friedrich +Nietzsche was insane all the time. The fact is, he was not. He was a +great, sincere and honest soul, intent on living the ideal life. He +wrote thoughts that have passed into the current coin of all the +thinking world. When he praised Wagner to the skies and afterwards +damned him to the lowest depths of perdition, he was sane, and did the +thing that has been done since Cain slew his brother Abel. Take it home +to yourself--haven't the best things and the worst that have ever been +said about you, been expressed by the same person? + +The opinion of any one person concerning any man of genius, or any +product of art, is absolutely valueless. Whim, prejudice, personal bias, +and physical condition color our view and tint our opinions, and when we +cease to love a man personally, to condemn his art is an easy and +natural step. What was before pleasing is now preposterous. + +Of course, it is all a point of view--a matter of perspective, and most +of us are a trifle out of focus. When we change our opinions we change +our friends. + +As a prescription for preserving a just and proper view, and living a +sane life, I would say, climb a tree occasionally, and hoot like an owl +and caw like a crow; stand on your head and yell at times like a +Comanche. + +Robert Louis Stevenson says, "A man who has not had the courage to make +a fool of himself has not lived." + +The man who does not relax and hoot a few hoots voluntarily, now and +then, is in great danger of hooting hoots and standing on his head for +the edification of the pathologist and trained nurse, a little later on. + +The madhouse yawns for the person who always does the proper thing. +Impropriety, in right proportion, relieves congestion, and thus are the +unities preserved. And so here the great Law of Compensation, invented +by Ralph Waldo Emerson, comes in: The sane, healthy man, who +occasionally strips off his dignity and hoots like an owl, or rolls +naked in the snow, will surely be called insane by the self-nominated +elect, but his personal compensation lies in the fact that he knows he +is not. + + * * * * * + +And now look upon the face of this man! Even so, and upon every face is +written the record of the life the man has led: the loves that were his, +the thoughts, the prayers, the aspirations, the disappointments, all he +hoped to be and was not--all are written there--nothing is hidden, nor +can it be. Here was one born in poverty, nurtured in adversity, and yet +uplifted and sustained by homely friendships and rugged companions who +dumbly guessed the latent greatness of their charge. + +With soul athirst he sought for truth, and stubbornly groped his way +alone. Immediate precedent stood to him for little, and his sincerity +and honesty made him the butt of mob and rabble. His ambition to be +himself, to live his life, the desire to express his honest thought, led +straight to deprivation of bread and shelter. He had too much sympathy, +his honesty was not tempered by the graces of a diplomat--a price was +placed upon his head. By the help of that one noble friend, whose love +upheld him to the last, he escaped to a country where freedom of speech +is not a byword. But misunderstanding followed close upon his footsteps, +even his wife doubted his sanity, mistaking his genius for folly, and +died undeceived. Calumny, hate, brutal criticism, the contempt of the +so-called learned class--and all the train of woe that want and debt can +bring to bear were his lot and portion. + +Still he struggled on, refusing to compromise or parley--he would live +his life, expressing the divinity within, and if fate decreed it so, die +the death, misunderstood, reviled, and be forgotten. + +And so he lived, working, praying, hoping, toiling, travailing--but with +days, now and then, when rifts broke the clouds and the sun shone +through, his Other Self giving approbation by saying, "Well done! the +work will live." + +More than half a century had passed over his head, and the frost of +years had whitened his locks; his form was bowed from the many burdens +it had borne; the fine face furrowed with lines of care; his eyes grown +dim from weeping--when gradually the critics grew less severe. + +Advocates were coming to the front, demanding that brutal hands should +no longer mangle this man: grudgingly pardon came for offenses never +committed, and he was permitted to return to his native land. Strong men +and women placed themselves on his side. They declared their faith, and +said his work was sublime; and they boldly stated the patent fact that +those who had done most to cry Wagner down, had themselves done nothing, +nor added an iota to the wealth or the harmony of the world. People +began to listen, to investigate, and they said, "Why, yes, the music of +Wagner has a distinct style--it has individuality." + +Individuality is a departure from a complete type, and so is never +perfect, any more than man is perfect. But Wagner's music is honest and +genuine emotion set to sweet sounds, with words in keeping. It mirrors +the hopes, the disappointments, the aspirations and the love of a great +soul. + +As men and women grew to cultivate the hospitable mind and receptive +heart, tears filled their eyes and as they listened they came to +understand. Honesty and genuineness in souls are too rare to flout--when +found men really uncover before them. The people saw at last that they +had been deceived by the savants, blinded by the dust of paid and +prejudiced critics, fooled by those who led the way for a consideration. +They flocked to see the great composer and listen to his matchless +music, and they gave the man and his work their approval. Such sums were +paid to him as he had only read of in books. Adulation, approbation and +crowning fame were his at last. + +Then love came that way and gentle, trusting affection, and sweet, +spiritual comradeship, such as he had never known except in dreams--all +these were his. His fame increased, and lavish offers from across the +sea came, proffering him such wealth and honor as were not for any other +living artist. + +A theater was built for the presentation of his productions alone; the +lovers of music from every nation made Bayreuth a place of pilgrimage. + +When the man died--passed peacefully away, supported by the arms of the +one woman he had loved--the daughter of Liszt--the art-loving world +paid his genius all the tribute that men can offer to the worth of other +men. + +And now the passing years have brought a confirmation in belief of the +statement made by Franz Liszt, "Richard Wagner is the one true musical +genius of his age." + +Wagner's admirers should, for him, plead guilty to the worst that can be +said: he is everything that his most bitter critics say, but he is so +much more that his faults and follies sink into ashes before the divine +fire of his genius, and we still have the gold. Inconsistent, +paradoxical, preposterous--why, yes, of course! Still he is the greatest +poet of passion the world has ever seen--don't cavil--passion's +consistency consists in being inconsistent. + +"Every sentence must have a man behind it," and so we might say, "Every +bar of music must have a man behind it." That harmony only can live +which once had its dwelling-place in a great and tender heart. + +The province of art is to impart a sublime emotion, and that which +affects to be an emotion, no matter how subtly launched, can never live +as classic art. Honesty here, as elsewhere, must have its reward. Be +yourself, though all the world laugh. + +I will not say that Wagner was--he is. The man himself in life was often +worn to the quick by the deprivations he had to endure, or the stupid +misunderstandings he encountered, so at times he was impatient, +erratic, possibly perverse. But all that is gone--his mistakes have +been washed in the blood of Time--only the good survives. The best that +this great and godlike man ever thought, or felt, or knew, is ours--he +lives immortal in his Art. + + + + +[Illustration: PAGANINI] + +PAGANINI + + + For lo! creation's self is one great choir, + And what is Nature's order but the rhyme + Whereto the worlds keep time, + And all things move with all things from their prime? + Who shall expound the mystery of the lyre? + In far retreats of elemental mind + Obscurely comes and goes + The imperative breath of song, that as the wind + Is trackless, and oblivious whence it blows. + + --_William Watson_ + + +PAGANINI + +Some time ago, after my lecture one night in Boston, I bethought me to +call on my old friend Bliss Carman. I expected he would be sleeping the +sleep of the just, but I was prepared to rout him out, for although my +errand was from a fair, frail young thing, and trivial, yet I was bound +to deliver the message--for that is what one should always do. + +But the poet was not abed--he was pacing the room in a fine burst of +poetic fervor, composing "More Songs From Vagabondia." The songs told of +purling streams, hedgerows, bathers lolling on the river-bank, nodding +wild flowers, chirping pewees, and other such poetic properties, which +the singer conjured forth from boyhood's days, long since gone by. + +This suite of rooms, where the poet worked, was in a fine house on a +fashionable street, and I noticed the place bore every mark of elegant +bachelor ease and convenience that good taste could dictate. The best +"Songs From Vagabondia," I am told, are written in comfortable +apartments, where there are a bath and a Whitely Exerciser; but patient, +persistent effort and work overtime are necessary to lick the lines into +shape so they will live. Good poets run their machinery in double +shifts. + +"Go away!" cried Bliss Carman, when he had opened the door in reply to +my sprightly knock. "Go away! I am giving to airy nothings a local +habitation and a name. This is my busy night--do you not see?" And fully +understanding the conditions, for I am a poet myself, I went away and +left the author to his labors. + +It is a mistake to assume that genius is the capacity for evading hard +work. "La Vie de Boheme" is a beautiful myth that was first worked out +with consummate labor by a man of imagination named Murger, and told +again with variations by Balzac and Du Maurier. Boheme is not down on +the map, because it is not a money-order post-office. It is only a Queen +Mab fairy fabric of a warm, transient desire; its walls being +constructed of the stuff that dreams are made of, and its little life is +rounded with a pipe and tabor, two empties and a brass tray. Yet the +semblance of the thing is there and this often deceives the very elect. +Around every art studio are found the young men in velveteen who smoke +infinite cigarettes, and throw off opinions about this great man and +that, and prate prosaically in blase monotone of the Beautiful. +Sometimes these young persons give lectures on "Art as I Have Found It"; +but do not be deceived by this--the art that lives is probably being +produced by small, shy, red-headed men who work on a top floor, and whom +you can only find with the help of a search-warrant. One sort talks of +art, the other kind produces it. One tells of truth, the other is +living it. + +Edgar Allan Poe wrote the most gruesome stories that have ever been +told, just to prove that life is a tragedy and not worth living. But who +ever lived fuller and applied himself to hard work more conscientiously +in order to make his point? Poe wrote and rewrote, and changed and added +and interlined and balanced it all on his actor's tongue, and read it +aloud before the glass. Poe shortened his days and flung away a valuable +fag-end of his life, trying to show that life is not worth living, and +thus proved it is. Gray spent thirteen years writing his "Elegy," and so +made clear the point that the man who does good work does not at the +last lay him down and rest his head upon the lap of earth, a youth to +fortune and to fame unknown. Gray secured both fame and fortune. He was +so successful that he declined the Laureateship, and had the felicity to +die of gout. Gray's immortality is based upon the fact that his life +gave the lie to his logic. The man who thinks out what he wants to do, +and then works and works hard, will win, and no others do, or ever have, +or can--God will not have it so. + + * * * * * + +As a violinist Paganini far surpassed all other players who ever lived; +and when one follows the story of his life, the fact is apparent that he +succeeded because he worked. + +And yet behold the paradox! The idea existed in his own day, and is +abroad yet, that "the devil guided his hand," for the thought that the +devil is more powerful than God has ever been held by the majority of +men--more especially if a fiddle is concerned. + +Such patience, such persistency, such painstaking effort as the man put +forth for a score of years would have made him master at anything. The +public knows nothing of these long years of labor and preparation--it +sees only the result, and this result shows such consummate ease and +naturalness--all done without effort--that it exclaims, "A genius--the +devil guides his hand!" The remark was made of Titian and his wonderful +color effects, and then again of Rembrandt with his mysterious limpid +shadows--their competitors could not understand it! And so they disposed +of the subject by attributing it to a supernatural agency. + +Things all men can do and explain are natural; things we can not explain +are "supernatural." Progress consists in taking things out of the +supernatural pigeonhole and placing them in the natural. As soon as we +comprehend the supernatural, we are a bit surprised to find it is +perfectly natural. + +But the limitations of great men are seen in that when they have +acquired the skill to do a difficult thing well, and the public cries, +"Genius!" why the genius humors the superstition and begins to allow the +impression to get out mysteriously that he "never had a lesson in his +life." + +Any man who caters to the public is to a great degree spoiled by the +public. Actors act off the stage as well as on, falling victims to their +trade: their lives are stained by pretense and affectation, just as the +dyer's hand is subdued to the medium in which it works. The man of +talent who is much before the public poses because his audience wishes +him to; one step more and the pose becomes natural--he can not divest +himself of it. Paganini by hard work became a consummate player; and +then so the dear public should receive its money's worth, he evolved +into a consummate poseur--but he was still the Artist. + + * * * * * + +A large number of writers have described the appearance and playing of +Niccolo Paganini, but none ever did the assignment with the creepy +vividness of Heinrich Heine. The rest of this chapter is Heine's. I make +the explanation because the passage is so well known that it would be +both indiscreet and inexpedient for me to bring my literary jimmy to +bear and claim it as my own--much as I would like to. + +Says Heinrich Heine: + + I believe that only one man has succeeded in putting Paganini's + true physiognomy upon paper--a deaf painter, Lyser by name, who, in + a frenzy full of genius, has with a few strokes of chalk so well + hit the great violinist's head that one is at the same time amused + and terrified at the truth of the drawing. "The devil guided my + hand," the deaf painter said to me, chuckling mysteriously, and + nodding his head with a good-natured irony in the way he generally + accompanied his genial witticisms. This painter was, however, a + wonderful old fellow; in spite of his deafness he was + enthusiastically fond of music, and he knew how, when near enough + to the orchestra, to read the music in the musicians' faces, and to + judge the more or less skilful execution by the movements of their + fingers; indeed, he wrote critiques on the opera for an excellent + journal at Hamburg. And yet is that peculiarly wonderful? In the + visible symbols of the performance the deaf painter could see the + sounds. There are men to whom the sounds themselves are invisible + symbols in which they hear colors and forms. + + I am sorry that I no longer possess Lyser's little drawing; it + would perhaps have given you an idea of Paganini's outward + appearance. Only with black and glaring strokes could those + mysterious features be seized, features which seemed to belong more + to the sulphurous kingdom of shades than to the sunny world of + life. "Indeed, the devil guided my hand," the deaf painter assured + me, as we stood before the pavilion at Hamburg on the day when + Paganini gave his first concert there. "Yes, my friend, it is true + that he has sold himself to the devil, body and soul, in order to + become the best violinist, to fiddle millions of money, and + principally to escape the damnable galley where he had already + languished many years. For, you see, my friend, when he was + chapel-master at Lucca he fell in love with a princess of the + theater, was jealous of some little abbate, was perhaps deceived by + the faithless amata, stabbed her in approved Italian fashion, came + in the galley to Genoa, and as I said, sold himself to the devil to + escape from it, became the best violin-player, and imposed upon us + this evening a contribution of two thalers each. But, you see, all + good spirits praise God! There in the avenue he comes himself, with + his suspicious impresario." + + It was Paganini himself whom I then saw for the first time. He wore + a dark gray overcoat, which reached to his heels, and made his + figure seem very tall. His long black hair fell in neglected curls + on his shoulders, and formed a dark frame round the pale, + cadaverous face, on which sorrow, genius and hell had engraved + their lines. Near him danced along a little pleasing figure, + elegantly prosaic--with rosy, wrinkled face, bright gray little + coat with steel buttons, distributing greetings on all sides in an + insupportably friendly way, leering up, nevertheless, with + apprehensive air at the gloomy figure who walked earnest and + thoughtful at his side. It reminded one of Retzsch's presentation + of "Faust" and Wagner walking before the gates of Leipzig. The deaf + painter made comments to me in his mad way, and bade me observe + especially the broad, measured walk of Paganini. "Does it not + seem," said he, "as if he had the iron cross-pole still between his + legs? He has accustomed himself to that walk forever. See, too, in + what a contemptuous, ironical way he sometimes looks at his guide + when the latter wearies him with his prosaic questions. But he can + not separate himself from him; a bloody contract binds him to that + companion, who is no other than Satan. The ignorant multitude, + indeed, believe that this guide is the writer of comedies and + anecdotes, Harris from Hanover, whom Paganini has taken with him to + manage the financial business of his concerts. But they do not know + that the devil has only borrowed Herr George Harris' form, and that + meanwhile the poor soul of this poor man is shut up with other + rubbish in a trunk at Hanover, until the devil returns its + flesh-envelope, while he perhaps will guide his master through the + world in a worthier form--namely as a black poodle." + + But if Paganini seemed mysterious and strange enough when I saw him + walking in bright midday under the green trees of the Hamburg + Jungfernstieg, how his awful bizarre appearance startled me at the + concert in the evening! The Hamburg Opera House was the scene of + this concert, and the art-loving public had flocked there so + early, and in such numbers, that I only just succeeded in obtaining + a little place in the orchestra. Although it was post-day, I saw in + the first row of boxes the whole educated commercial world, a whole + Olympus of bankers and other millionaires, the gods of coffee and + sugar by the side of their fat goddesses, Junos of Wandrahm and + Aphrodites of Dreckwall. A religious silence reigned through the + assembly. Every eye was directed towards the stage. Every ear was + making ready to listen. My neighbor, an old furrier, took the dirty + cotton out of his ears in order to drink in better the costly + sounds for which he had paid his two thalers. + + At last a dark figure, which seemed to have arisen from the + underworld, appeared upon the stage. It was Paganini in his black + costume--the black dress-coat and the black waistcoat of a horrible + cut, such as is prescribed by infernal etiquette at the court of + Proserpine. The black trousers hung anxiously around the thin legs. + The long arms appeared to grow still longer, as, holding the violin + in one hand and the bow in the other, he almost touched the floor + with them, while displaying to the public his unprecedented + obeisances. In the angular curves of his body there was a horrible + woodenness, and also something absurdly animal-like, that during + these bows one could not help feeling a strange desire to laugh. + But his face, that appeared still more cadaverously pale in the + glare of the orchestra lights, had about it something so imploring, + so simply humble, that a sorrowful compassion repressed one's + desire to smile. Had he learnt these complimentary bows from an + automaton, or a dog? Is that the entreating gaze of one sick unto + death, or is there lurking behind it the mockery of a crafty + miser? Is that a man brought into the arena at the moment of death, + like a dying gladiator, to delight the public with his convulsions? + Or is it one risen from the dead, a vampire with a violin, who, if + not the blood out of our hearts, at any rate sucks the gold out of + our pockets? + + Such questions crossed our minds while Paganini was performing his + strange bows, but all those thoughts were at once still when the + wonderful master placed his violin under his chin and began to + play. + + As for me, you already know my musical second-sight, my gift of + seeing at each tone a figure equivalent to the sound, and so + Paganini with each stroke of his bow brought visible forms and + situations before my eyes; he told me in melodious hieroglyphics + all kinds of brilliant tales; he, as it were, made a magic lantern + play its colored antics before me, he himself being chief actor. At + the first stroke of his bow the stage scenery around him had + changed; he suddenly stood with his music-desk in a cheerful room, + decorated in a gay, irregular way after the Pompadour style; + everywhere little mirrors, gilded Cupids, Chinese porcelain, a + delightful chaos of ribbons, garlands of flowers, white gloves, + torn lace, false pearls, powder-puffs, diamonds of gold-leaf and + spangles--such tinsel as one finds in the room of a prima donna. + Paganini's outward appearance had also changed, and certainly most + advantageously; he wore short breeches of lily-colored satin, a + white waistcoat embroidered with silver, and a coat of bright blue + velvet with gold buttons; the hair in little carefully curled locks + bordered his face, which was young and rosy, and gleamed with sweet + tenderness as he ogled the pretty young lady who stood near him at + the music-desk, while he played the violin. + + Yes, I saw at his side a pretty young creature, dressed in antique + costume, the white satin swelled out above the waist, making the + figure still more charmingly slender; the high raised hair was + powdered and curled, and the pretty round face shone out all the + more openly with its glancing eyes, its little rouged cheeks, its + tiny beauty-patches, and the sweet, impertinent little nose. In her + hand was a roll of white paper, and by the movements of her lips as + well as by the coquettish waving to and fro of her little upper lip + she seemed to be singing; but none of her trills was audible to me, + and only from the violin with which young Paganini led the lovely + child could I discover what she sang, and what he himself during + her song felt in his soul. + + Oh, what melodies were those! Like the nightingale's notes, when + the fragrance of the rose intoxicates her yearning young heart with + desire, they floated in the twilight. Oh, what melting, languid + delight was that! The sounds kissed each other, then fled away + pouting, and then, laughing, clasped each other and became one, and + died away in intoxicating harmony. Yes, the sounds carried on their + merry game like butterflies, when one, in playful provocation, will + escape from another, hide behind a flower, be overtaken at last, + and then, wantonly joying with the other, fly away into the golden + sunlight. But a spider, a spider can prepare a sudden tragical fate + for such enamored butterflies! + + Did the young heart anticipate this? A melancholy sighing tone, a + sad foreboding of some slowly approaching misfortune, glided softly + through the enrapturing melodies that were streaming from + Paganini's violin. His eyes became moist. Adoringly he knelt down + before his amata. But, alas! as he bowed down to kiss her feet, he + saw under the sofa a little abbate! I do not know what he had + against the poor man, but the Genoese became pale as death. He + seized the little fellow with furious hands, drew a stiletto from + its sheath, and buried it in the young rogue's breast. + + At this moment, however, a shout of "Bravo! Bravo!" broke out from + all sides. Hamburg's enthusiastic sons and daughters were paying + the tribute of their uproarious applause to the great artist, who + had just ended the first of his concert, and was now bowing with + even more angles and contortions than before. And on his face the + abject humility seems to me to have become more intense. From his + eyes stared a sorrowful anxiety like that of a poor malefactor. + "Divine!" cried my neighbor, the furrier, as he scratched his ears; + "that piece alone was worth two thalers." + + When Paganini began to play again a gloom came before my eyes. The + sounds were not transformed into bright forms and colors; the + master's form was clothed in gloomy shades, out of the darkness of + which his music moaned in the most piercing tones of lamentation. + + Only at times, when a little lamp that hung above cast its + sorrowful light over him, could I catch a glimpse of his pale + countenance, on which the youth was not yet extinguished. His + costume was singular, in two colors, yellow and red. Heavy chains + weighed upon his feet. Behind him moved a face whose physiognomy + indicated a lusty goat-nature. And I saw at times long, hairy hands + seize assistingly the strings of the violin on which Paganini was + playing. They often guided the hand which held the bow, and then a + bleat-laugh of applause accompanied the melody, which gushed from + the violin ever more full of sorrow and anguish. They were melodies + which were like the song of the fallen angels who had loved the + daughters of earth, and being exiled from the kingdom of the + blessed, sank into the underworld with faces red with shame. They + were melodies in whose bottomless depths glimmered neither + consolation nor hope. When the saints in heaven hear such melodies, + the praise of God dies upon their paled lips, and they cover their + heads weeping. At times when the obligate goat's laugh bleated in + among the melodious pangs, I caught a glimpse in the background of + a crowd of small women-figures who nodded their odious heads with + wicked wantonness. Then a rush of agonizing sounds came from the + violin, and a fearful groan and a sob, such as was never heard upon + earth before, nor will be perhaps heard upon earth again, unless in + the valley of Jehoshaphat, when the colossal trumpets of doom shall + ring out, and the naked corpses shall crawl forth from the grave to + abide their fate. But the agonized violinist suddenly made one + stroke of the bow, such a mad, despairing stroke, that his chains + fell rattling from him, and his mysterious assistant and the other + foul, mocking forms vanished. + + At this moment my neighbor, the furrier, said, "A pity, a pity! a + string has snapped--that comes from constant pizzicato." + + Had a string of the violin really snapped? I do not know. I only + observed the alternation in the sounds, and Paganini and his + surroundings seemed to me again suddenly changed. I could scarcely + recognize him in the monk's brown dress, which concealed rather + than clothed him. With savage countenance half-hid by the cowl, + waist girt with a cord, and bare feet, Paganini stood, a solitary + defiant figure, on a rocky prominence by the sea, and played his + violin. But the sea became red and redder, and the sky grew paler, + till at last the surging water looked like bright, scarlet blood, + and the sky above became of a ghastly corpse-like pallor, and the + stars came out large and threatening; and those stars were + black--black as glooming coal. But the tones of the violin grew + ever more stormy and defiant, and the eyes of the terrible player + sparkled with such a scornful lust of destruction, and his thin + lips moved with such a horrible haste, that it seemed as if he + murmured some old accursed charms to conjure the storm and loose + the evil spirits that lie imprisoned in the abysses of the sea. + Often, when he stretched his long, thin arm from the broad monk's + sleeve, and swept the air with his bow, he seemed like some + sorcerer who commands the elements with his magic wand; and then + there was a wild wailing from the depth of the sea, and the + horrible waves of blood sprang up so fiercely that they almost + besprinkled the pale sky and the black stars with their red foam. + There was a wailing and a shrieking and a crashing, as if the world + was falling into fragments, and ever more stubbornly the monk + played his violin. He seemed as if by the power of violent will he + wished to break the seven seals wherewith Solomon sealed the iron + vessels in which he had shut up the vanquished demons. The wise + king sank those vessels in the sea and I seemed to hear the voices + of the imprisoned spirits while Paganini's violin growled its most + wrathful bass. + + But at last I thought I heard the jubilee of deliverance, and out + of the red billows of blood emerged the heads of the fettered + demons: monsters of legendary horror, crocodiles with bats' wings, + snakes with stags' horns, monkeys with shells on their heads, seals + with long patriarchal beards, women's faces with one eye, green + camels' heads, all staring with cold, crafty eyes, and long, + fin-like claws grasping at the fiddling monk. From the latter, + however, in the furious zeal of his conjuration, the cowl fell back + and the curly hair, fluttering in the wind, fell round his head in + ringlets, like black snakes. + + So maddening was this vision that to keep my senses I closed my + ears and shut my eyes. When I again looked up the specter had + vanished, and I saw the poor Genoese in his ordinary form, making + his ordinary bows, while the public applauded in the most rapturous + manner. + + "That is the famous performance upon G," remarked my neighbor. "I + myself play the violin, and I know what it is to master the + instrument." Fortunately, the pause was not considerable, or else + the musical furrier would certainly have engaged me in a long + conversation upon art. Paganini again quietly set his violin to his + chin, and with the first stroke of his bow the wonderful + transformation of melodies again began. + + They no longer fashioned themselves so brightly and corporeally. + The melody gently developed itself, majestically billowing and + swelling like an organ chorale in a cathedral, and everything + around, stretching larger and higher, had extended into a colossal + space which, not the bodily eye, but only the eye of the spirit + could seize. In the midst of this space hovered a shining sphere, + upon which, gigantic and sublimely haughty, stood a man who played + the violin. Was that sphere the sun? I do not know. But in the + man's features I recognized Paganini, only ideally lovely, divinely + glorious, with a reconciling smile. His body was in the bloom of + powerful manhood, a bright blue garment enclosed his noble limbs, + his shoulders were covered by gleaming locks of black hair; and as + he stood there, sure and secure, a sublime divinity, and played the + violin, it seemed as if the whole creation obeyed his melodies. He + was the man-planet about which the universe moved with measured + solemnity and ringing out beatific rhythms. Those great lights, + which so quietly gleaming swept around, were they stars of heaven, + and that melodious harmony which arose from their movements, was it + the song of the spheres, of which poets and seers have reported so + many ravishing things? At times, when I endeavored to gaze out into + the misty distance, I thought I saw pure white garments floating + ground, in which colossal pilgrims passed muffled along with white + staves in their hands, and singular to relate, the golden knob of + each staff was even one of those great lights which I had taken for + stars. These pilgrims moved in a large orbit around the great + performer, the golden knobs of their staves shone even brighter at + the tones of the violin, and the chorale which resounded from their + lips, and which I had taken for the song of the spheres, was only + the dying echo of those violin tones. A holy, ineffable ardor dwelt + in those sounds, which often trembled scarce audibly, in mysterious + whisper on the water, then swelled out again with a shuddering + sweetness, like a bugle's notes heard by moonlight, and then + finally poured forth in unrestrained jubilee, as if a thousand + bards had struck their harps and raised their voices in a song of + victory. + + * * * * * + +In Seventeen Hundred Eighty-four, Niccolo Paganini was born at Genoa. +His father was a street-porter who eked out the scanty exchequer by +playing a violin at occasional dances or concerts. That his playing was +indifferent is evident from the fact that he was very poor--his services +were not in demand. + +The poverty of the family and the failure of the father fired the +ambition of the boy to do something worthy. When he was ten years old he +could play as well as his father, and a year or so thereafter could play +better. The lad was tall, slender, delicate and dreamy-eyed. But he had +will plus, and his desire was to sound the possibilities of the violin. +And this reminds me that Hugh Pentecost says there is no such thing as +will--it is all desire: when we desire a thing strongly enough, we have +the will to secure it--but no matter! + +Young Niccolo Paganini practised on his father's violin for six hours a +day; and now when the customers who used to hire his father to play +came, they would say, "We just as lief have Niccolo." + +Soon after this they said, "We prefer to have Niccolo." And a little +later they said, "We must have Niccolo." Some one has written a book to +show that playing second fiddle is just as worthy an office as playing +first. This doubtless is true, but there are so many more men who can +play second, that it behooves every player to relieve the stress by +playing first if he can. Niccolo played first and then was called upon +to play solos. He was making twice as much money as his father ever had, +but the father took all the boy's earnings, as was his legal right. The +father's pride in the success of the son, the young man always said, was +because he was proving a good financial investment. It does not always +pay to raise children--this time it did. It was finally decided to take +the boy to the celebrated musician, Rolla, for advice as to what was +best to do about his education. Rolla was sick abed at the time the boy +called and could not see him; but while waiting in the entry the lad +took up a violin and began to play. The invalid raised himself on one +elbow and pantingly inquired who the great master was that had thus +favored him with a visit. + +"It's the lad who wants you to give him lessons," answered the +attendant. + +"Impossible! no lad could play like that--I can teach that player +nothing!" + +Next the musician Paer was visited, and he passed the boy along to +Giretta, who gave him three lessons a week in harmony and counterpoint. +The boy had abrupt mannerisms and tricks of his own in bringing out +expressions, and these were such a puzzle to the teacher that he soon +refused to go on. + +Niccolo possessed a sort of haughty self-confidence that aggravated the +master; he believed in himself and was fond of showing that he could +play in a way no one else could. Adolescence had turned his desire to +play into a fury of passion for his art: he practised on single passages +for ten or twelve hours a day, and would often sink in a swoon from +sheer exhaustion. This deep, torpor-like sleep saved him from complete +collapse, just as it saved Mendelssohn, and he would arise to go on with +his work. + +Paganini's wisdom was shown at this early age in that he limited his +work to a few compositions, and these he made the most of, just as they +say Bossuet secured his reputation as the greatest preacher of his time +by a single sermon that he had polished to the point of perfection. + +When fifteen years old Paganini contrived to escape from his father and +went to a musical festival at Lucca. He managed to get a hearing, was +engaged at once as a soloist, and soon after gave a concert on his own +account. In a month he had accumulated a thousand pounds in cash. + +Very naturally, such a success turned the head of this lad who never +before had had the handling of money. He began to gamble, and became the +dupe of rogues--male and female--who plunged him into an abyss of wrong. +He even gambled away the "Stradivarius" that had been presented to him, +and when his money, watch and jewels were gone, his new-found friends of +course decamped, and this gave the young man time to ponder on the +vanities of life. + +When he played again it was on a borrowed "Guarnerius," and after the +rich owner, himself a violinist, had heard him play, he said, "No +fingers but yours shall ever play that violin again!" + +Paganini accepted the gift, and this was the violin he played for full +forty years, and which, on his death, was willed to his native city of +Genoa. There it can be seen in its sealed-up glass case. + +Up to his thirtieth year Paganini continued his severe work of subduing +the violin. By that time he had sounded its possibilities, and +thereafter no one heard him play except in concert. It is told that one +man, anxious to know the secrets of Paganini's power, followed him from +city to city, watching him at his concerts, dogging him through the +streets, spying upon him at hotels. At one inn this man of curiosity had +the felicity to secure a room next to the one occupied by Paganini; and +one morning as he watched through the keyhole, he was rewarded by seeing +the master open the case where reposed the precious "Guarnerius." +Paganini lifted the instrument, held it under his chin, took up the bow +and made a few passes in the air--not a sound was heard. Then he kissed +the back of the violin, muttered a prayer, and locked the instrument in +its case. + +At concert rehearsals he always played a mute instrument; and Harris, +his manager, records that for the many years he was with Paganini he +never heard him play a single note except before an audience. + +I have a full-length daguerreotype of Paganini taken when he was forty +years of age. No one ever asked this man, "Kind sir, are you anybody in +particular?" + +Paganini was tall and wofully slim. His hands and feet were large and +bony, his arms long, his form bowed and lacking in all that we call +symmetry. But the long face with its look of abject melancholy, the +curved nose, the thin lips and the sharp, protruding chin, made a +combination that Fate has never duplicated. You could easily believe +that this man knew all the secrets of the Nether World, and had tasted +the joys of Paradise as well. Women pitied and loved him, men feared +him, and none understood him. He lived in the midst of throngs and +multitudes--the loneliest man known in the history of art. + +Paganini, when he had reached his height, played only his own music; he +played divinely and incomprehensibly; next to his passion for music was +his greed for gold. These three facts sum up all we really know about +the master--the rest fades off into mist--mystery, fable and legend. We +do know, however, that he composed several pieces of music so difficult +that he could not play them himself, and of course no one else can. +Imagination can always outrun performance. Paganini had no close +friends; no confidants: he never mingled in society, and he never +married. + +At times he would disappear from the public gaze for several months, +and not even his business associates knew where he was. On one such +occasion a traveler discovered him in a monastic retreat in the Swiss +Mountains, wearing a horsehair robe and a rope girdle; others saw him +disguised as a mendicant; and still another tells of finding him working +as a day-laborer with obscure and ignorant peasants. Then there are +tales told of how he was taken captive by a titled lady of great wealth +and beauty, who carried him away to her bower, where he eschewed the +violin and tinkled only the guitar the livelong day. + +Everywhere the report was current that Paganini had killed a man, and +been sentenced to prison for life. The story ran that in prison he found +an old violin, three strings of which were broken, and so he played on +one string, producing such ravishing music that the keepers feared he +was "possessed." They decided they must get rid of him, and so contrived +to have him thrown overboard from a galley; but he swam ashore, and +although he was everywhere known, no man dared place a hand on him. + +A late writer in a London magazine, however, has given evidence of being +a psychologist and man of sense; he says, and produces proof, that after +the concert season was over Paganini withdrew to a monastery in the +mountains of Switzerland, and there the monks who loved him well, +guarded his retreat. There he found the rest for which his soul craved, +and there he practised on his violin hour after hour, day after day. +All this is better understood when we remember that after each retreat, +Paganini appeared with brand-new effects which electrified his +hearers--"effects taught him by the devil." + +Constant appearing before vast multitudes and ceaseless travel create a +depletion that demands rest. Paganini held the balance true by fleeing +to the mountains; there he worked and prayed. That Paganini had a soft +heart, in spite of the silent, cold and melancholy mood that usually +possessed him, is shown in his treatment of his father and mother, who +lived to know the greatness of their son. He wrote his mother kind and +affectionate letters, some of which we have, and provided lavishly for +every want of both his parents. At times he gave concerts for charity, +and on these occasions vast sums were realized. + +Paganini died in Eighteen Hundred Forty, aged fifty-six years. His will +provided for legacies to various men and women who had befriended him, +and he also gave to others with whom he had quarreled, thus proving he +was not all clay. + +The bulk of his fortune, equal to half a million dollars, was bequeathed +to his son, Baron Achille Paganini. And as if mystery should still +enshroud his memory and this, true to his nature, should be carried out +in his last will, there are those who maintain that Achille Paganini was +not his son at all--only a waif he had adopted. Yet Achille always +stoutly maintained the distinction--but what boots it, since he could +not play his father's violin? + +Yet this we know--Paganini, the man of mystery and moods, once lived and +produced music that, Orpheus-like, transfixed the world. We are better +for his having been and this world is a nobler place in that he lived +and played, for listen closely and you can hear, even now, the sweet, +sad echoes of those vibrant strings, touched by the hand of him who +loved them well. + +And when we remember the prodigious amount of practise that Paganini +schooled himself to in youth; and join this to the recently discovered +record of his long monastic retreats, when for months he worked and +played and prayed, we can guess the secret of his power. If you wish me +to present you a recipe for doing a deathless performance, I would give +you this: Work, travel, solitude, prayer, and yet again--work. + + + + +[Illustration: FREDERIC CHOPIN] + +FREDERIC CHOPIN + + + Nature does not design like art, however realistic she may be. She + has caprices, inconsequences, probably not real, but very + mysterious. Art only rectifies these inconsequences, because it is + too limited to reproduce them. Chopin was a resume of these + inconsequences which God alone can allow Himself to create, and + which have their particular logic. He was modest on principle, + gentle by habit, but he was imperious by instinct and full of a + legitimate pride which was unconscious of itself. Hence arose + sufferings which he did not reason and which did not fix themselves + on a determined object. + + --_George Sand in "The Story of My Life"_ + + +FREDERIC CHOPIN + +Maybe I am all wrong about it, yet I can not help believing that the +spirit of man will live again somewhere in a better world than ours. +Fenelon says, "Justice demands another life in order to make good the +inequalities of this." Astronomers prophesy the existence of stars long +before they can see them. They know where they ought to be, and training +their telescopes in that direction they wait, knowing they will find. + +Materially, no one can imagine anything more beautiful than this earth, +for the simple reason that we can not imagine anything we have not seen; +we may make new combinations, but the whole is all made up of parts of +things with which we are familiar. This great green earth out of which +we have sprung, of which we are a part, that supports our bodies, and to +which our bodies must return to repay the loan, is very, very beautiful. + +But the spirit of man is not fully at home here; as we grow in soul and +intellect, we hear, and hear again, a voice which says, "Arise and get +thee hence, for this is not thy rest." And the greater and nobler and +more sublime the spirit, the more constant the discontent. Discontent +may come from various causes, so it will not do to assume that the +discontented are always the pure in heart, but it is a fact that the +wise and excellent have all known the meaning of world-weariness. The +more you study and appreciate this life, the more sure you are that this +is not all. You pillow your head upon Mother Earth, listen to her +heart-throb, and even as your spirit is filled with the love of her, +your gladness is half-pain and there comes to you a joy that hurts. + +To look upon the most exalted forms of beauty, such as a sunset at sea, +the coming of a storm on the prairie, the shadowy silence of the desert, +or the sublime majesty of the mountains, begets a sense of sadness, an +increasing loneliness. + +It is not enough to say that man encroaches on man so that we are really +deprived of our freedom, that civilization is caused by a bacillus, and +that from a natural condition we have gotten into a hurly-burly where +rivalry is rife--all this may be true, but beyond and outside of all +this there is no physical environment in way of plenty which earth can +supply, that will give the tired soul peace. They are the happiest who +have the least; and the fable of the stricken king and the shirtless +beggar contains the germ of truth. The wise hold all earthly ties very +lightly--they are stripping for eternity. + +World-weariness is only a desire for a better spiritual condition. There +is more to be written on this subject of world-pain--to exhaust the +theme would require a book. And certain it is that I have no wish to +say the final word on any topic. The gentle reader has certain rights, +and among these is the privilege of summing up the case. But the fact +holds that world-pain is a form of desire. All desires are just, proper +and right; and their gratification is the means by which Nature supplies +us that which we need. Desire not only causes us to seek that which we +need, but is a form of attraction by which the good is brought to us, +just as the ameba creates a swirl in the waters that brings its food +within reach. Every desire in Nature has a fixed, definite purpose in +the Divine Economy, and every desire has its proper gratification. If we +desire the friendship of a certain person, it is because that person has +certain soul-qualities that we do not possess, and which complement our +own. Through desire do we come into possession of our own; by submitting +to its beckonings we add cubits to our stature; and we also give out to +others our own attributes, without becoming poorer, for soul is not +limited. + +All Nature is a symbol of spirit, so I believe that somewhere there must +be a proper gratification for this mysterious nostalgia of the soul. The +Eternal Unities require a condition where men and women will live to +love, and not to sorrow; where the tyranny of things hated shall not +ever prevail, nor that for which the heart yearns turn to ashes at our +touch. + + * * * * * + +"I believe Stevie is not quite at home here--he'll not remain so very +long," said a woman to me in Eighteen Hundred Ninety-five. Five years +have gone by, and recently the cable flashed the news that Stephen Crane +was dead. + +Dead at twenty-nine, with ten books to his credit, two of them good, +which is two good books more than most of us scribblers will ever write. +Yes, Stephen Crane wrote two things that are immortal. "The Red Badge of +Courage" is the strongest, most vivid work of imagination ever fished +from an ink-pot by an American. + +"Men who write from the imagination are helpless when in presence of the +fact," said James Russell Lowell. In answer to which I'll point you "The +Open Boat," the sternest, creepiest bit of realism ever penned, and +Stevie was in the boat. + +American critics honored Stephen Crane with more ridicule, abuse and +unkind comment than was bestowed on any other writer of his time. +Possibly the vagueness, and the loose, unsleeked quality of his work +invited the gibes, jeers, and the loud laughter that tokens the vacant +mind; yet as half-apology for the critics we might say that scathing +criticism never killed good work; and this is true, but it sometimes has +killed the man. + +Stephen Crane never answered back, nor made explanation, but that he was +stung by the continued efforts of the press to laugh him down, I am very +sure. + +The lack of appreciation at home caused him to shake the dust of +America from his feet and take up his abode across the sea, where his +genius was being recognized, and where strong men stretched out sinewy +hands of welcome, and words of appreciation were heard, instead of +silly, insulting parody. In passing, it is well to note that the five +strongest writers of America had their passports to greatness viséed in +England before they were granted recognition at home. I refer to Walt +Whitman, Thoreau, Emerson, Poe and Stephen Crane. + +Stevie did not know he cared for approbation, but his constant refusal +to read what the newspapers said about him was proof that he did. He +boycotted the tribe of Romeike, because he knew that nine clippings out +of every ten would be unkind, and his sensitive soul shrank from the +pin-pricks. + +Contemporary estimates are usually wrong, and Crane is only another of +the long list of men of genius to whom Fame brings a wreath and finds +her poet dead. + +Stephen Crane was a reincarnation of Frederic Chopin. Both were small in +stature, slight, fair-haired, and of that sensitive, acute, receptive +temperament--capable of highest joy and keyed for exquisite pain. +Haunted with the prophetic vision of quick-coming death, and with the +hectic desire to get their work done, they often toiled the night away +and were surprised by the rays of the rising sun. Both were shrinking +yet proud, shy but bold, with a tenderness and a feminine longing for +love that earth could not requite. At times mad gaiety, that ill-masked +a breaking heart, took the reins, and the spirits of children just out +of school seemed to hold the road. At other times--and this was the +prevailing mood--the manner was one of placid, patient, calm and smooth, +unruffled hope; but back and behind all was a dynamo of energy, a +brooding melancholy of unrest, and the crouching world-sorrow that would +not down. + +Chopin reached sublimity through sweet sounds; Crane attained the same +heights through the sense of sight and words that symboled color, shapes +and scenes. In each the distinguishing feature is the intense +imagination and active sympathy. Knowledge consists in a sense of +values--of distinguishing this from that, for truth lies in the mass. +The delicate nuances of Chopin's music have never been equaled by +another composer; every note is cryptic, every sound a symbol. And yet +it is dance-music, too, but still it tells its story of baffled hope and +stifled desire--the tragedy of Poland in sweet sounds. + +Stephen Crane was an artist in his ability to convey the feeling by just +the right word, or a word misplaced, like a lady's dress in disarray, or +a hat askew. This daring quality marks everything he wrote. The +recognition that language is fluid, and at best only an expedient, +flavors all his work. He makes no fetish of a grammar--if grammar gets +in the way, so much the worse for the grammar. All is packed with color, +and charged with feeling, yet the work is usually quiet in quality and +modest in manner. + +Art is born of heart, not head; and so it seems to me that the work of +these men whose names I have somewhat arbitrarily linked, will live. +Each sowed in sorrow and reaped in grief. They were tender, kind, +gentle, with a capacity for love that passes the love of woman. They +were each indifferent to the proprieties, very much as children are. +They lived in cloister-like retirement, hidden from the public gaze, or +wandered unnoticed and unknown. They founded no schools, delivered no +public addresses, and in their own day made small impress on the times. +Both were sublimely indifferent to what had been said and done--the term +precedent not being found within the covers of their bright lexicon of +words. In the nature of each was a goodly trace of peroxide of iron that +often manifested itself in the man's work. + +The faults in each spring from an intense personality, uncolored by the +surroundings, and such faults in such men are virtues. + +They belong to that elect few who have built for the centuries. The +influence of Chopin, beyond that of other composers, is alive today, and +moves unconsciously, but profoundly, every music-maker; the seemingly +careless style of Crane is really lapidaric, and is helping to file the +fetters from every writer who has ideas plus, and thoughts that burn. + +Mother Nature in giving out energy gives each man about an equal +portion. But that ability to throw the weight with the blow, to +concentrate the soul in a sonnet, to focus force in a single effort, is +the possession of God's Chosen Few. Chopin put his affection, his +patriotism, his wrath, his hope, and his heroism into his music--as if +the song of all the forest birds could be secured, sealed and saved for +us! + + * * * * * + +The father of Chopin was a Frenchman who went up to Poland seeking gain +and adventure. He became a soldier under Kosciusko and arose to rank of +Captain. He found such favor with the nobility by his gracious ways that +he became a teacher of French in the family of Count Frederic Skarbek. +In the family group was a fair young dependent of nervous +temperament--slight, active, gentle and intelligent. She was descendent +from a line of aristocrats, but in a country where revolutions have been +known to begin and end before breakfast, titles stand for little. + +Nicholas Chopin, ex-soldier, teacher of French and Deportment, married +this fine young girl, and they lived in one of Count Skarbek's +straw-thatched cottages at the little village of Zelazowa-Wola, +twenty-nine miles from Warsaw. Here it was that Frederic Chopin was +born, in Eighteen Hundred Nine--that memorable year when Destiny sent a +flight of great souls to the planet Earth. + +The country was bleak and battle-scarred; it had been drained of its men +and treasure, and served as a dueling-ground and the place of skulls for +kings and such riffraff who have polluted this fair world with their +boastings of a divine power. + +The struggle of Poland to free herself from the grip of the imperial +succubi has generated an atmosphere of ultramarine, so we view the +little land of patriots (and fanatics) through a mist of melancholy. +The history of Poland is written in blood and tears. + +Go ask John Sobieski, who saw his father hanged by order of Ferdinand +Maximilian, and child though he was, realized that banishment was the +fate of himself and mother; and then ten years after, himself, stood +death-guard over this same Maximilian in Mexico, and told that tyrant +the story of his life, and shook hands with him, calling it quits, ere +the bandage was tied over the eyes of the ex-dictator and the sunlight +shut out forever. + +Go ask John Sobieski! + +The woes of Poland have produced strange men. Under such rule as she has +known relentless hate springs up in otherwise gracious hearts from the +scattered dragons' teeth; and in other natures, where there is not quite +so much of the motive temperament, a deep strain of sorrow and religious +melancholy finds expression. The exquisite sensibility, delicate +insight, proud reserve and brooding world-sorrow of Frederic Chopin were +the inheritance of mother to son. This mother's mind was saturated with +the wrongs her people had endured: she herself had suffered every +contumely, for where chance had caused fact to falter, imagination had +filled the void. + +It is easy to say that Chopin's was an abnormal nature, and of course it +was, but when disease divides this world from another only by the +thinnest veil, the mind has been known to see things with a clearness +and vividness never before attained. With Chopin the strands of life +were often taut to the breaking-point, but ere they snapped, their +vibration gave forth to us some exquisite harmonies. + +Curiously enough, this power to see and do is often the possession of +dying men. The life flares up in a flame before it goes out forever. The +passion of the consumptive Camille, as portrayed by Dumas, is +typical--no healthy woman ever loved with that same intense, eager and +almost vindictive desire. It was a race with Death. + +Perfect health brings unconsciousness of body, and disease that almost +relieves the spirit of this weight of flesh produces the same results. +Again we have the Law of Antithesis. + +That such a youth as Frederic Chopin should seek in music a surcease +from his world-sorrow is very natural. A stricken people turns to music; +it forms a necessary part of all religious observance, and the dirge of +mourners, the wail of the "keener," and the songs of the banshee evolve +naturally into being wherever the heart is sore oppressed. It was the +slave-songs that made slavery bearable; and in the long ago, exiles in +Babylon found a solemn joy by singing the songs of Zion. Chopin drank in +the songs of Poland with his mother's milk, and while yet a child began +to give them voice in his own way. + +In the meantime his father's fortunes had mended a bit, and the family +had moved to Warsaw, where Nicholas Chopin was Professor of Languages at +the Lyceum. The title of the office fills the mouth in a very satisfying +way, but the emoluments attached hardly afforded such a gratification. + +In Warsaw there was much misery, for the plunderer had worked +conscription and seizure to its furthest limit. Want and destitution +were on every hand, but still this brave people maintained their +University and clung to its traditions. The family of the Professor of +Languages consisted of himself, wife, three daughters and the son +Frederic. Their income for several years was not over fifteen dollars a +month, but still they managed to maintain an appearance of decency, and +by the help of the public library, the free museum and the open-air +concerts, they kept abreast of the times in literature, art and music. + +There was absolute economy required, every particle of food was saved, +and when cast-off dresses were sent from the home of the Count it was a +godsend for the mother and girls, who measured and patched and pieced, +making garments for themselves, and for Frederic as well; so while their +raiment was not gaudy nor expressed in fancy, it served. + +Chopin once said to George Sand, "I never can think of my mother without +her knitting-needles!" And George Sand has recorded, "Frederic never had +but one passion and that was his mother." Into all of her knitting this +mother's flying needles worked much love. The entire household was one +of mutual service, and gentle, trusting affection. The weekly letters of +Chopin to his mother from Paris, and the cold sweat on his forehead at +the thought of his parents knowing of his relationship with George Sand, +are credit-marks to his character. There is a sweet recompense in mutual +deprivation where trials and difficulties only serve to cement the +affections; and who shall say how much the wondrous blending of strength +and delicacy in the music of Chopin is due to the memory of those early +days of toil and trial, of strength and forbearance, of hope and love? + +To be born into such a family is a great blessing. The value of the +environment is shown in that all three of the sisters became +distinguished in literature. Two of them married men of intellect, +wealth and worth, and through the collaboration of these sisters, books +were produced that did for the plain people of Poland what Harriet +Martineau's books on sociology did for the people of England. Frederic +played and practised at the Lyceum where his father taught, and the +ambition of his parents was that he should grow up and take the place of +Professor of Music in the Lyceum. Adalbert Zevyny, one of the leading +pianists in the city, became attracted to the boy and took him as a +pupil, without pay. + +The teacher soon became a little boastful of his precocious pupil, and +when there came a public concert for the benefit of the poor, we find +reference made to Chopin thus, "A child not yet eight years of age +played, and connoisseurs say he promises to replace Mozart." In reality +the boy was nearer twelve than eight, but his size and looks suggested +to the management the idea of plagiarizing, in advance, our honored +countryman, Phineas T. Barnum. Hence the announcement on the programs. + +But now the nobility of the neighborhood began to send carriages for the +fair-haired lad, so he could play for their invited guests. Then came +snug little honorariums that soon replaced his patched-up wardrobe for +something more fashionable. + +Frederic took all the applause quite as a matter of course, and on one +occasion, after he had played divinely, he asked a proud lady this +question, "How do you like my new collar?" + +He was to the manner born, and the gentle blood of his mother formed him +as a fit companion for aristocrats. + +These occasional musicales at the houses of the great made money matters +easier, and Frederic began to take lessons from Joseph Elsner, who +taught him the science of composition, and introduced him into the +deeper mysteries of music-making. Elsner, it was, more than any other +man, who forced the truth upon Chopin that he must play to satisfy +himself, and in composition be his own most exacting critic. In other +words, Elsner developed and strengthened in Chopin the artistic +conscience--that impulse which causes an artist to scorn doing anything +save his best. + +From little excursions to neighboring towns and country houses about +Warsaw, Chopin now ventured farther away from home, chaperoned by his +friend, Prince Radziwill. He visited Berlin, Venice, Prague, Heidelberg, +and mingled on an absolute equality with the nobility. If they had +titles, he had talents. And his talents often made their decorations +sing small. + +His modesty was witching, and while in public concerts his playing was +not pronounced enough to capture the gallery, yet in small gatherings he +won all hearts, and the fact that he played his own compositions made +him an added object of enthusiasm to the elect. Chopin arrived in Paris +when he was twenty-two years of age. It was not his intention to remain +more than a few weeks, but Paris was to be his home for eighteen +years--and then Pere la Chaise. + + * * * * * + +A woman who beholds her thirtieth birthday in sight, and girlhood gone, +is approaching a climacteric in her career. Flaubert has named +twenty-nine as the eventful year in the life of woman, and thirty-three +for men. Every normal woman craves love and tenderness--these are her +God-given right. If they have not come to her by the time the bloom is +fading from her cheeks, there is danger of her reaching out and +clutching for them. The strongest instinct in young girls is +self-protection--they fight on the defensive. But at thirty, women have +been known to grow a trifle anxious, just as did the Sabine women who +dispatched a messenger to the Romans asking this question, "How soon +does the program begin?" + +And thus are conditions reversed, for it is the youth of twenty or so +who seeks conquest with fiery soul. Alexander was only nineteen when he +sighed for more worlds to conquer. He didn't have to wait long before he +found that this one had conquered him. Youth considers itself immortal, +and its powers without limit, but as a man approaches thirty he grows +economical of his resources and parsimonious of his emotions. Men of +thirty, or so, are apt to be coy. + +And so one might say that it is around thirty that for the first time +the man and the woman meet on an equality, without sham, shame or +pretense. Before that time the average woman abounds in affectation and +untruth; the man is absurdly aggressive and full of foolish flattery. + +As to the question, "Should women propose?" the answer is, "Yes, +certainly, and they do when they are twenty-nine." + +Aurora Dudevant saw her thirtieth birthday looming on the horizon of her +life. Nine years before she had been married to an ex-army-officer, who +dyed his whiskers purple. Aurora had been a dutiful wife, intent for the +first few years on filling her husband's heart and home with joy. She +had failed in this, and the proof of failure lay in that he much +preferred his dogs, guns and horses to her society. For days he would +absent himself on his hunting excursions, and at home he did not have +the tact to hide the fact that he was awfully bored. + +Thackeray, once for all, has given us a picture of the heavy dragoon +with a soul for dogs--one to whom all music, save the bay of a +fox-hound, makes its appeal in vain. Aurore detested dogs for dogs' +sake, yet she rode horses astride with a daring that made her husband's +bloodshot eyes bulge in alarm. He didn't much care how fast and hard she +rode at the fences and over the ditches, but he was supposed to follow +her, and this he did not care to do. He had reached an age when a man is +mindful of the lime in his bones, and his 'cross-country riding was +mostly a matter of memory and imagination, and best done around the +convivial table. + +Aurore was putting him to a test, that's all. She was proving to him +that she could meet him on his own preserve, give him choice of weapons, +and make him cry for mercy. + +Her bent was literature, with music, science and art as side-lines. She +read Montaigne, Rochefoucald, Racine and Moliere, and a modern by the +name of Alfred de Musset, and quoted her authors at inconvenient times. +She flashed quotations and epigrams upon the doughty dragoon in a way he +could neither fend nor parry. At other times she was deeply religious +and tearfully penitent. + +In fact, she was living on a skimped allowance of love, and had never +received the attention that a good woman deserves. Her chains were +galling her. She sighed for Paris--forty miles away--Paris and a career. + +The epigrams were coming faster, shot in a sort of frenzy and fever. And +when she asked her liege for leave to go to Paris, he granted her +prayer, and agreed to give her ten dollars a week allowance. + +She grabbed at the offer, and he bade her Godspeed and good riddance. + +So leaving her two children behind, until such a time as she could +provide a home for them, with scanty luggage and light heart and purse, +she started away. + +Other women have gone up to Paris from country towns, too, and the +chances are as one to ten thousand that the maelstrom will sweep them +into hades. + +But Madame Dudevant was different--in two years she had won her way to +literary fame, and was commanding the jealous admiration of the best +writers of Paris. Her first work was a collaboration with Jules +Sandeau in a novel. Every woman who ever wrote well began by +collaborating with a man. Sandeau had formerly come from Nohant, and how +much he had to do with Madame Dudevant's breaking loose from her +homes-ties no one knows. Anyway, the second novel was written by the +Madame alone, and as a tribute to her friend the name "George Sand" was +placed upon the title-page as author. Jules Sandeau, all-'round +hack-writer and critic, was greatly pleased by the compliment of having +his name anglicized and printed on the title-page of "Indiana," but +later he was not so proud of it. George Sand soon proved herself to be a +bigger man than Sandeau. + +She was not handsome, either in face or in form. She was inclined to be +stout--was rather short--and her complexion olive. But she lured with +her eyes--great sphinx-like eyes of hazel-brown--that looked men through +and through. Liszt has told us that "she had eyes like a cow," which is +not so bad as Thomas Carlyle's remark that George Eliot had a face like +a horse. George Sand was silent when other women talked, and her look +told in a half-proud, half-sad way that she knew all they knew, and all +she herself knew beside. + +Without going into the issue as to what George Sand was not, let us +frankly admit that pain, deprivation, misunderstanding and maternity had +taught her many things not found in books, and that she looked at Fate +out of her wide-open eyes with a gaze that did not blink. She was wise +beyond the lot of women. I was just going to say she was a genius, but I +remember the remark of the De Goncourts to the effect that, "There are +no women of genius--women of genius are men." Possibly the point could +be covered by saying George Sand had a man's head and a woman's heart. + +Women did not like her, yet what other woman was ever so honored by +woman as was George Sand in those two matchless sonnets addressed to her +by Elizabeth Barrett Browning? + +The amazing energy of George Sand, her finely flowing sentences--all +charged with daring satire and insight into the heart of things--made +her work sought by readers and publishers. Her pen brought her all the +money she needed; and she had secured a divorce from "That Man," and now +had her two children with her in Paris. That she could do her literary +work and still attend to her manifold social duties must ever mark her +as a phenomenon. She was no mere adventuress. That she was systematic, +orderly and abstemious in her habits must go without saying, otherwise +her vitality would not have held out and allowed her to attend the +funerals of nearly all her retainers. + +In throwing overboard the Grub Street Sandeau for Franz Liszt, Madame +Dudevant certainly showed discrimination; but in retaining the name of +"Sand," she paid a delicate compliment to the man who first introduced +her to the world of art. Liszt was too strong a man to remain long +captive--he refused to supply the doglike and abject devotion which +Aurore always demanded. Then came Michael de Bourges the learned +counsel, Calmatto the mezzotinter, Delacroix the artist, De Musset the +poet, and Chopin the musician. + +It was in the year Eighteen Hundred Thirty-nine, that Chopin and Sand +first met at a parlor musicale, where Chopin was taken by Liszt, half +against his will, simply because George Sand was to be there. + +Chopin did not want to meet her. + +All Paris had rung with the story of how she and De Musset had gone +together to Venice, and then in less than a year had quarreled and +separated. Both made good copy of the "poetic interval," as George Sand +called it. Chopin was not a stickler for conventionalities, but George +Sand's history, for him, proved her to be coarse and devoid of all the +finer feeling that we prize in women. + +Chopin had no fear of her--not he--only he did not care to add to his +circle of acquaintances one so lacking in inward grace and delicacy. + +He played at the musicale--it was all very informal--and George Sand +pushed her way up through the throng that stood about the piano and +looked at the handsome boy as he played--she looked at him with her big, +hazel, cow eyes, steadfastly, yearningly, and he glancing up, saw the +eyes were filled with tears. + +When the playing ceased, she still stood looking at the great musician, +and then she leaned over the piano and whispered, "Your playing makes me +live over again every pain that has ever wrung my heart; and every joy, +too, that I have ever known is mine again." + + * * * * * + +After their first meeting, when Chopin played at a musicale, George Sand +was apt to be there too--they often came together. She was five years +older than he, and looked fifteen, for his slight figure and delicate, +boyish face gave him the appearance of youth unto the very last. In +letters to Madame Mariana, George Sand often refers to Chopin as "My +Little One," and when some one spoke of him as "The Chopinetto," the +name seemed to stick. + +That she was the man in the partnership is very evident. He really +needed some one to look after him, provide mustard-plasters and run for +the camphor and hot-water bottle. He was the one who did the weeping and +pouting, and had the "nerves" and made the scenes; while she, on such +occasions, would viciously roll a cigarette, swear under her breath, +console and pooh-pooh. + +Liszt has told us how, on one occasion, she had gone out at night for a +storm-walk, and Chopin, being too ill, or disinclined to go, remained at +home. Upon her return she found him in a conniption, he having composed +a prelude to ward off an attack of cold feet, and was now ready to +scream through fear that something had happened to her. As she entered +the door he arose, staggered and fell before her in a fainting fit. + +A whole literature has grown up around the relations of Chopin and +George Sand, and the lady in the case has, herself, set forth her brief +with painstaking detail in her "Histoire de Ma Vie." With De Musset, +George Sand had to reckon on dealing with a writing man, and his +accounts of "The Little White Blackbird" had taught her caution. +Thereafter she abjured the litterateurs, excepting when in her old age +she allowed Gustave Flaubert to come within her sacred circle--but her +friendship with Flaubert was placidly platonic, as all the world knows. +And so were her relations with Chopin, provided we accept her version as +gospel fact. + +George Sand lacked the frankness of Rousseau; but I think we should be +willing to accept the lady's statements, for she was present and really +the only one in possession of the facts, excepting, of course, Chopin, +and he was not a writer. He could express himself only at the keyboard, +and the piano is no graphophone, for which let us all be duly thankful. +So we are without Chopin's side of the story. We, however, have some +vigorous writing by a man by the name of Hadow. + +Mr. Hadow enters the lists panoplied with facts, and declares that the +friendship was strictly platonic, being on the woman's side of a purely +maternal order. Chopin was sick and friendless, and Madame Dudevant, +knowing his worth to the art world, succored him--nursing him as a +Sister of Charity might, sacrificing herself, and even risking her +reputation in order to restore him to life and health. + +And this view of the case I am quite willing to accept. Mr. Hadow is no +joker, like that man who has recently written an appreciation of +Xantippe, showing that the wife of Socrates was one of the most patient +women who ever lived, and only at times resorted to heroic means in +order to drive her husband out into the world of thought. She willingly +sacrificed her own good name that another might have literary life. + +Hadow has gotten all the facts together and then dispassionately drawn +his conclusions; and these conclusions are eminently complimentary to +all parties concerned. + +It was only a few months after Chopin met George Sand that he was +attacked with a peculiar hacking cough. His friends were sure it was +consumption, and a leading physician gave it as his opinion that if the +patient spent the approaching Winter in Paris, it would be death in +March. + +The facts being brought to the notice of George Sand, she had but one +thought--to save the life of this young man. He was too ill to decide +what was best to do, and was never able by temperament to take the +initiative, anyway, so this strong and capable woman, forgetful of self +and her own interests, made all the arrangements and took him to the +Isle of Majorca in the Mediterranean Sea. There she cared for him alone +as she might for a babe, for six long, weary months. They lived in the +cells of an old monastery at Valdemosa, away up on the mountainside +overlooking the sea. Here where the roses bloomed the whole year +through, surrounded by groves of orange-trees, shut in by vines and +flowers, with no society save that of the sacristan and an aged woman +servant, she nursed the death-stricken man back to life and hope. + +To better encourage him she sent for and surprised him with his piano, +which had to be carried up the mountain on the backs of mules. In the +quiet cloisters she cared for him with motherly tenderness, and there he +learned again to awake the slumbering echoes with divine music. Several +of his best pieces were composed at Majorca during his convalescence, +where the soft semi-tropical breeze laved his cheek, the birds warbled +him their sweetest carols, and away down below, the sea, mother of all, +sang her ceaseless lullaby. When they returned to France the following +Spring, M. Dudevant had accommodatingly vacated the family residence at +Nohant in favor of his wife. It was here she took the convalescent +Chopin. He was charmed with the rambling old house, its walled-in +gardens with their arbors of clustering grapes, and the green meadows +stretching down to the water's edge, where the little river ran its way +to the ocean. + +Back of the house was a great forest of mighty trees, beneath whose +thick shade the sun's rays never entered, and a half-mile away arose the +spire of the village church. There were no neighbors, save a cheery old +priest, and the simple villagers who made respectful obeisance as they +passed. Here it was that Matthew Arnold came to pay his tribute to +genius, also Liszt and the fair Countess d'Agoult, Delacroix, Renan, +Lamennais, Lamartine, and so many others of the great and excellent. +Chopin was enchanted with the place, and refused to go back to Paris. +Madame Dudevant insisted, and explained to him that she took him to +Majorca to spend the Winter, but she had no intention or thought of +caring for him longer than the few months that might be required to +restore him to health. But he cried and clung to her with such +half-childish fright that she had not the heart to send him away. + +The summer months passed and the leaves began to turn scarlet and gold, +and he only consented to return to Paris on her agreeing to go with him. +So they returned together, and had rooms not so very far apart. + +He went back sturdily to his music-teaching, with an occasional +musicale, yet gave but one public concert in the space of ten years. + +The exquisite quality of Chopin's playing appealed only to the sacred +few, but his piano scores were slowly finding sale, through the +advertisement they received by being played by Liszt, Tausig and others. +Yet the critics almost uniformly condemned his work as bizarre and +erratic. + +Each Summer he spent at lovely Nohant, and there found the rest and +quiet which got nerves back to the norm and allowed him to go on with +his work. So passed the years away. Of this we are very sure--no taint +exists on the record of Chopin excepting possibly his relationship with +George Sand. That he endeavored to win her full heart's love, for the +purpose of honorable marriage, Mr. Hadow is fully convinced. But when +his suit failed, after an eight years' courtship, and the lover was +discarded, he ceased to work. His heart was broken; he lingered on for +two years, and then death claimed him at the early age of forty years. + + * * * * * + +There is a tendency to judge a work of art by its size. Thus the +sculptor who does a "heroic figure" is the man who looms large to the +average visitor at the art-gallery. + +Chopin wrote no lengthy symphonies, oratorios or operas. His music is +poetry set to exquisite sounds. Poetry is an ecstasy of the spirit, and +ecstasies in their very nature are not sustained moods. + +The poetic mood is transient. A composition by Chopin is a soul-ecstasy, +like unto the singing of a lark. + +No other man but Chopin should have been allowed to set the songs of +Shelley to music. With such names as Shelley, Keats, Poe and Crane must +Chopin's name be linked. + +In Chopin's music there is much loose texture; there are wide-meshed +chords, daring leaps and abrupt arpeggios. These have often been pointed +out as faults, but such harmonious discords are now properly valued, and +we see that Chopin's lapses all had meaning and purpose, in that they +impart a feeling--making their appeal to souls that have suffered--souls +that know. + +More of Chopin's music is sold in America every year than was sold +altogether during the lifetime of the composer. His name and fame grow +with each year. Everywhere--wherever a piano is played--on concert +platform, in studio or private parlor, there you will find the work of +Frederic Chopin. That such a widespread distribution must have a potent +and powerful effect upon the race goes without argument, although the +furthest limit of that influence no man can mark. It is registered with +Infinity alone. And thus does that modest, mild and gentle revolutionist +Frederic Chopin live again in minds made better. + + + + +[Illustration: SCHUMANN] + +ROBERT SCHUMANN + + + Beneath these flowers I dream, a silent chord. I can not wake my + own strings to music; but under the hands of those who comprehend + me, I become an eloquent friend. Wanderer, ere thou goest, try me! + The more trouble thou takest with me, the more lovely will be the + tones with which I shall reward thee. + + --_Robert Schumann_ + + +ROBERT SCHUMANN + +That any man should ever write his thoughts for other men to read, seems +the very height of egoism. + +Literature never dies, and so the person who writes constitutes himself +a rival of Shakespeare and seeks to lure us from Montaigne, Milton, +Emerson and Carlyle. To write nothing better than grammatical English, +to punctuate properly, and repeat thoughts in the same sequence that +have been repeated a thousand times, is to do something icily regular, +splendidly null. + +To down the demons of syntax and epithet is not enough. To compose +blameless sonatas and produce symphonies in the accepted style, is not +adding an iota to the world's worth. + +The individual who tries to compose either ideas or harmonious sounds, +and hopes for success, must compose because he can not help it. He must +place the thing in a way it has never before been placed; on the subject +he must throw a new light; he must carry the standard forward, and plant +it one degree nearer the uncaptured citadel of the Ideal. And he must +remember this: the very prominence of his position will cause him to be +the target of contumely, abuse and much stupid misunderstanding. If he +complains of these things (as he probably will), he reveals a rift in +the lute and proves that he is only a half-god, after all. + +Men of the highest type of culture--those of masterly talent--are not +gregarious in their nature. The "jiner" instinct goes with a man who is +a little doubtful, and so he attaches himself to this society, club or +church. + +The very tendency to "jine" is an admission of weakness--it is a getting +under cover, a combining against the supposed enemy. The "jiner" is an +ameba that clings to flotsam, instead of floating free in the great +ocean of life. The lion loves his mate, but prefers to flock by himself. + +The pioneer in art, as in any other field, must be willing to face +deprivations and loneliness and heart-hunger. He must find companionship +with birds and animals, and be brother to the trees and swift-flying +clouds. When men meet on the desert or in the forest wilds, how grateful +and how gracious is their hand-clasp! When love and understanding come +to those who live on the border-land of two worlds, how precious and +priceless the boon! + + * * * * * + +Robert Schumann was the son of a book-publisher of Zwickau. He was a +handsome lad with the flash of genius in his luminous eyes, and an +independence like that of an Alpine goat. When very young they say he +used to have tantrums. If your child has a tantrum, it is bad policy for +you to imitate him and have one, too. + +A tantrum is only one of the little whirlwinds of God--it is misdirected +energy, power not yet controlled. When Robert had a tantrum, his father +would shake him violently to improve his temper, or fall upon him with a +strap that hung handy behind the kitchen-door. Then the mother, when the +father was out of the way, would take the lad and cry over him, and +coddle him, and undo the discipline. + +The best treatment for tantrums is--nothing. The more you let a nervous, +impressionable child alone, the better. + +When the lad was fourteen years old, we find him setting type in his +father's printery. He was working on a book called, "The World's +Celebrities," and his share of the work dealt with Jean Paul Richter. He +grew interested in the copy and stopped setting type and read ahead, as +printers sometimes will. The more he read, the more he was fascinated. +He fell under the spell of Jean Paul the Only. + +Jean Paul, inspired by Jean Jacques, was the inspirer of the whole brood +of young writers of his time. To him they looked as to a Deliverer. +Jean Paul the Only! The largest, gentlest, most generous heart in all +literature! The peculiar mark of Richter's style is analogy and +comparison; everything he saw reminded him of something else, and then +he tells you of things of which both remind him. He leads and lures you +on, and takes you far from home, but always brings you safely back. Yet +comparison proves us false when we deal with Richter himself. He stands +alone, like Adam's recollection of his fall, which according to Jean +Paul was the one sweet, unforgetable thing in all the life of the First +Citizen of his time. + +Jean Paul seems to have combined in that mighty brain all feminine as +well as masculine attributes. The soul in which the feminine does not +mingle is ripe for wrong, strife and unreason. "It was mother-love, +carried one step further, that enabled the Savior to embrace a world," +says Carlyle. + +The sweep of tender emotion that murmurs and rustles through the writing +of Jean Paul is like the echo of a lullaby heard in a dream. Perhaps it +came from that long partnership when mother and son held the siege +against poverty, and the kitchen-table served them as a writing-desk, +and the patient old mother was his sole reviewer, critic, reader and +public. + +For shams, hypocrisy and pretense Jean Paul had a cyclone of sarcasm, +and the blows he struck were such as only a son of Anak could give; but +in his heart there was no hate. He could despise a man's bad habits and +still love the man behind the veneer of folly. So his arms seem ever +extended, welcoming the wanderer home. + +Dear Jean Paul, big and homely, what an insight you had into the heart +of things, and what a flying-machine your imagination was! Room for many +passengers? Yes, and children especially, for these you loved most of +all, because you were ever only just a big overgrown boy yourself. You +cried your eyes out before your hair grew white, and then a child or a +woman led you about; and thus did you supply Victor Hugo a saying that +can not die: "To be blind and to be loved--what happier fate!" + +Yes, Jean Paul used to cry at his work when he wrote well, and I do, +too. I always know when I write particularly well, for at such times I +mop furiously. However, I seldom mop. + +Robert Schumann began to write little essays, and the essays were as +near like Jean Paul's as he could make them. He read them to his mother, +just as Jean Paul used to write for his mother and call her "my Gentle +Reader"--he had but one. + +Robert's mother believed in her boy--what mother does not? But her love +was not tempered by reason, and in it there was a sentimental flavor +akin to the maudlin. + +The father wanted the lad to take up his own business, as German fathers +do, but the mother filled the lad's head with the thought that he was +fit for something higher and better. She was not willing to let the +seed ripen in Nature's way--she thought hothouse methods were an +improvement. + +Such a mother's ambition centers in her son. She wants him to do the +thing she has never been able to do. She thirsts for honors, applause, +publicity, and all those things that bring trouble and distress and make +men old before their time. + +So we find the boy at eighteen packed off to Heidelberg to study law, +with no special preparation in knowledge of the world, of men or books. +But old father antic, the law, was not to his taste. Robert liked music +and poetry better. His fine, sensitive, emotional spirit found its best +exercise in music; and at the house of Professor Carus he used to sing +with the professor's wife. This Professor Carus, by the way, is, I +believe, directly related to our own Doctor Paul Carus, of whom all +thinking people in America have reason to be proud. I am told that when +a boy of eighteen or nineteen mingles his voice several evenings a week +with that of a married lady aged, say, thirty-five, and they also play +"four hands" an hour or so a day, that the boy is apt to surprise the +married lady by falling very much in love with her. Boys are quite given +to this thing, anyway, of falling in love with women old enough to be +their mothers--I don't know why it is. Sometimes I am rather inclined to +commend the scheme, since it often brings good results. The fact that +the woman's emotions are well tempered with a sort of maternal regard +for her charge holds folly in check, dispels that tired feeling, +promotes digestion, and stimulates the action of the ganglionic cells. + +It was surely so in this instance, for Madame Carus taught the youth how +to compose, and fired his mind to excel as a pianist. He wrote and +dedicated small songs to her, and their relationship added cubits to the +boy's stature. + +From a boy he became a man at a bound. Just as one single April day, +with its showers and sunshine, will transform the seemingly lifeless +twigs into leafy branches, so did this young man's intellect ripen in +the sunshine of love. + +As for Professor Carus, he was too busy with his theorems and biological +experiments to trouble himself about so trivial a matter as a youngster +falling in love with his accomplished wife--here the Professor's good +sense was shown. + +Jean Paul Richter lighted his torch at the flame of Jean Jacques +Rousseau. In a letter to Agnes Carus, Schumann has acknowledged his +obligation to Richter, in a style that is truly Richteresque. + +Says Robert: + + Dear Lady:--I read from Jean Paul last night until I fell asleep + and then I dreamed of you. It was at the torch of Jean Paul that I + lighted my tallow dip, and now he is dead and these eyes shall + never look into his, nor will his voice fall upon my ears. I cry + salt tears to think that Jean Paul never knew you. If I could only + have brought you two together and then looked upon you, realizing, + as I would, that you had both come from High Olympus! Blissful are + the days since I knew you, for you have brought within my range of + vision new constellations, and into my soul has come the clear, + white light of peace and truth. With you I am purified, freed from + sin, and harmony fills my tired heart. Without you--why, really I + have never dared think about it, for fear that reason would topple, + and my mind forget its 'customed way--let's talk of music. * * * + +Professor Carus kept his ear close to the ground for a higher call, and +when the call came from Leipzig, he moved there with his family. + +It was not many weeks before Robert was writing home, explaining that +lawyers were men who get good people into trouble, and bad folks out; +and as for himself he had decided to cut the business and fling himself +into the arms of the Muse. + +This letter brought his mother down upon him with tears and pleadings +that he would not fail to redeem the Schumanns by becoming a Great Man. +Poetry was foolishness and all musicians were poor--there were a hundred +of them in Zwickau who lived on rye-bread and wienerwurst. + +The boy promised and the mother went home pacified. But not many weeks +had passed before Robert set out on a pilgrimage to Bayreuth, to visit +the scene of Jean Paul's romances. On this same tour he went to Munich, +and there met Heinrich Heine, who was from that day to enter into his +heart and jostle Jean Paul for first place. He was accompanied on this +memorable trip by Gisbert Rosen, who proved his lifelong friend and +confidant. Very naturally Leipzig was the ardently desired goal of his +wanderings. At once on arriving there, he sought out the home of +Professor and Madame Carus. That his greeting (and mayhap hers) did not +contain all the warmth the boy lover had anticipated is shown in a +letter to Rosen, wherein he says: "This world is only a huge graveyard +of buried dreams, a garden of cypress and weeping willows, a silent +peep-show with tearful puppets. Alas for our high faith--I wonder if +Jean Paul wasn't right when he said that love lessens woman's delicacy, +and time and distance dissipate it like morning dew?" + +Yet Madame Carus was kind, for Robert played at little informal concerts +at her house, and she urged him to abandon law for music; and he refers +the matter to Rosen, asking Rosen's advice and explaining how he wants +to be advised, just as we usually do. Rosen tells him that no man can +succeed at an undertaking unless his heart is in the work, and so he +shifts the responsibility of deciding on Professor Carus, whom Robert +"respects," but does not exactly admire enough to follow his advice. + +Robert does not consider the Professor a practical man, and so leaves +the matter to his wife. In the meantime songs are written similar to +Heine's, and essays turned off, pinned with the precise synonym, the +phrase exquisite, just like Jean Paul's. Progress in piano-playing goes +steadily forward, with practise on the violin, all under the tutelage of +Madame Carus, who one fine day takes the young man to play for Frederick +Wieck, the best music-teacher in Leipzig. + + * * * * * + +"Musicians?" said Wieck, "I raise them!" + +And so he did. He proved the value of his theories by making great +performers of Maria and Clara, his daughters--two sisters more gifted in +a musical way have never been born. Germany excels in philosophy and +music--a seeming paradox. Music is supposed to be a compound of the +stuff that dreams are made of--hazy, misty, dim, intangible feelings set +to sounds--we close our eyes and they take us captive and carry us away +on the wings of melody. And so it may be true that music is born of +moonshine, and fragrant memories, and hopes too great for earth, and +loves unrealized; yet its expression is the most exacting of sciences. A +Great Musician has not only to be a poet and a dreamer, but he must also +be a mathematician, cold as chilled steel, and a philosopher who can +follow a reason to its lair and grapple it to the death. And that is why +Great Musicians are so rare, and that is also why, perhaps, there are no +great women composers. "Women of genius are men," said the De Goncourts. +A Great Musician is a paradox, a miracle, a multiple-sided man--stern, +firm, selfish, proud and unyielding; yet sensuous as the ether, tender +as a woman, innocent as a child, and as plastic as potters' clay. And +with most of them, let us frankly admit it, the hand of the Potter +shook. When people write about musicians, they seldom write moderately. +The man is either a selfish rogue or an angel of light--it all depends +upon your point of view. And the curious part is, both sides are right. + +Wieck was very fond of his daughters, and like good housewives who are +proud of their biscuit, he apologized for them. "He never quite forgave +our mother because we were girls," said Clara once, to Kalkbrenner. +Wieck, the good man, was a philosopher, and he had a notion that the +blood of woman is thinner than that of man--that it contains more white +serum and fewer red corpuscles, and that Nature has designed the body of +a woman to nourish her offspring, but that man's energy goes to feed his +brain. Yet his girls were so much beyond average mortals that they would +set men a pace in spite of the handicap. + +Fortunate it is for me that I do not have to act as the court of last +appeal on this genius business. The man who decides against woman will +forfeit his popularity, have his reputation ripped into carpet-rags, and +his good name worked up into crazy-quilts by a thousand Woman's Clubs. + +But certain it is that women are the inspirers of music. As critics they +are more judicial and more appreciative. Without women there would be no +Symphony Concerts, any more than there would be churches. + +Women take men to the Grand Opera and to Musical Festivals--and I am +glad. + + * * * * * + +Clara Wieck was only ten years old, with dresses that came to her knees, +when Robert Schumann first began to take lessons of her father. She was +tall for her age, and had a habit of brushing her hair from her eyes as +she played, that impressed the young man as very funny. She could not +remember a time when she did not play: and she showed such ease and +abandon that her father used to call her in and have her illustrate his +ideas on the keyboard. + +Robert didn't like the child--she was needlessly talented. She could do, +just as a matter of course, the things that he could scarcely accomplish +with great effort. He didn't like her. + +Already Clara had played in various concerts, and was a great favorite +with the local public. Soon her father planned little tours, when he +gave performances assisted by his two daughters, who could play both +violin and piano. Their fame grew and fortune smiled. Wieck took a +larger house and raised his prices for pupils. + +Robert Schumann wandered over to Zwickau to visit his folks, then went +on down the Rhine to Heidelberg to see Rosen. It was nearly a year +before he got back to Leipzig, resolved to continue his music studies. +Wieck had a front room vacant, and so the young man took lodgings with +his teacher. + +It was not so very long before Clara was wearing her dresses a little +longer. She now dressed her hair in two braids instead of one, and +these braids were tied with ribbons instead of a shoe-string. More +concerts were being arranged, and the attendance was larger--people were +saying that Clara Wieck was an Infant Phenomenon. + +Robert was progressing, but not so rapidly as he wished. To aid matters +a bit, he invented a brace and extension to his middle finger. It gave +him a farther reach and a stronger stroke, he thought. In secret he +practised for hours with this "corset" on his finger; he didn't know +that a corset means weakness, not strength. After three straight hours +of practise one day, he took the machine from his hand and was +astonished to see the finger curl up like a pretzel. He hurried to a +physician and was told that the member was paralyzed. Various forms of +treatment were tried, but the tendons were injured, and at last the +doctors told him his brain could never again telegraph to that hand so +it would perfectly obey orders. He begged that they would cut the finger +off, but this they refused to do, claiming that, even though the finger +was in the way, piano-playing in any event was not the chief end of +man--he might try a pick and shovel. + +Clara, who now wore her dress to her shoe-tops, sympathized with the +young man in his distress. She said, "Never mind, I will play for +you--you write the music and I will play it!" + +Gradually he became resigned to this, and spent much of his time +composing music for Heine's songs and his own. Wieck didn't much like +these songs, and forbade his daughter playing such trashy things--only a +paraphrase of Schubert's work, anyway, goodness me! + +The girl pouted and rebelled, and erelong Robert Schumann was requested +to take lodgings elsewhere. Moodily he obeyed, but he managed to keep up +a secret correspondence with Clara, through the help of her sister. +Whenever Clara played in public, Robert was sure to be there, even +though the distance were a hundred miles. He had given up playing, and +now swung between composing and literature, having assumed the +editorship of a musical magazine. + +When Clara now played in concert, she wore a train, and her hair was +done up on the top of her head. + +Schumann's musical magazine was winning its way--the young man had a +literary style. Mendelssohn commended the magazine, and its editor in +turn commended Mendelssohn. A new star had been discovered on the +horizon--a Pole, Chopin by name. And whenever Clara Wieck appeared, +there were extended notices, lavish in praise, profuse in prophecy. + +Herz had written an article for a rival journal about Clara Wieck, +wherein the statement was made that no woman trained on, that her +playing was intuitive, and the limit quickly reached--marriage was death +to a woman's art, etc. + +To this Schumann replied with needless heat, and his friends began to +joke him about his "disinterestedness." He was getting moody, and there +were times when he was silent for days. His passion for Clara Wieck was +consuming his life. He resolved to go direct to Frederick Wieck and have +it out. + + * * * * * + +They are always called "the Schumanns"--Robert and Clara. You can not +separate them, any more than you can separate the great Robert Browning +and Elizabeth Barrett. "Whomsoever God hath joined together, let no man +put asunder," seems rather a needless injunction, since we know that +man's efforts in the line of separation have ever but one result: +opposition fans the flame. + +Just as Elizabeth Barrett's father forcibly opposed the mating of his +daughter, so did Frederick Wieck oppose the love of his daughter Clara +for Robert Schumann. + +And one can not blame the man so very much--he knew the young man and he +knew the girl; and deducting fifty per cent for paternal pride, he saw +that the girl was much the stronger character of the two. Clara had +already a recognized reputation as a performer; her playing had made her +father rich, and he was sure that greater things were to come. Beside +that, she was only seventeen years old--a mere child. + +Robert was twenty-six, with most of his future before him--he was +advised to win a name and place for himself before aspiring to the hand +of a great artist: and so he was bowed out. + +He took the matter into the courts, and the decision was that, as she +was now eighteen years old, she had the right to wed, if she were so +minded. + +And so they were married; but Frederick Wieck was not present at the +ceremony to give the bride away. + + * * * * * + +Schumann was essentially feminine in many ways, as the best men always +are. In spite of his mental independence, he did his best work when +shielded in the shadow of a stronger personality. Without Clara, Robert +would probably be unknown to us. She gave him the courage and the +confidence that he lacked; and she it was who interpreted his work to +the world. + +Heine characterized Meyerbeer's "Les Huguenots" as "like a Gothic +cathedral whose heaven-soaring spire and colossal cupolas seem to have +been planted there by the sure hand of a giant; whereas the innumerable +features, the rosettes and arabesques that are spread over it everywhere +like a lacework of stone, witness to the indefatigable patience of a +dwarf." + +Very different is the work of Robert Schumann, who, like his master +Schubert, knew little of the architectonics of the Art Divine. But +Schubert seems to have been the first to give us the "lyric cry"--the +prayer of a heart bowed down, or the ecstasy of a soul enrapt. + +Schumann built on Schubert. Music was to Schumann the expression of an +emotion. He saw in pictures, then he told in tones, what his inward eye +beheld. He even went so far as to give the names of persons, their +peculiarities and experiences on the keyboard. It is needless to say +that the tension of mind in such experiments is apt to reach the +breaking strain. We are under bonds for the moderate use of every +faculty, and he who misuses any of God's gifts may not hope to go +unscathed. + +The exquisite quality of Robert Schumann's imagination served to make +him shun the society of vulgar people. The inability to grasp things +intuitively harassed him, and he acquired a habit of keeping silence, +except with the elect. He lived within himself, unless Clara were by, +and then he leaned on her. + +And what a strong, brave and beautiful soul she was! In a sense she +sacrificed her own career for the man she loved. And by giving all, she +won all. + +Most descriptions of women begin by telling how the individual looked +and what she wore. No pen-portraits of Clara Schumann have come down to +us, for the reason that she was too great, too elusive in spirit, for +any snapshot artist to attempt her. She never looked twice the same. In +feature she was commonplace, her form lacked the classic touch, and her +raiment was as plain as the plumage of a brown thrush in an autumn +hedgerow. She was as homely as George Eliot, Mary Wollstonecraft, Rosa +Bonheur, George Sand, or Madame De Stael. No two of the women named +looked alike, but I once saw a composite photograph of their portraits +and the picture sent no thrills along my keel. Their splendor was a +matter of spirit. Have you ever seen the Duse?--there is but one. In +repose this woman's face is absolute nullity. She starts with a +blank--you would never take a second glance at her at a pink tea. Her +dress is bargain day, her form so-so, her features clay. + +But mayhap she will lift her hand and resting her chin upon it will look +at you out of half-closed eyes that never are twice alike. If you are +speaking you will suddenly become aware that she is listening, and then +you will become uncomfortable and try to stop, but can not; for you will +realize that you have been talking at random, and you want to redeem +yourself. + +The presence of this plain woman is a challenge--she knows! Yet she +never contradicts, and when she wills it, she will lead you out of the +maze and make you at peace with yourself; for our quarrel with the world +is only a quarrel with self. When we are at peace with self we are at +peace with God. + +The Duse is a surprise, in that her homeliness of face masks an +intellect that is a revelation. Her body is an exasperation to the tribe +of Worth, but it houses a soul that has lived every life, died every +death, known every sorrow, tasted every joy, and been one with the +outcast, the despised, the forsaken; and has stood, too, clothed in +shining raiment by the side of the great, the noble, the powerful. +Knowing all, she forgives all. And across the face and out of the eyes, +and even from her silence, come messages of sympathy--messages of +strength, messages of a faith that is dauntless. Great people are simply +those who have sympathy plus. Clara Schumann knew the excellence of her +chosen mate, and through her sympathy made it possible for him to +express himself at his highest and best. She also guessed his +limitations and sought to hold him 'gainst the calamity she saw looming +on the horizon, no bigger than a man's hand. + +When he was moody and there came times of melancholy, she invited young +people to the house; and so Robert mingled his life with theirs, and in +their aspirations he shook off the demons of doubt. + +It was in this way that he became interested in various rising stars, +and although in some instances we are aware that his prophecies went +astray, we know that he hailed Chopin and Brahms long before they had +come within the ken of the musical world, that so often looks through +the large end of the telescope. And this kindly encouragement, this +fostering welcome that the Schumanns gave to all aspiring young artists, +is not the least of their virtues. We love them because they were kind. + + * * * * * + +Clara Schumann was wise beyond the lot of woman. She knew this fact +which very few mortals ever realize: The triumphs of yesterday belong to +yesterday, with all of yesterday's defeats and sorrows--the day is Here, +the time is Now. She did not drag her troubles behind her with a rope, +nor wax vain over achievements done. When the light of her husband's +intellect went out in darkness and he lived for a space a lingering +death, she faced the dawn each morning, resolved to do her work and do +it the best she could. + +When death came to Robert's relief, her one ambition, like that of Mary +Shelley, was to write her husband's name indelibly on history's page. + +The professedly and professionally cheerful person is very depressing. +The pessimist always has wit, for wit reveals itself in the knowledge of +values. And the individual who accepts what Fate sends, and undoes +Calamity by drinking all of it, is sure to have a place in our calendar +of saints. + +Clara Schumann, a widow at thirty-seven, with a goodly brood of babies, +and no income to speak of, lived one day at a time, did her work as well +as she could, and always had a little time and energy over to use for +others less fortunate. + +Such fortitude is sure to bear fruit, and friends flocked to her as +never before. The way to secure friends is to be one. + +Madame Schumann made concert tours throughout the Continent and England, +meeting on absolute equality the music-loving people, as well as the +Kings of Art. She played her husband's pieces with such a wealth of +expression that folks wondered why they had never heard of them. And so +today, wherever hearts are sad, or glad, and songs are sung, and strings +vibrate, and keys respond to love's caress, there is in hearts that know +and feel, a shrine; and on this shrine in letters of gold two words are +carved, and they are these: THE SCHUMANNS. + + + + +[Illustration: SEBASTIAN BACH] + +SEBASTIAN BACH + + The name of Bach would have been famous in musical history without + Johann Sebastian, but with his name added it becomes the most + illustrious that the world has ever known. Bach had many pupils, + but none surpassed his own sons, six of whom became great + musicians, but with these the musical faculty died. + + --_Sir Hubert Parry_ + + +SEBASTIAN BACH + +The art of today is imitative. Once men had convictions, but we have +only opinions, and these are usually borrowed. The artificiality of +life, and the rush and the worry afford no time for great desires to +possess our souls. + +We average well, but no Colossus looms large above the crowd and goes +his solitary way unmindful of the throng: we look alike, act alike, +think alike, and in order that the likeness may be complete, we dress +alike. + +To wear a hat of your own selection or voice thoughts of your own +thinking is to invite unseemly mirth, and finally scorn and contumely. + +The great creators were solitary, rural in their instincts, ignorant and +heedless of what the world was saying and doing. They were men of deep +convictions and enthusiasms, unmindful of laughter or ridicule, caring +little even for approbation. + +No "boom town" can possibly produce a genius: it only fosters sundry +small Napoleons of finance. America is a nation of boomers--financial, +political, social and theological. + +We have sarcasm and cynicism, and we possess much that is clever, all +produced by snatches of success, well mixed with disappointment and the +bitterness which much contact with the world is sure to evolve. Our age +that goes everywhere, knows everybody's business, and religiously reads +only "the last edition," produces a Bill Nye, a Sam Jones, a Teddy +Roosevelt, a DeWitt Talmage, a Hopkinson Smith, a Sam Walter Foss, a +Victor Herbert; but it is not at all likely to produce a Praxiteles, a +Michelangelo, a Rembrandt, an Immanuel Kant or a Johann Sebastian Bach. + + * * * * * + +What Shakespeare is to literature, Michelangelo to sculpture, and +Rembrandt to portrait-painting, Johann Sebastian Bach is to organ-music. +He was the greatest organist of his time, and his equal has not yet been +produced, though nearly three hundred years have passed since his death. +"The organ reached perfection at the hands of Bach," says Haweis. As a +composer for the organ, Bach stands secure--his position is at the head, +and is absolutely unassailable. + +In point of temperament and disposition Bach bears a closer resemblance +to Michelangelo than to either of the others whose names I have +mentioned. He was stern, strong, self-contained, and so deeply religious +that he was not only a Christian but a good deal of a pagan as well. A +homely man was Bach--quiet, simple in tastes and blunt in speech. + +The earnest way in which this plain, unpretentious man focused upon his +life-work and raised organ-music to the highest point of art must +command the sincere admiration of every lover of honest endeavor. + +Bach was so great that he had no artistic jealousy, no whim, and when +harshly and unjustly criticized he did not concern himself enough with +the quibblers to reply. He made neither apologies nor explanations. The +man who thus allows his life to justify itself, and lets his work speak, +and who, when reviled, reviles not again, must be a very great and lofty +soul. + +Bach was a villager and a rustic, and, like Jean Francois Millet, used +to hoe in his garden, trim the vines, play with his children, putting +them to bed at night, or in the day cease from his work to cut slices of +brown bread which he spread with honey for the heedless little +importuner, who had interrupted him in the making of a chorale that was +to charm the centuries. At times he would leave his composing to help +his wife with her household duties--to wash dishes, sweep the room or +care for a peevish, fretful child. After the evening prayer, like +Millet, again, when his household were all abed, he would often walk out +into the night alone, and traverse his solitary way along a wintry road, +through the woods or by the winding river, a dim, misty, shadowy figure, +spectral as the "Sower," lonely as the "Fagot-Gatherer," talking to +himself, mayhap, and communing with his Maker. + +In his later years, when he traveled from one village or city to another +to attend musical gatherings, he was always accompanied by one or more +of his sons. His ambition was centered on his children, and his hope was +in them. Yet nothing has been added to either organ-building, +organ-playing or composition for the organ since his time. + +He never knew, any more than Shakespeare knew, that he had set a pace +that would never be equaled. He would have stood aghast with incredulity +had he been told that centuries would come and go and his name be +acclaimed as Master. + +Such was Sebastian Bach--simple, polite, modest, unaffected, generous, +almost shy--doing his work and doing it as well as he could, living one +day at a time, loving his friends, forgetting his enemies. His heart was +filled with such melodies that their echo is a blessing and a +benediction to us yet. Art lives! + + * * * * * + +Heredity is that law of our being which provides that a man shall +resemble his grandfather--or not. The Bach family has supplied the +believers in heredity more good raw material in way of argument than any +dozen other families known to history, combined. + +The Herschels with three eminent astronomers to their credit, or the +Beechers with half a dozen great preachers, are scarcely worth +mentioning when we remember the Bachs, who for two hundred fifty years +sounded the "A" for nearly all Germany. + +The earliest known member of this musical family was Vert Bach, who was +born about Fifteen Hundred Fifty. He was a miller and baker by trade, +but devoted so much time to playing at dances, rehearsing at church +festivals, and attending gipsy musical performances, that in his milling +business he never prospered and nobody called him "Pillsbury." + +This man had a son by the name of Hans, a weaver and a right merry +wight, who traveled over the country attending weddings, christenings +and such like festivals, playing upon a fiddle of his own construction. +So famous was Hans Bach that his name lives in legend and folklore, +wherein it is related that often betimes when he arrived at a village, +the word would be passed and the whole population would quit work and +caper on the green. So luring was his fiddle, and so potent his voice in +song and story, that in a few instances preachers with long faces +warned their flocks against him; and once we find a country Dogberry had +his minions lay the innocent Hans by the heels and give him a taste of +the stocks, simply because he seduced a party of haymakers into +following him off to a dance at a tavern, and in the meantime a storm +coming up, the hay got wet. Poor Hans protested that he had nothing to +do with the storm, but his excuses were construed as proof of guilt and +went for naught. + +At last in his wanderings, Hans found a buxom lass who was willing to +take him for better or worse. + +And they were married and lived happily ever after, or fairly so. + +This marriage quite sobered the fun-loving fiddler, so that he settled +down and worked at his weaving; and at odd hours made himself a bass +viol that looked to be father of all the fiddles. In Eisenach I was told +that this viol was ten feet high. Hans used to play this instrument at +the village church, and his playing drew such crowds that the preacher +had just cause for jealousy, and improved the opportunity, yet stifling +his rage he ordered the verger to lock the doors and allow no one to +depart until after the sermon and collection. + +A goodly family was born to Hans and his worthy wife, and all were +trained in music, so that an orchestra was formed, made up of the +father, mother, and boys and girls. All the instruments used were made +by Hans, and these included marvelous fiddles, some with one string and +others with twenty; wooden wind-instruments like flutes, and drums to +match the players, some of whom were wee toddlers. It is said that the +music this orchestra made was more or less unique. + +The best part of all this musical exploitation of Hans was that one of +his boys, Heinrich by name, applied himself so diligently to the art +that he became the organist in the village church, and then he was +called to play the great organ at Arnstadt. Heinrich was not a roisterer +like his father: he was a man of education and dignity. He composed many +pieces, and trained his choruses so well that his fame went abroad as +the chief musician of all Thuringia. He held his position at Arnstadt +for fifty years, and died in Sixteen Hundred Ninety-two, at which time +Johann Sebastian Bach, his nephew, was seven years old. + +In his day Heinrich Bach was known as the "Great Bach," and he had two +sons who were nearly as famous as himself, and would have been quite so, +were it not for the fact that they had a cousin by the name of Johann +Sebastian. + +Johann Sebastian was a son of Johann Ambrosius, a brother of Heinrich, +and Johann Ambrosius, of course, a son of the merry Hans. Johann +Ambrosius was a musician, too, but did not distinguish himself +especially in this line. His distinction lies in the fact that he was +the father of Johann Sebastian, and this is quite enough for any one +man, even if Gail Hamilton did once protest that the office of male +parent was insignificant and devoid of honor. + +Johann Ambrosius was a shiftless kind of fellow who drank much beer out +of an earthen pot, and whittled out fiddles, sitting on a bench in the +sun. He sort of let his family shift for themselves. Heinrich Bach, his +brother, used to speak of him as one of his "poor relations," but at the +annual Bach family festival, when a full hundred Bachs gathered to sing +and play, Johann Ambrosius would attend and play on a flute or fiddle +and prove that he was worthy of the name. + +On one such annual reunion he took his little boy, Johann Sebastian, +eight years old. The boy's mother had died a year or so before, and +after the mother's death the father seemed to think more of his children +than ever before--which is often the case, I'm told. + +They walked the distance, about forty miles, in two days, to where the +festival occurred. It was one of the white milestones in the boy's +life--that trip with its revelation of sleeping in barns, singing, and +playing on many instruments, dining by the wayside, all winding up with +a solemn service at a great stone church, where the preacher gave them +his benediction, and the great company separated with handshakings, +embracings and tears, to meet again in a year. Johann Ambrosius did not +attend the next reunion. Before the Spring had come and birds sang +blithely, a band composed of twenty-five played funeral-dirges at his +grave--and little Johann Sebastian was an orphan. + +Johann Sebastian's elder brother, Christoph, who had married a few years +before and moved away, attended the funeral, and when he went back home +he took little Johann Sebastian with him--there was no other place to +go. The lad was allowed to take one thing with him as a remembrance of +the home that he was now leaving forever--his father's violin in a green +bag, with a leathern drawstring. On the bag were his father's initials, +woven into the cloth by the boy's mother--a present from sweetheart to +lover before their marriage. + +Christoph was a musician, too, and a prosperous fellow--quite the +antithesis of his father. It takes a lot of love to bring up a child, +and the miracle of mother-love is a constant wonder to every thinking +person. Without mother-love how would the cross-grained, perverse little +tyrant ever survive the buffets which the world is sure to give? It is +love that makes existence possible. + +Christoph wished to be kind to his little brother, but it was a kindness +of the head and not of the heart. Only an hour a day was allowed the boy +for playing on the violin he had brought in the green bag, because +Christoph and his wife "did not want to hear the noise." Then when the +boy stole off to the forest and played there, he was waylaid on the way +home and well cuffed for disobeying orders. All this seems very much +like the Goneril and Cordelia business, or the history of Cinderella, +but as Johann Sebastian told it himself in the after-years, we have +reason to believe it was not fiction. + +Little Johann Sebastian had been his father's favorite, and this fact +perhaps made Christoph fear the boy was going to tread in his father's +lazy footsteps. So he set about to discipline the lad. + +It must be admitted that Johann Ambrosius Bach, who whittled out fiddles +in the sun, and who drank much beer out of an earthen pot, was +shiftless, but it further seems that he was tender-hearted and kind and +took much interest in teaching Sebastian to play the violin, even while +the child wore dresses. And sometimes I think it is really better, if +you have to choose, to drink beer out of an earthen pot and be kind and +gentle, than to have a sharp nose for other folks' faults and be +continually trying to pinch and prod the old world into the straight and +narrow path of virtue. Yet there is wisdom in all folly, and I can see +that the prohibition concerning little Sebastian's playing the violin +only an hour a day--mind you! was not without its benefits. Surely it +would often be a wise bit of diplomacy on the part of the teacher to +order the pupil not to study his arithmetic lesson but an hour a day, on +penalty. Of course it might happen occasionally that the pupil in an +earnest desire to please, might not study at all, yet there are +exceptions to all rules, and we must remember that when Tom Sawyer +forbade the boys using his whitewash-brush, the scheme worked well. + +One instance, however, might be cited where the law of compensation +seems really to have stood no chance. Christoph had a goodly musical +library and a collection of the best organ-music that had been produced +up to that time. He kept this music in a case, and carried the key to +the case in his pocket. On rare occasions he had shown bits of this +music to Sebastian, who read music like print when it is easy. The boy +devoured all the music he could lay his hands on, and hummed it over to +himself until every note and accent was fixed in his memory. He dearly +wanted to examine that music in the locked-up case, but his brother +declared his ambition nonsense--he was too young. But the boy contrived +a way to pick the lock--for a music-lover laughs at locksmiths--and at +night when all the household were safely in bed, he would steal +downstairs in his bare feet and get a sheet of the music and copy it off +by moonlight, sitting in the deep ledge of the window. Thus did he work +for six months, whenever the moon shone bright enough to read the lines +and signs and marks. But alas! one day the elder brother was rummaging +around the boy's room in search of things contraband and he pounced upon +the portfolio of copied music. He summoned the offender into his +presence. The facts were admitted, and Johann Sebastian had his bare +legs well tingled with an apple-sprout. Then the portfolio was +confiscated and carried away, despite pleadings, promises and tears. And +the question still remains whether "discipline" is not a matter of +gratification to the person in power rather than a sincere and honest +attempt to benefit the person disciplined. + +Nevertheless, Johann Sebastian Bach was working out his own education: +he belonged to the boys' chorus at Ohrdruf, as all boys in the vicinity +did. Music in every German village was an important item, and the best +singers and best behaved members of the village choir were set apart as +a sort of select choir--a choir within a choir--and were often gathered +together to sing on special occasions at weddings and festivals. Johann +Sebastian had a sweet, well-modulated voice, and whenever he was to +sing, he carried his violin in the green bag, so he could play, too, if +needed. Thus he played and sang at serenades, just as did Martin Luther, +many years before, in Johann Sebastian's own native town of Eisenach. + +Johann Sebastian's fame grew until it reached to Luneburg, twelve miles +away, and he was invited there to sing in the choir of Saint Michael's. +The pay he received was very slight, but that was not to be considered. +An occasional bowl of soup and piece of rye-bread, and the privilege of +sleeping in the organ-loft, all combined with freedom, made his paradise +complete. He played on the harpsichord in the pastor's study sometimes; +and occasionally the organist, who could not help loving such a +music-loving boy, would allow him to try the big organ, and at every +service he was present to play his violin, or if any of the other +players were absent he would just fill in and play any instrument +desired. + +Then we hear of him trudging off to Hamburg, a hundred miles away, with +only a few coppers in his pocket, to hear the great organist Reinke. He +slept in cattle-sheds by the way, played his violin at taverns for +something to eat, or plainly stated his case to sympathetic cooks at +backdoors. One instance he has recorded when all the world seemed to +frown. He had trudged all day, with nothing to eat, and at evening had +sat down near the open window of an inn, from which came savory smells +of supper. As he sat there, suddenly there were thrown out a couple of +small dried herrings. The hungry boy eagerly seized upon them, just as a +dog would. But what was his surprise to find, as he gnawed, in the mouth +of each fish a piece of silver! Some one had read the story of Saint +Peter to a purpose. Young Bach looked in vain for a person to thank, but +perceiving no one he took it as the act of God and an omen that his +pilgrimage to hear the great organist should not be in vain. + +The wonders of Reinke's playing and the marvel of the mighty music +filled his soul with awe, and fired his ambition to do a like +performance. + +Did the great Reinke know as he played that bright Sabbath morning, +filling the cathedral with thunders of echoing bass, or sounds of sweet, +subtle melody--did he know that away back in the throng stood a dusty, +tawny-haired boy who had tramped a hundred miles just for this event? +And did the organist guess as he played that he was inspiring a human +soul to do a grand and wondrous work, and live a life whose influence +should be deathless? Probably not--few men indeed know when virtue has +gone out of them. + +Perhaps Reinke was playing just to suit himself, and had purposely put +the unappreciative, lazy, sleepy occupants of the pews out of his +thought, all unmindful that there was one among a thousand, back behind +a pillar, dusty and worn, but now unconsciously refreshed and oblivious +to all save the playing of the great organ. There stood the boy bathed +in sweet sounds, with streaming eyes and responsive heart. + +His inward emotions supplemented the outward melody, for music demands a +listener, and at the last is a matter of soul, not sound: its appeal +being a harmony that dwells within. So played Reinke, and back by the +door, peering from behind a pillar, stood the boy. + + * * * * * + +Sebastian Bach was such a useful member of the choir at Luneburg that +the town musician from Weimar, who happened to be going that way, +induced him to go home with him as assistant organist. + +This was a definite move in the direction of fame and fortune. Men who +can make themselves useful are needed--there is ever a search for such. +They wanted Bach at Weimar. Johann Sebastian Bach, aged eighteen, was +wanted because he did his work well. + +After three or four months at Weimar he made a visit to Arnstadt, where +his uncle had so long been organist. His name at Arnstadt was a name to +conjure with, and in fact throughout all that part of the country, +whenever a man proved to be a musician of worth and power the people out +of compliment called him a "Bach." + +Johann Sebastian was invited to play for the people, and all were so +delighted that they insisted he should come and fill the place made +vacant by the death of the "Great Bach." + +So he came and was duly installed. + +And the young man drilled his chorus, wrote cantatas, and arranged +chants and hymns. But he was far from contented. He was being pushed on +by a noble unrest. It was not so very long before we find him packing +off to Denmark, with little ceremony, to listen to the playing of +Buxtehude, the greatest player of his age. + +Bach had been quite content to tiptoe into the church when Reinke +played, grateful for the privilege of listening, half-expecting to be +thrust out as an interloper. He had gained confidence since then, and +now introduced himself to Buxtehude and was greeted by the octogenarian +as a brother and an equal, although sixty years divided them. His visit +extended itself from one week to two, and then to a month or more, and a +message came from his employers that if he expected to hold his place he +had better return. + +Bach's visit to Buxtehude formed another white milestone in his career. +He came back filled with enthusiasm and overflowing with ideas and plans +that a single lifetime could not materialize. Those who have analyzed +the work of Buxtehude and Bach tell us that there is a richness of +counterpoint, a vigor of style, a fulness of harmony, and a strong, +glowing, daring quality that in some pieces is identical with both +composers. In other words, Bach admired Buxtehude so much that for a +time he wrote and played just like him, very much as Turner began by +painting as near like Claude Lorraine as he possibly could. Genius has +its prototype, and in all art there is to be found this apostolic +succession. Bach first built on Reinke; next he transferred his +allegiance to Buxtehude; from this he gradually developed courage and +self-reliance until he fearlessly trusted himself in deep water, +heedless of danger. And it is this fearless, self-reliant and +self-sufficient quality that marks the work of every exceptional man in +every line of art. "Here's to the man who dares," said Disraeli. All +strong men begin by worshiping at a shrine, and if they continue to grow +they shift their allegiance until they know only one altar and that is +the Ideal which dwells in their own heart. + + * * * * * + +And now behold how Heinrich Bach had educated his people into the belief +that there was only one way to play, and that was as he did it. It is +not at all probable that Heinrich put forward any claims of perfection, +but the people regarded his playing as high-water mark, and any +variation from his standards was considered fantastic and absurd. + +In all of the old German Protestant churches are records kept giving the +exact history of the church. You can tell for two hundred years back +just when an organist was hired or dismissed; when a preacher came and +when he went away, with minute mention as to reasons. + +And so we find in the records of the Church at Arnstadt that the +organist, Johann Sebastian Bach, took a vacation without leave in the +year Seventeen Hundred Five, and further, when he returned his playing +was "fantastical." + +With the young man's compositions the Consistory expressed echoing +groans of dissatisfaction. A list of charges was drawn up against him, +one of which runs as follows: "We charge him with a habit of making +surprising variations in the chorales, and intermixing divers strange +sounds, so that thereby the congregation was confounded." + +Bach's answers are filed with the original charges, and are all very +brief and submissive. In some instances he pleads guilty, not thinking +it worth his while, strong man that he was, to either apologize or +explain. + +But the most damning count brought against him was this: "We further +charge him with introducing into the choir-loft a Stranger Maiden, who +made music." To this, young Bach makes no reply. Brave boy! + +The sequel is shown that in a few weeks he was married to this "Stranger +Maiden," who was his cousin. She was a Bach, too, a descendant of the +merry Hans, and she, also, played the organ. But great was the horror of +the Arnstadites that a woman should play a church organ. Mein Gott im +Himmel--a woman might be occupying the pulpit next! + +Johann Sebastian's indifference to criticism is partially explained by +the fact that he was in correspondence with the Consistory at Mulhausen, +and also with the Duke Wilhelm Ernest, of Saxe-Weimar. Both Mulhausen +and Weimar wanted his services. Under such conditions men have ever been +known to invite a rupture--let us hope that Johann Sebastian Bach was +not quite so human. + + * * * * * + +Michelangelo never married, but Bach held the average good by marrying +twice. + +He was the father of just twenty children. His first wife was a woman +with well-defined musical tastes, as was meet in one with such an +illustrious musical pedigree. It wasn't fashion then to educate women, +and one biographer expresses a doubt as to whether Bach's first wife was +able to read and write. To read and write are rather cheap +accomplishments, though. Last year I met several excellent specimens of +manhood in the Tennessee Mountains who could do neither, yet these men +had a goodly hold on the eternal verities. + +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 "Æsthetics," 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. + +I once heard Henry Irving make a speech at Harvard University, and shall +never forget the tremor in his voice and the half-embarrassment of his +manner. What could have been more complimentary to college striplings? +And then, as usual, he looked helplessly about for Ellen Terry, and +having located her, held out his hand toward her and led her to the +front to receive the homage. + +Tears filled my eyes. Was Irving's action art? Ods-bodkins! I never +thought of it: I was hypnotized and all swallowed up in loving +admiration for Sir Henry and the beautiful Lady Ellen. + +Felix Mendelssohn was beloved by his players. First, because he never +wrote parts that only seraphs of light could play. In this he was unlike +Wagner, who could think such music as no brass, no wood nor strings +could perform, and so was ever in torments of doubt and disappointment. +Second, he was always grateful when his players did the best they could. +Third, he was graciously polite, even at rehearsals. The extent of his +inclination to rebuke was shown once when he abruptly rapped for +silence, and when quiet came said to his orchestra: "I am sure that any +one of the gentlemen present could write a symphony. I think, too, that +you can all improve on the music of the past--even that of Beethoven. +But this afternoon we are playing Beethoven's music--will you oblige +me?" And every man awoke to the necessity of putting the sweet, subtile, +strong quality of the master into the work, instead of absent-mindedly +sounding the note, fighting bluebottles, and taking care merely not to +get off the key too much. + +At the great Birmingham Festival several hundred ladies in the audience +contrived at a given signal to shower the great conductor with bouquets. +And Mendelssohn, entering into the spirit of the fun, dexterously caught +the blossoms and tossed them to his players, not even forgetting the +triangles and the boys who played the kettledrums. + +Bayard Taylor has described the lustrous brown eyes of Mendelssohn, that +seemed to send rays of light into your own: "Such eyes are the +possession of men who have seen heavenly visions. Genius shows itself in +the eye. Those who looked into the eyes of Sir Walter Scott, Robert +Burns or Lord Byron, always came away and told of it as an epoch in +their lives. This was what I thought when I sat vis-a-vis with Felix +Mendelssohn and looked into his eyes. I did not hear his voice, for I +was too intent on gazing into the fathomless depths of those splendid +eyes--eyes that mirrored infinity, eyes that had beheld celestial glory. +Little did I think then that in two years those eyes would close +forever." + + * * * * * + +In a letter to Hensel, Felix Mendelssohn's sex-quality is finely +revealed, when he says that his friends are advising him to marry, and +he is on the lookout for a wife. + +Ye gods! there is something strangely creepy about the thought of a man +going out in cold blood to seek a wife. Only two kinds of men search for +a wife; one is the Turk, and the other is his antithesis, who is advised +to marry for hygienic, prudential or sociologic reasons. John Ruskin was +"advised" to marry and the matter was duly arranged for him. In a week +he awoke to the hideousness of the condition. Six years elapsed before +John Millais and Chief Justice Coleridge collaborated to set him free, +but the cicatrix remained. + +The great books are those the authors had to write to get rid of; the +only immortal songs are those sung because the singers could not help +it. The best-loved wife is the woman who married because her lover had +to marry her to get rid of her; the children that are born because they +had to be are the ones that stock the race; and the love that can not +help itself is the only love that uplifts and inspires. + +Felix Mendelssohn, the slight, joyous, girlish youth, should have +preserved his Cecilia-like virginity. He should have left marriage to +those who were capable of nothing else; this would not have meant that +he turn ascetic, for the ascetic is a voluptuary in disguise. He should +simply have been married to his work. The wonder is, though, that once +the thought of marriage was forced upon him, he did not marry a Hittite +who delighted in pork-chops and tomato-sauce, ordered Guinness Stout in +public places, and disciplined him as a genius should be disciplined. + +Fate was kind, however, and the lady of his choice was nearly as +esthetic in face and form, as gentle and spirituelle as himself. She +never humiliated him by cackle, nor led him a merry chase after +society's baubles. Her only wish was to please him and to do her wifely +duty. They pooled their weaknesses, and it need not be stated that this, +the only love in the life of Mendelssohn, made not the slightest impress +on his art, save to subdue it. The passing years brought domestic +responsibilities, and the every-day trials of life chafed his soul, +until the wasted body, grown tired before its time, refused to go on, +and death set the spirit free. + + * * * * * + +Mendelssohn made five visits to England, where his success was even +greater than it was at home. He learned to express himself well in +English, but always spoke with the precision and care that marks the +educated foreigner. So the result was that he spoke really better +"English" than the English. The ease with which the Hebrew learns a +language has often been noted and commented upon. Mendelssohn preferred +German, but was not at a loss to carry on a conversation in French, +Italian or English. + +His nature was especially cosmopolitan, and like the true aristocrat +that he was, he was also a democrat, and at home in any society. + +When he was invited by the Queen to call upon her at Buckingham Palace, +he went alone, in his afternoon dress, and sent in his card as every +gentleman does when he calls upon a lady. Her Majesty greeted him at the +door of her sitting-room, and dismissed the servants. They met as +equals. In compliment to her guest Victoria spoke only in German. The +Queen, seeing the music-rack was not in order, apologized, womanlike, +for the appearance of the room and began to dust things in the usual +housewifely fashion. + +Mendelssohn, with that fine grace which never forsook him, assisted her +in putting things to rights, and when the piano was opened, he proceeded +to carry out two pet parrots, laughingly explaining that if they were to +have music, it was well to insure against competition. + +He sat down at the piano and played, without being asked, and sang a +little song in English in graceful but unobtrusive compliment to the +hostess. Then the Queen sang in German, he playing the accompaniment. +And in his letter to his sister Fanny, telling her of all this, in his +easy, gossipy, brotherly way, Felix adds that the Queen has a charming +soprano voice, that only needs a little cultivation and practise to make +her fit to take the leading part in "Elijah." + +This was no joke to Felix--he only regretted that Queen Victoria's +official position was such that she could not spare enough time for +music. + +Albert did not appear upon the scene until Mendelssohn had extended his +call to an hour, and was just ready to leave. The Prince Consort was too +perfect a gentleman to ever obtrude when his wife was entertaining +callers, but now he apologized for not knowing the Meister had honored +them--which we hope was a white lie. But, anyway, Felix consented to +remain and play a few bars of the oratorio they had heard him conduct +the night before. Then Albert sang a little, and Victoria insisted on +making a cup of tea for the guest before they parted. When he went away, +Albert and Victoria both walked with him down the hall, and as he bade +them good-by, Victoria spoke the kindly "Auf wiedersehen." + +In the story of her life, Victoria has in spirit corroborated this +account of her meeting with Mendelssohn. She refers to him as her dear +friend and the friend of her husband, and pays incidentally a gentle +tribute to his memory. + +The universal quality of Mendelssohn's knowledge, his fine forbearance +and diplomatic skill in leading a conversation into safe and peaceful +waters, were very marked. He was recognized by the King of Saxony as a +king of art, and so was received into the household as an equal; and +surely no man ever had a more kingly countenance. His body, however, +seemed to lag behind, and was no match for his sublime spirit. But when +fired by his position as Conductor, or when at the piano, the slender +body was nerved to a point where it seemed all suppleness and sinewy +strength. + +In his "Songs Without Words," the spirit of the Master is best shown. +There the grace, the gentleness and the sublimity of his soul are best +mirrored. And if at twilight you should hear his "On the Wings of Song," +played by one who understands, perhaps you will feel his spirit near, +and divine the purity, kindliness and excellence of Felix +Mendelssohn-Bartholdy. + + + + +[Illustration: FRANZ LISZT] + +FRANZ LISZT + + + Were I to tell you what my feelings were on carefully perusing and + reperusing this essay, I could hardly find terms to express myself. + Let this suffice: I feel more than fully rewarded for my trials, my + sacrifices and artistic struggles, on noting the impression I have + made on you in particular. To be thus completely understood was my + only ambition; and to have been understood is the most ravishing + gratification of my longing. + + --_Liszt in a Letter to Wagner_ + + +FRANZ LISZT + +In writing of Liszt there is a strong temptation to work the superlative +to its limit. In this instance it is well to overcome temptation by +succumbing to it. + +That word "genius" is much bandied, and often used without warrant; but +for those rare beings who leap from the brain of Jove, full-armed, it is +the only appellation. No finespun theory of pedagogics or heredity can +account for the marvelous talent of Franz Liszt--he was one sent from +God. + +Yet we find a few fortuitous circumstances that favored his evolution. +Possibly, on the other hand, there are those who might say the boy +attracted to himself the human elements that he required, and thus +worked out his freedom, acquiring that wondrous ability to express his +inmost emotions. Art is the beautiful way of doing things. All art is +the expression of sublime emotions; and there seems a strong necessity +in every soul to impart the joy and the aspiration that it feels. And +further, art is for the artist first, just as work is for the worker--it +is all just a matter of self-development. And how blessed is it to think +that every soul that works out its own freedom gives freedom to others! +Liszt is the inspirer of musicians, just as Shakespeare is the inspirer +of writers. Strong men make it possible for others to be strong. No man +of the century gave the science of music such an impulse for good as +this man. To go no further in way of proof, let the truth be stated yet +once again, that it was Franz Liszt who threw a rope to the drowning +Wagner. + +On October Twenty-second, in the year Eighteen Hundred Eleven, when a +man-child was born at the village of Raiding, Hungary, the heavens gave +no sign, and no signal-flags nor couriers proclaimed the event, all as +had been done a week before when a babe was born to the Prince and +Princess Esterhazy at the same place. Now the child born last was the +son of obscure parents, the father being an underling secretary of the +Prince, known as Liszt. The child was very weak and frail, and for some +months it was thought hardly possible it could live; but Destiny decreed +that the boy should not perish. + +The first recollections of Liszt take in, in a happy view, four men +playing cards at a square table. One of these men was the boy's father, +another was Mein Herr Joseph Haydn, and the other two players are lost +in the fog of obscurity. Did they ever know what a wonderful game they +played, as little Franz Liszt, sitting on a corner of the table, +listened to their talk and admired the buttons on the coat of the +Kappellmeister? After the card-game Haydn sat at the piano and played, +and the boy, just three years old, thought he could do that, too. Then +there was another Kappellmeister in the employ of Prince Nicholas +Esterhazy at Eisenstadt, and his name was Hummel. He was a pupil of +Mozart, and used to tell of it quite often when he came up to Raiding on +little visits, after the wine had been sampled. Liszt the Elder used to +help Hummel straighten out his accounts, and where went Liszt the Elder, +there, too, went little Franz Liszt, who wasn't very strong and banked +on it, and had to be babied. And so little Franz became acquainted with +Hummel and used to sit on his knee at the piano, and together they +played funny duets that set the company in a roar--two tunes at a time, +harmonious discords and counterpoint, such as no one ever heard before, +or since. + +At this time there was no piano at the Liszt cottage, but the boy +learned to play at the neighbors', and practised at the palace of the +Prince. His father and mother once took him there to hear Hummel. On +this occasion Hummel played the Concerto by Reis in C minor. At the +close of the performance, little Franz climbed up on the piano-stool and +very solemnly played the same thing himself, to the immense delight of +the listeners. + +The father of Liszt has recorded that at this time the child was but +three years old, but after taking off the proper per cent for the pride +of a fond parent, the probabilities are the boy was five. This is the +better attested when we remember that it was only a few weeks later +that, on the request of Prince Esterhazy, the boy played at a concert in +Oedenburg. + +This launched the boy on that public career which was to continue for +just seventy years. There is good evidence that the boy could read music +before he could read writing, and that he threw into his playing such +feeling and expression as Ferdinand Reis, who merely imitated his +master, Beethoven, had never anticipated. That is to say, when he played +"Reis," he improved on him, with variations all his own--attempts often +made with the work of great composers, but which incur risks not +advised. + +It will be seen that Liszt, although born in poverty, was from the very +first in a distinctly musical environment. He could not remember a time +when he did not attend the band-concerts--his parents wanted to go, and +took the baby because there were no servants to take charge of him at +home. Music was in the air, and everybody discussed it, just as in Italy +you may hear the beggars in the streets criticizing art. + +The delightful insouciance of this child-pianist won the heart of every +hearer, and his success quite turned the head of his father, the worthy +bookkeeper. + +To give the child the advantages of an education was now his parents' +one ambition. Having no money of his own, the father importuned his +employer, the Prince, who rather smiled at the thought of spending time +and money on such an elfin-like child. His playing was, of course, +phenomenal, unaccountable, a sort of bursting out of the sun's rays, +and, like the rainbow, a thing not to be seized upon and kept. It was +mere precocity, and precocity is a rareripe fruit, with a worm at the +core. This discouragement of the over-ambitious father was probably +wise, for it gave the boy a chance to play I-Spy and leapfrog in the +streets of the village, and to roam the fields. The lad became strong +and well, and when ten years of age he had grown into a handsome +youngster with already those marks of will and purpose on his beautiful +face that were to be his credentials to place and power. + +He had often played at concerts in the towns and villages about, and +when there were visitors at the palace this fine, slim son of the +bookkeeper was sent for to entertain them. + +This attention kept ambition alive in the hearts of his parents, and +after many misgivings they decided to hazard all and move to Vienna to +give their boy the opportunities they felt he deserved. + +The entire household effects being sold, the bookkeeper found he had +nearly six hundred francs--one hundred fifty dollars. To this amount +Prince Esterhazy added fifty dollars, and Hummel gave his mite, and with +tears of regret at breaking up the home-nest, but with high hope, +flavored by chill intervals of fear, the father, mother and boy started +for Vienna. + +Arriving in that city the distinguished Carl Czerny, pupil of Beethoven, +was importuned to take the lad. Only the letter from Hummel secured the +boy an audience, for Czerny was already overburdened with pupils. But +when he had listened to the lad's playing, he consented to take him as a +pupil, merely saying that he showed a certain degree of promise. It is +sternly true that Czerny did not fully come into the Liszt faith until +after that concert of April Thirteenth, Eighteen Hundred Twenty-three, +when Beethoven, ripe with years, crowded his way to the front and kissed +the player on both cheeks, calling him "my son." Such a greeting from +the great Master spoke volumes when we consider the lifelong aversion +that Beethoven held toward "prodigies," and his disinclination to attend +all concerts but his own. + +And thus did Franz Liszt begin his professional pilgrimage, consecrated +by the kiss of the Master. + +Paris was the next step--to Paris, the musical and artistic center of +the world. To win in Paris meant fame and fortune wherever he wished to +exhibit his powers. The way the name of Franz Liszt swept through the +fashionable salons of Paris is too well known to recount. Scarcely +thirteen years of age, he played the most difficult pieces with peculiar +precision and power. And his simple, boyish, unaffected manner--his +total lack of self-consciousness--won him the affection of every +mother-heart. He was fondled, feted, caressed, and took it all as a +matter of course. He had not yet reached the age of indiscretion. + + * * * * * + +Music is a secondary sexual manifestation, just as are the songs of +birds, their gay and gaudy plumage, the color and perfume of flowers +that so delight us, and the luscious fruits that nourish us--all is sex. +And then, do you not remember that expression of Renan's, "The +unconscious coquetry of the flowers"? Without love there would be no +poetry and no music. All the manifest beauty of earth is only Nature's +nuptial decoration. + +James Huneker, not always judicious, but a trifle more judicial than +others that might be named, declares that two women, making a +simultaneous attack upon the great composer, caused him to cut for +sanctuary, and hence we have the Abbe Liszt, thus proving again that +love and religion are twin sisters. + +The old-time biographers can easily be placed in two classes: those who +sought to pillory their man, and those who sought to protect him. +Neither one told the truth; but each gave a picture, more or less +blurred, of a being conjured forth from their own inner consciousness. +Franz Liszt was naturalized in the Faubourg Saint Germain. It was here +that he was first hailed as the infant prodigy, and proud ladies, at his +performances, pressed to the front and struggled for the privilege of +imprinting on his fair forehead a chaste and motherly kiss. + + * * * * * + +Eight years had passed: years of work and travel and constant growing +fame. The youth had grown into a man, and his return to the scene of his +former triumphs was the signal for a regathering of the clans to note +his progress--or decline. The verdict was that from "Le Petit Prodige," +he had evolved into something far more interesting--"Le Grand Prodige." +Tall, handsome, strong, and with a becoming diffidence and a half-shy +manner, his name went abroad, and he became the rage of the salons. His +marvelous playing told of his hopes, longings, fears and +aspirations--proud, melancholy, imploring, sad, sullen--his tones told +all. + +Fair votaries followed him from one performance to another. Leaving out +of the equation such mild incidents as the friendship for George Sand, +which began with a brave avowal of platonics, and speedily drifted into +something more complex; also the equally interesting incident of his +being invited to visit the Chateau of the lovely Adele Laprunarede, and +the Alpine winter catching the couple and holding them willing captives +for three months, blocked there in a castle, with nothing worse than a +conscience and an elderly husband to appease, we reach the one, supreme +love-passion in the life of Liszt. The Countess d'Agoult is worthy of +much more than a passing note. + +At twenty years of age she had been married to a man twenty-one years +her senior. It was a "mariage de convenance"--arranged by her parents +and a notary in a powdered wig. It is somewhat curious to find how many +great women have contracted just such marriages. Grim disillusionment +following, true love holding nothing in store for them, they turn to +books, politics or art, and endeavor to stifle their woman's nature with +the husks of philosophy. + +Count d'Agoult was a hard-headed man of affairs--stern, sensible and +reasonably amiable--that is to say, he never smashed the furniture, nor +beat his wife. She submitted to his will, and all the fine, girlish, +bubbling qualities of her mind and soul were soon held in check through +that law of self-protection which causes a woman to give herself +unreservedly only to the One who Understands. Yet the Countess was not +miserable--only at rare intervals did there come moods of a sort of +dread longing, homesickness and unrest; but calm philosophy soon put +these moods to rout. She had focused her mind on sociology and had +written a short history of the Revolution, a volume that yet commands +the respect of students. At intervals she read her essays aloud to +invited guests. She studied art, delved a little in music, became +acquainted with the leading thinking men and women of her time, and +opened her salon for their entertainment. + +Three children had been born to her in six years. Maternity is a very +necessary part of every good woman's education--"this woman's flesh +demands its natural pains," says a great writer in a certain play. A +staid, sensible woman was the Countess d'Agoult--tall, handsome, +graceful, and with a flavor of melancholy, reserve and disinterestedness +in her make-up that made her friendship sought by men of maturity. She +talked but little, and won through the fine art of listening. + +She was neither happy nor unhappy, and if the gaiety of girlhood had +given way to subdued philosophy, there were still wit, smiles and gentle +irony to take the place of laughter. "Life," she said, "consists in +molting one's illusions." + +The Countess was twenty-nine years of age when "Le Grand Prodige," aged +twenty-three, arrived in Paris. She had known him when he was "Le Petit +Prodige"--when she was a girl with dreams and he but a child. She wished +to see how he had changed, and so went to hear him play. He was +insincere, affected and artificial, she said--his mannerisms absurd and +his playing acrobatic. At the next concert where he played she sought +him out and half-laughingly told him her opinion of his work. He gravely +thanked her, with his hand upon his heart, and said that such honesty +and frankness were refreshing. After the concert Liszt remembered this +woman--she was the only one he did remember--she had made her +impression. + +He did not like her. + +Soon Liszt was invited to the salon of the Countess d'Agoult, and he, +the plebeian, proudly repulsed the fair aristocrat when her attentions +took on the note of patronage. They mildly tiffed--a very good way to +begin a friendship, once said Chateaubriand. + +The feminine qualities in the heart of Liszt made a lure of the person +who dared affront him. He needed the flint on which his mind could +strike fire--nothing is so depressing as continual, mushy adulation. He +sought out the Countess, and together they traversed the border-land of +metaphysics, and surveyed, as the days passed, all that intellectual +realm which the dawn of the Twentieth Century thinks it has just +discovered. + +She taunted him into a defense of George Sand, who had but recently +returned from her escapade to Venice with Alfred de Musset. Liszt +defended the author of "Leone Leoni," and read to the Countess from her +books to prove his case. + +When haughty, proud and religious ladies mix mentalities with sensitive +youths of twenty-four, the danger-line is being approached. The Grand +Passions that live in history, such as that of Abelard and Heloise, +Petrarch and Laura, Dante and Beatrice, swing in their orbit around +world-weariness. Love does not concern itself with this earth alone--it +demands a universe for its free expression. And the only woman who is +capable of the Grand Passion--who stakes all on one throw of the +dice--is the melancholy woman, with this fine, religious reserve. No one +suspected the Countess d'Agoult of indiscretion--she was too cold and +self-contained for that! + +And so is the world deceived by the Eternal Paradox of things--that law +of antithesis which makes opposites look alike. Beneath the calm dignity +of matronly demeanor the fires of love were banked. Probably even the +Countess herself did not know of the volcano that was smoldering in her +heart. But there came a day when the flames burst forth, and all the +reserve, poise, quiet dignity, caution and discretion were dissolved +into nothingness in love's alembic. + +Poor Franz Liszt! + +Poor Countess d'Agoult! + +They were powerless in the coils of such a passion. It was a mad tumult +of wild intoxication, of delicious pain, of burning fears, and vain, +tossing unrest. The woman's nature, stifled by its six years of coaxing +marital repression, was asserting itself. Liszt did not know that a +woman could love like this--neither did the woman. Once they parted, +after talking the matter over solemnly and deciding on what was best for +both--they parted coldly--with a mere touching of the lips in a last +good-by. + +The next week they were together again. + +Then Liszt fled to the Abbe Lamennais, and in tears sought, at the +confessional and in dim retirement, a surcease from the passion that was +devouring him. Here was a pivotal point in the life of Liszt, and the +Church came near then, claiming him for her own. And such would have +been the case, were it not for the fact that one of the children of the +Countess d'Agoult was sick unto death. He knew of the sleepless +vigils--the weary watching of the fond mother. + +The child died, and Franz Liszt went to the parent in her bereavement, +to offer the solace of religion and bid her a decent, respectful +farewell, ere he left Paris forever. He thought grief was a cure for +passion, and that in the presence of death, love itself was dumb. How +could he understand that, in most strong natures, tears and pain, and +hope and love are kin, and that each is in turn the manifestation of a +great and welling heart! + +Liszt stood by the side of the Countess as the grave closed over the +body of her firstborn child. And as they stood there, under the +darkening sky, her hand went groping blindly for his. She wrote of this, +years and years after, when seventy winters had silvered her hair and +her steps were feeble--she wrote of this, in her book called, +"Souvenirs," and tells how, in that moment of supreme grief, when her +life was whitened and purified by the fires of pain, her hand sought +his. The deep current of her love swept the ashes of grief away, and she +reached blindly for the hands--those wonderful music-making hands of +Liszt--that they might support her. And standing there, side by side, as +the priest intoned the burial service, he whispered to her, "Death shall +not divide us, nor is eternity long enough to separate thee from me!" + + * * * * * + +It was only a few days after that Liszt left Paris--but not for a +monastery. He journeyed to Switzerland, and stopping at Basle he was +soon joined by the Countess, her two children, and her mother. + +All Paris was set in an uproar by the "abduction." The George Sand +school approved and loudly applauded the "eclat"; but it was condemned +and execrated by the majority. As for the injured husband, it is said he +gave a banquet in honor of the event; his feelings, no doubt, being +eased by the fact that the goodly dot his wife had brought him at her +marriage was now his exclusive possession. He had never gauged her +character, anyway, and he inwardly acknowledged that her mind was of a +sort with which he could not parry. + +And now she had wronged him; yet in his grief he took much satisfaction, +and in his martyrdom there was sweet solace. + +The chief blame fell on Liszt, and the accusation that he had "broken up +a happy home" came to his ears from many sources. "They blame you and +you alone," a friend said to him. + +"Good! good!" said Liszt, "I gladly bear it all." + +George Sand, plain in feature, quiet in manner, soft and feminine when +she wished to be, yet possessing the mind of a man, went to Switzerland +to visit the runaway Liszt and the "Lady Arabella." At first thought, +one might suppose that such a visit, after the former relationship, +might have been a trifle embarrassing for both. But the fact that in the +interval George Sand had been crunching the soul of Chopin formed an +estoppel on the memory of all the soft sentiment that had gone before. +George Sand brought her two children, Maurice and Solange, and the "Lady +Arabella" had two of her own to keep them company. A little family party +was made up, and with a couple of servants and a guide, a little journey +was taken through the mountain villages, all in genuine gipsy style. +George Sand, who worked up all life, its sensations and emotions, into +good copy, has given us an account of the trip, that throws some very +interesting side-lights on the dramatis personæ. + +The recounter and her children were all clothed in peasant +costume--man-style, with blouses and trousers. Gipsy garbs were worn by +the servants, and Liszt was arrayed like a mountaineer, and carried a +reed pipe, upon which he, from time to time, awoke the echoes. When the +dusty, unkempt crew arrived at a village inn, the landlord usually made +hot haste to secrete his silverware. Once when a sudden rainstorm drove +the wayfarers into a church, Liszt took his seat at the organ and +played--played with such power and feeling that the village priest ran +out and called for the neighbors to come quickly, as the Angel Gabriel, +in the guise of a mountaineer, was playing the organ. Anthem, oratorio, +and sweet, subtle, soulful improvisation followed, and the villagers +knelt, and eyes were filled with tears. George Sand records that she +never heard such playing by the Master before; she herself wept, and yet +through her tears she managed to see a few things, and here is one +picture which she gives us: "The Lady Arabella sat on the balustrade, +swinging one foot, and cast her proud and melancholy gaze over the lower +nave, and waited in vain for the celestial voices that were supposed to +vibrate in her bosom. + +"Her abundant light hair, disheveled by the wind and rain, fell in +bewildering disorder, and her eyes, reflecting the finest hue of the +firmament, seemed to be wandering over the realm of God's creation after +each sigh of the huge organ, played by the divine Liszt. + +"'This is not what I expected,' said she to me languidly. + +"'Ah, that is what you said of the mountain peaks and the glacier, +yesterday,' said I." + +It will be seen, by those who have read between the lines, that George +Sand did not much like "the fair Lady Arabella of the wondrous length of +limb." In passing, it is well to note, in way of apology for this +allusion as to "length of limb," that George Sand was once spoken of by +Heine as "a dumpy-duodecimo." It is to be regretted that we have no +description of George Sand by the Lady Arabella. + +Years passed in study and writing, with occasional concert tours, +wherein the public flocked to hear the greatest pianist of his time. The +power, grasp and insight of the man increased with the years, and +wherever he deigned to play, the public was not slow in giving him that +approbation which his masterly work deserved. Liszt was one of the Elect +Few who train on. On these short concert trips his wife (for such she +must certainly be regarded) seldom accompanied him--this in deference to +his wish, and this, it seems, was the first and last and only cause of +dissension between them. + +The Countess was born for a career and her spirit chafed at the forced +retirement in which she lived. + +Ten years had gone by and three children had been born to her and Liszt. +One of these, a boy, died in youth, but one of the daughters became, as +we know, the wife of Richard Wagner, and the other daughter married +Oliver Emile Ollivier, the eminent statesman and man of letters--member +of the Cabinet in that memorable year, Eighteen Hundred Seventy, when +France declared war on Germany. Both of these daughters of Liszt were +women of rare mentality and splendid worth, true daughters of their +father. + +Position is a pillory; sometimes the populace will pelt you with +rose-leaves--at others, with ancient vegetables. Liszt believed that for +his wife's peace of mind, and his own, she should not crowd herself too +much to the front--he feared what the mob might say or do. We can not +say that she was jealous of his fame, nor he of hers. However, as a +writer she was winning her way. But the fateful day came when the wife +said, "From this day on I must everywhere stand by your side, your wife +and your equal, or we must part." + +They parted. + +Liszt made princely provision for her welfare, and the support of their +children, as well as those that had come to her before they met. + +She went south to Italy, and he began that most wonderful concert tour, +where, in Saint Petersburg, sums equal to ten thousand dollars were +taken at the door for single entertainments. + +Countess d'Agoult was the respected friend of King Emmanuel, and her +salon at Turin was the meeting-place of such men as Renan, Meyerbeer, +Chopin, Berlioz and Rossini. She carried on a correspondence with +Heinrich Heine, was the trusted friend of Prince Jerome Bonaparte, +Lamartine and Lamennais, and was on a footing of equality with the +greatest and best minds of her age. She wrote several plays, one of +which, "Jeanne d'Arc," was presented at the Court Theater of Turin, with +the Royal Family present, and was a marked success. Her criticism on the +work of Ingres made that artist's reputation, just as surely as Ruskin +made the fame of Turner. But one special reason why Americans should +remember this woman is because she first translated Emerson's "Essays" +and caused them to be published in Italian and French. + +I am not sure that Liszt ever quite forgave her for not dying of broken +heart, when they parted there at Lake Maggiore. He thought she would +take to opium or strong drink, or both. She did neither, but proved, by +her after-life, that she was sufficient unto herself. She was worthy of +the love of Liszt, because she was able to do without it. She was no +parasitic, clinging vine that strangles the sturdy oak. + +The Abbe Lamennais, the close friend of Liszt, once said, "Liszt is a +great musician, the greatest the world has ever seen, but his wife can +easily take a mental octave which he can not quite span." + +The Countess d'Agoult died March Fifth, in Eighteen Hundred Seventy-six, +at the age of seventy years. When tidings of her passing reached the +Abbe Liszt, he caused all of his immediate engagements to be canceled +and went into monastic retirement, wearing the robe of horsehair and a +rope girdle at his waist. He filled the hours for the space of a month +with silent reverie and prayer. + +And even in that cloister-cell, with its stone floor and cold, bare +walls, the leaden hours brought the soundless presence of a tall and +stately woman. Through the desolate bastions of his brain she glided in +sweet disarray, looked into his tear-dimmed eyes, smoothing softly the +coarse pillow where rested that head with its lion's mane which we know +so well--a head now whitened by the frost of years. No sound came to him +there, save a soft voice which Fate refused to silence, and this voice +whispered and whispered yet again to him: "Death shall not divide us, +nor is eternity long enough to separate thee from me!" + + * * * * * + +Religion is not the cure of love. Perhaps religion is love and love is +religion--anyway, we know that they are often fused. For a time after +Liszt had parted from the Countess, fortune smiled. Then came various +loans to friends, managerial experiments, the backing of an ill-starred +opera, and a season of overwrought nerves. + +Luck had turned against the supposed invincible Liszt. Then it was that +the Princess Wittgenstein appears on the scene. This fine woman, +earnest, strong in character, intellectual, had tried ten years of +marital hard times and quit the partnership with a daughter and a goodly +dot. + +The Princess had secretly loved Liszt from afar, and had followed him +from town to town, glorying in his triumphs, feeding on his personality. + +When trouble came she managed to have a message conveyed to him that an +unknown woman would advance, without interest or security, enough money +for him to pay all his debts and secure him two years of leisure in +which he might regain his health and do such work as his taste might +dictate. + +Of course Liszt declined the offer, begging his unknown friend to +divulge her identity that he might thank her for her disinterested faith +in the cause of Art. + +A meeting was brought about and the result was as usual. The Grand +Duchess of Saxe-Weimar, in the face of scandal, took the Abbe and +Princess under protection, giving them the Chateau of Altenburg, near +Weimar, for a retreat. There Liszt, guarded from all intrusion, composed +the symphonies of "Dante" and "Faust," sonatas, masses and parts of +"Saint Elizabeth." For thirteen years they lived an idyllic existence. +Then, having married her daughter by her first husband to Prince +Hohenlohe, the Princess set out for Rome to obtain a dispensation from +the Pope, so she and the Abbe could be married. Her husband, who was a +Protestant, had long before secured a divorce and married again. Pope +Pius the Ninth granted her wish, and she hastened home and prepared for +the wedding. It was said that flowers were already placed on the altar, +the marriage feast was prepared, the guests invited, when news came that +the Pope had changed his mind on the argument of one of the lady's +kinsmen. We now have every reason to believe, though, that the Pope +changed his mind on the earnest request of Liszt. + +On the death of the Princess Wittgenstein, the Pope dispensed Liszt from +his priestly ties, but he was called the Abbe until his death. + +Whenever I find any one who can write better on a subject than I can, I +refuse to go on. + +There is a book called, "Music Study in Germany," written by my friend +Amy Fay, and published by The Macmillan Company, from which I quote. + +If Amy Fay had not chosen to be the superb pianist that she is, she +might have struck thirteen in literature. + +There are a dozen biographies of Liszt, but none of them has ever given +us such a vivid picture of the man as has this American girl. The +simple, unpretentious little touches that she introduces are art so +subtile and true that it is the art which conceals art. The topmost +turret of my ambition would be to have Amy Fay Boswellize my memory. + +Says Amy Fay: + + Liszt is the most interesting and striking-looking man imaginable, + tall and slight, with deep-set eyes, long iron-gray hair, and + shaggy eyebrows. His mouth turns up at the corners, which gives him + a most crafty and Mephistophelian expression when he smiles, and + his whole appearance and manner have a sort of Jesuitical elegance + and ease. His hands are very narrow, with long and slender fingers + that look as if they had twice as many joints as other people's. + They are so flexible and supple that it makes you nervous to look + at them. Anything like the polish of his manner I never saw. When + he got up to leave the box, for instance, after his adieux to the + ladies, he laid his hand on his heart and made his final bow--not + with affectation, or in mere gallantry, but with a quiet + courtliness which made you feel that no other way of bowing to a + lady was right or proper. + + But the most extraordinary thing about Liszt is his wonderful + variety of expression and play of feature. One moment his face will + look dreamy, shadowy, tragic; the next he will be insinuating, + amiable, ironical, sardonic; but always the same captivating grace + of manner. He is a perfect study. He is all spirit, but half the + time, at least, a mocking spirit, I should say. All Weimar adores + him, and people say that women still go perfectly crazy over him. + When he walks out, he bows to everybody just like a king! The Grand + Duke has presented him with a beautiful house situated on the Park, + and here he lives elegantly, free of expense. + + Liszt gives no paid lessons whatever, as he is much too grand for + that, but if one has talent enough, or pleases him, he lets one + come to him and play to him. I go to him every other day, but I + don't play more than twice a week, as I can not prepare so much, + but I listen to others. Up to this point there have been only four + in the class beside myself, and I am the only new one. From four to + six o'clock in the afternoon is the time when he receives his + scholars. The first time I went I did not play to him, but listened + to the rest. Urspruch and Leitert, two young men whom I met the + other night, have studied with Liszt a long time, and both play + superbly. + + As I entered the salon, Urspruch was performing Schumann's + "Symphonic Studies"--an immense composition, and one that it took + at least half an hour to get through. He played so splendidly that + my heart sank down into the very depths. I thought I should never + get on there! Liszt came forward and greeted me in a very friendly + manner as I entered. He was in a very good humor that day, and made + some little witticisms. Urspruch asked him what title he should + give to a piece he was composing. "Per aspera ad astra," said + Liszt. This was such a good hit that I began to laugh, and he + seemed to enjoy my appreciation of his little sarcasm. I did not + play that time as my piano had only just come, and I was not + prepared to do so, but I went home and practised tremendously for + several days on Chopin's "B minor sonata." It is a great + composition and one of his last works. When I thought I could play + it, I went to Liszt, though with a trembling heart. I can not tell + you what it has cost me every time I have ascended his stairs. I + can scarcely summon up courage to go there, and generally stand on + the steps a few moments before I can make up my mind to open the + door and go in. + + Well, on this day the artists Leitert and Urspruch, and the young + composer Metzdorf, were in the room when I came. They had probably + been playing. At first Liszt took no notice of me beyond a + greeting, till Metzdorf said to him, "Herr Doctor, Miss Fay has + brought a sonata." "Ah, well, let us hear it," said Liszt. Just + then he left the room for a minute, and I told the three gentlemen + they ought to go away and let me play to Liszt alone, for I felt + nervous about playing before them. They all laughed at me and said + they would not budge an inch. When Liszt came back they said to + him, "Only think, Herr Doctor, Miss Fay proposes to send us all + home." I said I could not play before such artists. "Oh, that is + healthy for you," said Liszt with a smile, and added, "you have a + very choice audience now." I don't know whether he appreciated how + nervous I was, but instead of walking up and down the room, as he + often does, he sat down by me like any other teacher, and heard me + play the first movement. It was frightfully hard, but I had studied + it so much that I managed to get through with it pretty + successfully. Nothing could exceed Liszt's amiability, or the + trouble he gave himself, and instead of frightening me, he inspired + me. Never was there such a delightful teacher! and he is the most + sympathetic one I've had. You feel so free with him, and he + develops the very spirit of music in you. He doesn't keep nagging + at you all the time, but he leaves you your own conception. Now and + then he will make a criticism or play a passage, and with a few + words give you enough to think of all the rest of your life. There + is a delicate point to everything he says as subtle as he is + himself. He doesn't tell you anything about the technique; that you + must work out for yourself. When I had finished the first movement + of the sonata, Liszt, as he always does, said "Bravo!" Taking my + seat he made some little criticisms, and then he told me to go on + and play the rest of it. + + Now, I only half-knew the other movements, for the first one was so + extremely difficult that it cost me all the labor I could give to + prepare that. But playing to Liszt reminds me of trying to feed the + elephant in the Zoological Garden with lumps of sugar. He disposes + of whole movements as if they were nothing, and stretches out + gravely for more! One of my fingers fortunately began to bleed, for + I had practised the skin off, and that gave me a good excuse for + stopping. Whether he was pleased at this proof of industry, I know + not; but after looking at my finger and saying, "Oh!" very + compassionately, he sat down and played the whole three last + movements himself. That was a great deal and showed off his powers. + It was the first time I had heard him, and I don't know which was + the most extraordinary--the Scherzo, with its wonderful lightness + and swiftness, the Adagio with its depth and pathos, or the last + movement, where the whole keyboard seemed to "donnern und blitzen." + There is such a vividness about everything he plays that it does + not seem as if it were mere music you are listening to, but it is + as if he had called up a real, living form, and you saw it + breathing before your face and eyes. It gives me almost a ghostly + feeling to hear him, and it seems as if the air were peopled with + spirits. Oh, he is a perfect wizard! It is as interesting to see + him as it is to hear him, for his face changes with every + modulation of the piece, and he looks exactly as he is playing. He + has one element that is most captivating, and that is a sort of + delicate and fitful mirth that keeps peering out at you here and + there. It is most peculiar, and when he plays that way, the most + bewitching expression comes over his face. It seems as if a little + spirit of joy were playing hide-and-go-seek with you. + + At home Liszt doesn't wear his long Abbe's coat, but a short one, + in which he looks much more artistic. His figure is remarkably + slight, but his head is most imposing. It is so delicious in that + room of his! It was all furnished and put in order for him by the + Grand Duchess herself. The walls are pale gray, with a gilded + border running round the room, or rather two rooms, which are + divided, but not separated, by crimson curtains. The furniture is + crimson, and everything is so comfortable--such a contrast to + German bareness and stiffness generally. A splendid grand piano (he + receives a new one every year,) stands in one window. The other + window is always open and looks out on the park. There is a + dovecote just opposite the window, and doves promenade up and down + upon the roof of it, and fly about, and sometimes whirr down on the + sill itself. That pleases Liszt. His writing-table is beautifully + fitted up with things that match. Everything is in + bronze--inkstand, paper-weight, match-box, etc.--and there is + always a lighted candle standing on it by which he and the + gentlemen can light their cigars. There is a carpet on the floor, a + rarity in Germany, and Liszt generally walks about and smokes and + mutters, and calls upon one or the other of us to play. From time + to time he will sit down and himself play where a passage does not + suit him, and when he is in good spirits he makes little jests all + the time. His playing was a complete revelation to me, and has + given me an entirely new insight into music. You can not conceive, + without hearing him, how poetic he is, or the thousand nuances that + he can throw into the simplest thing, and he is equally great on + all sides. From the zephyr to the tempest, the whole scale is + equally at his command. + + Liszt is not at all like a master, and can not be treated as one. + He is a monarch, and when he extends his royal scepter you can sit + down and play to him. You never can ask him to play anything for + you, no matter how much you're dying to hear it. If he is in the + mood he will play; if not, you must content yourself with a few + remarks. You can not even offer to play yourself. + + You lay your notes on the table, so he can see that you want to + play, and sit down. He takes a turn up and down the room, looks at + the music, and if the piece interests him he will call upon you. We + bring the same piece to him but once, and but once play it through. + + Yesterday I had prepared for him his "Au Bord d'une Source." I was + nervous and played badly. He was not to be put out, however, but + acted as if he thought I had played charmingly, and then he sat + down and played the whole thing himself, oh, so exquisitely! It + made me feel like a wood-chopper. The notes just seemed to ripple + off his fingers' ends with scarce any perceptible motion. As he + neared the close I noticed that funny little expression come over + his face, which he always has when he means to surprise you, and he + then suddenly took an unexpected chord and extemporized a poetical + little end, quite different from the written one. Do you wonder + that people go distracted over him? + + One day this week, when we were with Liszt, he was in such high + spirits that it was as if he had suddenly become twenty years + younger. A student from the Stuttgart conservatory played a Liszt + concerto. His name is V., and he is dreadfully nervous. Liszt kept + up a running fire of satire all the time he was playing, but in a + good-natured way. I shouldn't have minded it if it had been I. In + fact, I think it would have inspired me; but poor V. hardly knew + whether he was on his head or on his feet. It was too funny. + Everything that Liszt says is so striking. For instance, in one + place where V. was playing the melody rather feebly, Liszt suddenly + took his seat at the piano and said, "When I play, I always play + for the people in the gallery, so that those people who pay only + five groschens for their seats also hear something." Then he began, + and I wish you could have heard him! The sound didn't seem to be + very loud, but it was penetrating and far-reaching. When he had + finished, he raised one hand in the air, and you seemed to see all + the people in the gallery drinking in the sound. That is the way + Liszt teaches you. He presents an idea to you, and it takes fast + hold of your mind and sticks there. Music is such a real, visible + thing to him that he always has a symbol, instantly, in the + material world to express his idea. One day, when I was playing, I + made too much movement with my hand in a rotary sort of a passage + where it was difficult to avoid it. "Keep your hand still, + Fraulein," said Liszt; "don't make omelet." I couldn't help + laughing--it hit me on the head so nicely. He is far too sparing of + his playing, unfortunately, and like Tausig, sits down and plays + only a few bars at a time generally. It is dreadful when he stops, + just as you are at the height of your enjoyment, but he is so + thoroughly blase that he doesn't care to show off before people and + doesn't like to have any one pay him a compliment about his + playing. In Liszt I can at least say that my ideal in something has + been realized. He goes far beyond all that I expected. Anything so + perfectly beautiful as he looks when he sits at the piano I never + saw, and yet he is almost an old man now. I enjoy him as I would an + exquisite work of art. His personal magnetism is immense, and I can + scarcely bear it when he plays. He can make me cry all he chooses, + and that is saying a good deal, because I've heard so much music, + and never have been affected by it. Even Joachim, whom I think + divine, never moved me. When Liszt plays anything pathetic, it + sounds as if he had been through everything, and opens all one's + wounds afresh. All that one has ever suffered comes before one + again. Who was it that I heard say once, that years ago he saw + Clara Schumann sitting in tears near the platform during one of + Liszt's performances? Liszt knows well the influence he has on + people, for he always fixes his eyes on some one of us when he + plays, and I believe he tries to wring our hearts. When he plays a + passage and goes pearling down the keyboard, he often looks over + at me and smiles, to see whether I am appreciating it. + + But I doubt if he feels any particular emotion himself when he is + piercing you through with his rendering. He is simply hearing every + tone, knowing exactly what effect he wishes to produce and just how + to do it. In fact, he is practically two persons in one--the + listener and the performer. But what immense self-command that + implies! No matter how fast he plays you always feel that there is + "plenty of time"--no need to be anxious! You might as well try to + move one of the pyramids as fluster him. Tausig possessed this + repose in a technical way, and his touch was marvelous; but he + never drew the tears to your eyes. He could not wind himself + through all the subtle labyrinths of the heart as Liszt does. Liszt + does such bewitching little things! The other day, for instance, + Fraulein Gaul was playing something to him, and in it were two + runs, and after each run two staccato chords. She did them most + beautifully and struck the chords immediately after. "No, no," said + Liszt; "after you make a run you must wait a minute before you + strike the chords, as if in admiration of your own performance. You + must pause, as if to say, 'How nicely I did that!'" Then he sat + down and made a run himself, waited a second, and then struck the + two chords in the treble, saying as he did so, "Bravo!" and then he + played again, struck the other chord and said again, "Bravo!" and + positively, it was as if the piano had softly applauded. + + Liszt hasn't the nervous irritability common to artists, but on the + contrary his disposition is the most exquisite and tranquil in the + world. We have been there incessantly and I've never seen him + ruffled except two or three times, and then he was tired and not + himself, and it was a most transient thing. When I think what a + little savage Tausig often was, and how cuttingly sarcastic Kullak + could be at times, I am astonished that Liszt so rarely lost his + temper. He has the power of turning the best side of every one + outward, also the most marvelous and instant appreciation of what + that side is. If there is anything in you, you may be sure that + Liszt will know it. On Monday I had a most delightful tete-a-tete + with Liszt, quite by chance. I had occasion to call upon him for + something, and strange to say, he was alone, sitting by his table + writing. Generally all sorts of people are up there. He insisted + upon my staying for a while, and we had the most amusing and + entertaining conversation imaginable. It was the first time I ever + heard Liszt really talk, for he contents himself mostly with making + little jests. He is full of esprit. Another evening I was there + about twilight and Liszt sat at the piano looking through a new + oratorio which had just come out in Paris, upon "Christus." He + asked me to turn for him, and evidently was not interested, for he + would skip whole pages and begin again, here and there. There was + only a single lamp, and that a rather dim one, so that the room was + all in shadow, and Liszt wore his Merlin-like aspect. I asked him + to tell me how he produced a certain effect he makes in his + arrangement of the ballad in Wagner's "Flying Dutchman." He looked + very "fin" as the French say, but did not reply. He never gives a + direct answer to a direct question. "Ah," said I, "you won't tell." + He smiled and then immediately played the passage. It was a long + arpeggio, and the effect he made was, as I had supposed, a pedal + effect. He kept the pedal down throughout, and played the beginning + of the passage in a grand sort of manner, and then all the rest of + it with a very pianissimo touch, and so lightly, that the + continuity of the arpeggios was destroyed, and the notes seemed to + be just strewn in, as if you broke a wreath of flowers and + scattered them according to your fancy. It is a most striking and + beautiful effect, and I told him I didn't see how he ever thought + of it. "Oh, I've invented a great many things," said he, + indifferently--"this, for instance"--and he began playing a double + roll of octaves in chromatics in the bass of the piano. It was very + grand and made the room reverberate. + + "Magnificent," said I. + + "Did you ever hear me do a storm?" said he. + + "No." + + "Ah, you ought to hear me do a storm! Storms are my forte!" + + Then to himself between his teeth, while a weird look came into his + eyes as if he could indeed rule the blast, "Then crash the trees!" + + How ardently I wished that he would "play a storm," but of course + he didn't, and he presently began to trifle over the keys in a + blase style. I suppose he couldn't quite work himself up to the + effort, but that look and tone told how Liszt would do it. Alas, + that we poor mortals here below should share so often the fate of + Moses, and have only a glimpse of the Promised Land, and that + without the consolation of being Moses! But perhaps, after all, the + vision is better than the reality. We see the whole land, even if + but from afar, instead of being limited merely to the spot where + our foot treads. + + Once again I saw Liszt in a similar mood, though his expression was + this time comfortably rather than wildly destructive. It was when + Fraulein Remmertz was playing his "E flat concerto" to him. There + were two grand pianos in the room; she was sitting at one, and he + at the other, accompanying and interpolating as he felt disposed. + Finally they came to a place where there was a series of passages + beginning with both hands in the middle of the piano, and going in + opposite directions to the ends of the keyboard, ending each time + with a short, sharp chord. "Pitch everything out of the window!" + cried he, and began playing these passages and giving every chord a + whack as if he were splitting everything up and flinging it out, + and that with such enjoyment that you felt as if you'd like to bear + a hand, too, in the work of demolition! But I never shall forget + Liszt's look as he so lazily proposed to "pitch everything out of + the window." It reminded me of the expression of a big tabby-cat as + it sits by the fire and purrs away, blinking its eyes and seemingly + half-asleep, when suddenly--!--! out it strikes with both its + claws, and woe to whatever is within its reach! + + + +[Illustration: BEETHOVEN] + +LUDWIG VAN BEETHOVEN + + + Melody has by Beethoven been freed from the influence of Fashion + and changing Taste, and raised to an ever-valid, purely human type. + Beethoven's music will be understood to all time, while that of his + predecessors will, for the most part, only remain intelligible to + us through the medium of reflection on the history of Art. + + --_Richard Wagner_ + + +LUDWIG VAN BEETHOVEN + +Music is the youngest of the arts. Modern music dates back about four +hundred years. It is not so old as the invention of printing. As an art +it began with the work of the priests of the Roman Catholic Church in +endeavoring to arrange a liturgy. + +The medieval chant and the popular folk-song came together, and the +science of music was born. Sculpture reached perfection in Greece, +painting in Italy, portraiture in Holland; but Germany, the land of +thought, has given us nearly all the great musicians and nine-tenths of +all our valuable musical compositions. + +Holland has taken a very important part in every line of art and +handicraft, and in way of all-round development has set the pace for +civilization. + +Art follows in the wake of commerce, for without commerce there is +neither surplus wealth nor leisure. The artist is paid from what is left +after men have bought food and clothing; and the time to enjoy comes +only after the struggle for existence. + +When Venice was not only Queen of the Adriatic but of the maritime world +as well, Art came and established there her Court of Beauty. It was +Venice that mothered Giorgione, Titian, the Bellinis, and the men who +wrought in iron and silver and gold, and those masterful bookmakers; it +was beautiful Venice that gave sustenance and encouragement to +Stradivari (who made violins as well as he could) up at Cremona, only a +few miles away. + +But there came a day when all those seventy bookmakers of Venice ceased +to print, and the music of the anvils was stilled, and all the painters +were dead, and Venice became but a monument of things that were, as she +is today; for Commerce is King, and his capital has been moved far away. + +So Venice sits sad and solitary--a pale and beautiful ruin, pathetic +beyond speech, infested by noisy shop-keepers and petty pilferers, the +degenerate sons of the robbers who once roamed the sea and enthroned her +on her hundred isles. + +All that Venice knew was absorbed by Holland. The Elzevirs and the +Plantins took over the business of the seventy bookmakers, and the +art-schools of Amsterdam, Leyden and Antwerp reproduced every picture of +note that had been done in Venice. The great churches of Holland are +replicas of the churches of Venice. And the Cathedral at Antwerp, where +the sweet bells have chimed each quarter of an hour for three centuries, +through peace and plenty, through lurid war and sudden death--there +where hangs Rubens' masterpiece--that Cathedral is but an enlarged +"Santa Maria de' Frari," where for two hundred years hung "The +Assumption," by Titian. + +In these churches of Holland were placed splendid organs, and the +priests formed choirs, and offered prizes for the best singing and the +best compositions. Music and painting developed hand in hand; for at the +last, all of the arts are one--each being but a division of labor. + +The world owes a great debt to the Dutch. It was Holland taught England +how to paint and how to print, and England taught us: so our knowledge +of printing and painting came to us by way of the apostolic succession +of the Dutch. + +The march of civilization follows a simple trail, well defined beyond +dispute. Viewed in retrospect it begins in a hazy thread stretching from +Assyria into Egypt, from Egypt into Greece, from Greece to +Rome--widening throughout Italy and Spain, then centering in Venice, and +tracing clear and deep to Amsterdam--widening again into Germany and +across to England, thence carried in "Mayflowers" to America. + +That remark of Charles Dudley Warner, once near neighbor to Mark Twain, +that there is no culture west of Buffalo, was indelicate if not unkind; +and residents of Omaha aver that it is open to argument. But the fact +stands beyond cavil that what art we possess is traceable to our +masters, the Dutch. + +It must be admitted that the art of printing was first practised at +Mayence on the Rhine, leaving the Chinese out of the equation; but it +had to travel around down through Italy before it reached perfection. +And its universality and usefulness were not fully developed until it +had swung around to Holland and was given by the Dutch back to Germany +and the world. And as with printing, so with music. Germany has +specialized on music. She has succeeded, but it is because Holland gave +her lessons. + + * * * * * + +During the fore part of the Seventeenth Century, there lived in Antwerp, +Ludvig van Biethofen, grandfather of the genius known as Beethoven. A +life-size portrait of him can be seen in the Plantin Musee, and if you +did not know that the picture was painted before Beethoven was born, you +would say at once, "Beethoven!" There is a look of stern endurance, as +if the artist had admired Rembrandt's "Burgomaster" a little too well, +yet that sturdiness belonged to the Master, too; and there are the +abstracted far-away look, the touch of proud melancholy, and the +becoming unkemptness that we know so well. + +The child is grandfather to the man. Beethoven bore slight resemblance +to his immediate parents, but in his talent, habits and all of his +mental traits, he closely resembled this sturdy Dutchman who composed, +sang, led the military band, and played the organ at the Church of Saint +Jacques in Antwerp. + +Being ambitious, Ludvig van Biethofen, while yet a young man, moved to +Bonn, the home of Clement Augustus, Archbishop-Elector of Cologne. + +The chief business of elector was, in case of necessity, to elect a +King. America borrowed the elector idea from Germany. But our "electoral +college" is a degenerate political appendicle that is continued, +because, in borrowing plans of government, we took good and bad alike, +not knowing there was a difference. The elector scheme in the United +States is occasionally valuable for defeating the will of the people in +case of a popular majority. + +In justice, however, let me say that the original argument of the +Colonists was that the people should not vote directly for President, +because the candidate might live a long way off, and the voter could not +know whether he was fit or not. So they let the citizen vote for a wise +and honest elector he knew. + +The result is that we all now know the candidates for President, but we +do not know the electors. The electoral college in America is just about +as useful as the two buttons on the back of a man's coat, put there +originally to support a sword-belt. We have discarded the sword, yet we +cling to our buttons. + +But the electors of Germany, in days agone, had a well-defined use. The +people were not, at first, troubled to elect them--the King did that +himself, and then as one good turn deserves another, the electors agreed +to elect the successor the King designated, when death should compel him +to abdicate. Then to fill in the time between elections, the electors +did the business of the King. It will thus be seen that every elector +was really a sort of King himself, governing his little State, amenable +to no one but the King. + +And so the chief business of the elector was to keep the people in his +diocese loyal to the King. + +There have always existed three ways of keeping the people loving and +loyal. One is to leave them alone, to trust them and not to interfere. +This plan, however, has very seldom been practised, because the +politicians regard the public as a cow to be milked, and something must +be done to make it stand quiet. + +So they try Plan Number Two, which consists in hypnotizing the public by +means of shows, festivals, parades, prizes and many paid speeches, +sermons and editorials, wherein and whereby the public is told how much +is being done for it, and how fortunate it is in being protected and +wisely cared for by its divinely appointed guardians. Then the band +strikes up, the flags are waved, three passes are made, one to the right +and two to the left; and we, being completely under the hypnosis, hurrah +ourselves hoarse. + +Plan Number Three is a very ancient one and is always held back to be +used in case Number Two fails. It is for the benefit of the people who +do not pass readily under hypnotic control. If there are too many of +these, they have been known to pluck up courage and answer back to the +speeches, sermons and editorials. Sometimes they refuse to hurrah when +the bass-drum plays, in which case they have occasionally been arrested +for contumacy and contravention by stocky men, in wide-awake hats, who +lead the strenuous life. This Plan Number Three provides for an armed +force that shall overawe, if necessary, all who are not hypnotized. The +army is used for two purposes--to coerce disturbers at home, and to get +up a war at a distance, and thus distract attention from the troubles +near at hand. Napoleon used to say that the only sure cure for internal +dissension was a foreign war: this would draw the disturbers away, on +the plea of patriotism, so they would win enough outside loot to satisfy +them, or else they would all get killed, it really didn't matter much; +and as for loot, if it was taken from foreigners, there was no sin. + +A careful analyst might here say that Plan Number Three is only a +variation of Plan Number Two--the end being gained by hypnotic effects +in either event, for the army is conscripted from the people to use +against the people, just as you turn steam from a boiler into the +fire-box to increase the draft. Possibly this is true, but I have +introduced this digression, anyway, only to show that the original +office of elector was a wise and beneficent function of the Government, +and could be revived with profit in America, to replace the outworn and +useless vermiformis that we now possess in way of an electoral college. + + * * * * * + +When Kings allowed Church and State to separate they made a grave +mistake. With the two united, as they were until a more recent time, +they held a cinch on both the souls and the bodies of their subjects. + +In the good old days in Germany the elector was always an archbishop. +Our bishops now are a weakling lot. With no army to back their edicts +the people smile at their proclamations, try on their shovel hats, and +laugh at their gaiters. Or if they be Methodist bishops, who are only +make-believe bishops, having slipped the cable that bound them to the +past, we pound them familiarly on the back and address them as "Bish." + +Clement Augustus, Elector of Cologne, maintained a court that vied with +royalty itself. In his household were two hundred servants. He had +coachmen, footmen, cooks, messengers, a bodyguard, musicians, poets and +artists who hastened to do his bidding. He patronized all the arts, made +a pet of science, offered a reward for the transmutation of metals, +dabbled in astrology and practised palmistry. + +Into this brilliant court came the strong and masterful Ludvig van +Biethofen. + +In a year his gracious presence, superb voice and rare skill as a +musician, pushed him to the front and into favor with the powers, with a +yearly salary of four hundred guilders. The history of this man is a +deal better raw stock for a romance than the life of his grandson. + +From Seventeen Hundred Thirty-two, when he entered the court as an +unknown and ordinary musician with an acceptable tenor voice, to +Seventeen Hundred Sixty-one, when he was Kapellmeister and a member of +the private council of the Elector, his life was a steady march +successward. Strong men were needed then as now, and his promotion was +deserved. Various accounts and mention of this man are to be found, and +one contemporary described him as he appeared at sixty. The only mark of +age he carried was his flowing white hair. His smoothly shaven face +showed the strong features of a man of thirty-five; and his carriage, +actions and superb grace as an orchestra-leader made him a conspicuous +figure in any company. + +Ludvig van Biethofen had one son, Johann by name. This boy resembled his +gifted father very little, and his training was such that he early fell +a victim to arrested development. + +If a parent does everything for a child, the child probably will never +do anything for himself. It is Nature's plan--she seems to think that no +one needs strength excepting the struggler, and being kind she comes to +his rescue; but the man who puts forth no effort remains a weakling to +the end. + +Johann placed success beyond his reach very early in life by putting an +enemy into his mouth to steal away his brains. His marriage to a +daughter of a cook in Ehrenbreitstein Castle did not stop his +waywardness, or give him decision as was hoped. Marriage as a scheme of +reformation is not always a success, and women who lend themselves to it +take great chances. + +Mary Magdalena was a widow, and some say possessed of wiles. That she +was beneath Johann in social station, but beyond him in actual worth, +there is no doubt. And whether she snared the incautious man, or whether +the marriage was arranged by the elder Biethofen as a diplomatic move in +the interests of morality, matters little. The end justifies the means; +and as a net result of this mating, without putting forward the +circumstance as a precedent to be religiously followed, the world has +Beethoven and his work. + + * * * * * + +A plate affixed to Number Five Hundred Fifteen Bonngasse, Bonn, gives +the birth of Ludwig van Beethoven as December Seventeenth, Seventeen +Hundred Seventy. He was the second-born child of his mother, and after +him came a goodly assortment of boys and girls. Two of his brothers +lived to exercise a sinister influence over the life of the Master, and +to darken days that should have been luminous with love. Little Ludwig +was the pet and pride of the grandfather. The grandfather had even +insisted that the baby should bear his name. Disappointment in his own +child caused him to center his love in the grandchild. This instinct +that makes men long to live again in the lives of their children--is it +reaching out for immortality? And as the grandfather virtually supported +the household, he was allowed to have his own way, and indeed that +strong, yet cheery will was not to be opposed. The old man prophesied +what the boy would do, just as love ever does, and has done, since the +world began. + +But only in his dreams was Ludvig van Biethofen to know of the success +of his namesake. When the boy was scarce four years old, the old man +passed away. The place in the orchestra that Johann held through favor +was soon forfeited, and times of pinching poverty followed, and sorrows +came like the gathering of a winter night. + +Have you never shared the mocking shame and biting pain of a drunkard's +household? Then God grant you never may. When the world withdraws its +faith from a man through his own imbecility, and employment is denied; +when promises are unkept; when order and system are gone, and foresight +fled, and loud accusation, threat and contumely vary their strident +tones with maudlin protestations of affection, and vows made to be +broken, easily change to curses; when the fire dies on the hearth, and +children huddle in bed in the daytime for warmth; when the scanty food +that is found is eaten ravenously, and blanching fear comes when a heavy +tread and fumbling at the lock are heard in the hall--these things +challenge language for fit expression and cause words to falter. + +The moody and dispirited Johann one day conceived a bright thought--a +thought so vivid that for the moment it cleared the cobwebs from his +mind and sobered his boozy brain--the genius of his five-year-old boy +should be exploited to retrieve his battered fortunes! + +The child was already showing signs of musical talent; and diligent +practise was now begun. Several chums at the beer-gardens were +interviewed and great plans unfolded in beery enthusiasm. The services +of several of these men were secured as tutors, and one of them, +Pfeiffer, took lodgings with the Biethofens, and paid for bed and board +in music-lessons. + +A new thought is purifying, ideas are hygienic; and already things had +begun to look brighter for the household. It wasn't exactly prosperity, +but Johann had found a place in the band, and was earning as much as +three dollars a week, which amount for two weeks running he brought home +and placed in his wife's lap. + +But things were grievous for young Beethoven: he had two taskmasters, +his father and Pfeiffer. One gave him lessons on the violin in the +morning, and the other took him to a tavern where there was a clavichord +and made him play all the afternoon. + +Then occasionally Johann and Pfeiffer would come home at two o'clock in +the morning from a concert where they had been playing and where the +wine was red and also free, and they would drag the poor child from his +bed to make him play. This was followed up until the boy's mother +rebelled, and on one occasion Pfeiffer and Johann were sent to the +military hospital and dry-docked for repairs. + +On the whole, this man Pfeiffer was kindly and usually capable. In +after-years Beethoven testified to the valuable assistance he had +received from him; and when Pfeiffer had grown old and helpless, +Beethoven sent funds to him by the publishers, Simrock. + +Young Ludwig was a stocky, sturdy youth, decidedly Dutch in his +characteristics, with no nerves to speak of, else he would have laid him +down and died of heart-chill and neglect, as did four of his little +brothers and sisters. But he stood the ordeals, and at parlor, tavern +and beer-garden entertainments where he played, although his cheeks +were often stained with tears, he took a sort of secret pride in being +able to do things which even his father could not. And then he was +always introduced as "Ludvig Biethofen, the grandchild of Ludvig van +Biethofen," and this was no mean introduction. His appearance, even +then, bore strong resemblance to the lost and lamented grandfather; and +Van den Eeden, the Court Organist, in loving remembrance of his Antwerp +friend, took the lad into his keeping and gave him lessons. When Van den +Eeden retired, Neefe, his successor, took a kindly interest in the boy +and even protected him from his father and the zealous Pfeiffer. So well +was the boy thought of that when he was twelve years of age Neefe +established him as his deputy at the chapel organ. + +Shortly after this, the new Elector, Max Friedrich, bestowed on "Louis +van Beethoven, my well-beloved player upon the organ and clavichord, a +stipend of one hundred fifty florins a year, and if his talent doth +increase with his years the amount is to be also increased." + +In token of the Elector's recognition Beethoven wrote three sonatas, the +earliest of his compositions, and dedicated them to Max Friedrich in +Seventeen Hundred Eighty-two. + +In Seventeen Hundred Eighty-four, Elector Max Friedrich died, and Max +Franz was appointed to take his place. His inauguration was the signal +for a renewal of musical and artistic activity. Concerts, shows and +military pageants followed the installation. In a list of court +appointments we find that Louis van Beethoven is put down as "second +organist" with a salary of forty-five pounds a year. Below this is +Johann Beethoven with a salary of thirty pounds a year. And in one of +the court journals mention is made of Johann Beethoven with the added +line, "father of Ludwig Beethoven," showing even then the man's source +of distinction. + +In Seventeen Hundred Eighty-seven, when in his eighteenth year, +Beethoven made a visit to Vienna in company with several musicians from +the Elector's court at Bonn. This visit was a memorable event in the +life of the Master, every detail of which was deeply etched upon his +memory, to be effaced only by death. + +It was on this visit to Vienna that he met Mozart, and played for him. +Mozart gave due attention, and when the player had ceased he turned to +the company and said, "Keep your eye on this youth--he will yet make a +noise in the world!" + +The remark, if closely analyzed, reveals itself as noncommittal; and +although it has been bruited as praise the round world over, it was +probably an electrotyped expression, used daily; for great musicians are +called upon at every turn to listen to prodigies. I once attended +"rhetoricals" where the Honorable Chauncey M. Depew was present. Being +called upon to "make a few remarks," the Senator from New York arose and +referred to one of the speeches given by a certain sophomore as "unlike +anything I ever heard before!" Genius very seldom recognizes genius. + +Beethoven had a self-sufficiency, even at that early time, that stood +him in good stead. He felt his power, and knew his worth. That +steadfast, obstinate quality in his make-up was not in vain. He let +others quote Mozart's remark; but he had matched himself against the +Master, and was not abashed. + + * * * * * + +Kinship is a question of spirit and not a matter of blood. How often do +we find persons who, in feeling, are absolutely strangers to their own +brothers and sisters! Occasionally even parents fail to understand their +children. The child may hunger for sympathy and love that the mother +knows nothing of, and cry itself to sleep for a tenderness withheld. +Later this same child may evolve aspirations and ambitions that seem to +the other members of the family mere whims and vagaries to be laughed +down, or stoutly endured, as the mood prompts. + +Knowing these things, do we wonder at the question of long ago, "Who is +my mother, and who are my brethren"? Beethoven was a beautiful brown +thrush in a nest of cuckoos. He could sing and sing divinely, and the +members of his household were glad because it brought an income in which +they all shared. + +About the year Seventeen Hundred Ninety-five, Beethoven went to Vienna, +and as he had been heralded by several persons of influence, his +reception was gracious. Charity has its periods of evolving into a fad, +and at this time the fashion was musical entertainments in aid of this +or that. Slight suspicions exist that these numerous entertainments were +devised by fledgling musicians for their own aggrandizement, and +possibly patrons fanned the philanthropic flame to help on their +proteges. Beethoven was of too simple and guileless a nature to aid his +fortunes with the help of any social jimmy, but we see he was soon in +the full tide of local popularity. His ability as a composer, his virile +presence, and his skill as a player, made his company desired. From +playing first for charity, then at the houses of nobility, and next as a +professional musician, he gradually mounted to the place to which his +genius entitled him. + +Then we find his brothers, Carl and Johann, appearing on the scene, with +a fussy yet earnest intent to take care of the business affairs of their +eccentric and absent-minded brother. Ludwig let himself fall into their +way of thinking--it was easier than to oppose them--and they began to +drive bargains with publishers and managers. Their intent was to sell +for cash and in the highest market; and their strenuous effort after the +Main Chance put their gifted brother in a bad plight before the world of +art. Beethoven's brothers seized his very early and immature +compositions and sold them without his consent or knowledge. So +humiliated was Beethoven by seeing these productions of his childhood +hawked about that he even instituted lawsuits to get them back that he +might destroy them. To boom a genius and cash his spiritual assets is a +grave and delicate task--perhaps it is one of those things that should +be left undone. Much anguish did these rapacious brothers cause the +divinely gifted brown thrush, and when they began to quarrel over the +receipts between themselves, he begged them to go away and leave him in +peace. He finally had to adopt the ruse of going back to Bonn with +them, where he got them established in the apothecary business, before +he dared manage his own affairs. But they were bad angels, and the wind +of their wings withered the great man as they hovered around him down to +the day of his death. + + * * * * * + +Then silence settled down upon Beethoven, and every piano was for him +mute, and he, the maker of sweet sounds, could not hear his own voice, +or catch the words that fell from the lips of those he loved, Fate +seemed to have done her worst. + +And so he wrote: "Forgive me then if you see me turn away when I would +gladly mix with you. For me there is no recreation in human intercourse, +no conversation, no sweet interchange of thought. In solitary exile I am +compelled to live. When I approach strangers a feverish fear takes +possession of me, for I know that I will be misunderstood. * * * But O +God, Thou lookest down upon my inward soul! Thou knowest, and Thou seest +that love for my fellowmen, and all kindly feeling have their abode +here. Patience! I may get better--I may not--but I will endure all until +Death shall claim me, and then joyously will I go!" + +The man who could so express himself at twenty-eight years of age must +have been a right brave and manly man. But art was his solace, as it +should be to every soul that aspires to become. + +Great genius and great love can never be separated--in fact I am not +sure but that they are one and the same thing. But the object of his +love separated herself from Beethoven when calamity lowered. What woman, +young, bright, vigorous and fresh, with her face to the sunrising, would +care to link her fair fate with that of a man sore-stricken by the hand +of God! + +And then there is always a doubt about the genius--isn't he only a fool +after all! + +Art was Beethoven's solace. Art is harmony, beauty and excellence. The +province of art is to impart a sublime emotion. Beethoven's heart was +filled with divine love--and all love is divine--and through his art he +sought to express his love to others. + +But his physical calamity made him the butt and byword of the heedless +wherever he went. Within the sealed-up casements of his soul Beethoven +heard the Heavenly Choir; and as he walked, bareheaded, upon the street, +oblivious to all, centered in his own silent world, he would sometimes +suddenly burst into song. At other times he would beat time, talk to +himself and laugh aloud. His strange actions would often attract a +crowd, and rude persons, ignorant of the man they mocked, would imitate +him or make mirth for the bystanders, as they sought to engage him in +conversation. At such times the Master might be dragged back to earth, +and seeing the coarse faces and knowing the hopelessness of trying to +make himself understood, he would retreat in terror. + +Six months or more of each year were spent in the country in some +obscure village about Vienna. There he could walk the woods and traverse +the fields alone and unnoticed, and there, out under the open sky, much +of his best work was done. The famous "Moonlight Sonata" was shaped on +one of these lonely walks by night across the fields when the Master +could shake his shaggy head, lift up his face to the sky, and cry aloud, +all undisturbed. In the recesses of his imagination he saw the sounds. +There are men to whom sounds are invisible symbols of forms and colors. + +The law of compensation never rests. Everything conspired to drive +Beethoven in upon his art--it was his refuge and retreat. When love +spurned him, and misunderstandings with kinsmen came, and lawsuits and +poverty added their weight of woe, he fell back upon music, and out +under the stars he listened to the sonatas of God. Next day he wrote +them out as best he could, always regretting that his translations were +not quite perfect. He was ever stung with a noble discontent, and in +times of exaltation there ran in his deaf ears the words, "Arise and get +thee hence, for this is not thy rest!" + +And so his work was in a constant ascending scale. Richard Wagner has +acknowledged his indebtedness to Beethoven in several essays, and in +many ways. In fact it is not too much to say that Beethoven was the +spiritual parent of Wagner. From his admiration of Beethoven, Wagner +developed the strong, sturdy, independent quality of his nature that led +to his exile--and his success. + +Behold the face of Ludwig Beethoven--is there not something Titanic +about it? What selfness, what will, what resolve, what power! And those +tear-stained eyes--have they not seen sights of which no tongue can +tell, nor tongue make plain? + +His life of solitude helped foster the independence of his nature, and +kept his mind clear and free from all the idle gossip of the rabble. He +went his way alone, and played court fool to no titled and alleged +nobility. The democracy of the man is not our least excuse for honoring +him. He was one with the plain people of earth, and the only aristocracy +he acknowledged was the aristocracy of intellect. + +In the work done after his fortieth year there is greater freedom, an +ease and an increased strength, with a daring quality which uplifts and +gives you courage. The tragic interest and intense emotionalism are +gone, and you behold a resignation and the success that wins by +yielding. The man is no longer at war with destiny. There is no +struggle. + +We pay for everything we receive--nay, all things can be obtained if we +but pay the price. One of the very few Emancipated Men in America bought +redemption from the bondage of selfish ambition at a terrible price. +Years and years ago he was in the Rocky Mountains, rough, uneducated, +heedless of all that makes for righteousness. This man was caught in a +snowstorm, on the mountainside. He lost his way, became dazed with cold +and fell exhausted in the snow. When found by his companions the next +day, death had nearly claimed him. But skilful help brought him back to +life, yet the frost had killed the circulation in his feet. Both legs +were amputated just below the knees. + +This changed the current of the man's life. Footraces, boxing-matches +and hunting of big game were out of the question. The man turned to +books and art and questions of science and sociology. + +Thirty summers have come and gone. This gentle, sympathetic and loving +man now walks with a cane, and few know of his disability and of his +artificial feet. Speaking of his spiritual rebirth, this man of splendid +intellect said to me, with a smile, "It cost me my feet, but it was +worth the price." + +I shed no maudlin tears over the misfortunes of Beethoven. He was what +he was because of what he endured. He grew strong by bearing burdens. +All things are equalized. By the Cross is the world redeemed. God be +praised, it is all good! + + + + +[Illustration: GEORGE HANDEL] + +GEORGE HANDEL + + When generations have been melted into tears, or raised to + religious fervor--when courses of sermons have been preached, + volumes of criticisms been written, and thousands of afflicted and + poor people supported by the oratorio of "The Messiah"--it becomes + exceedingly difficult to say anything new. Yet no notice of Handel, + however sketchy, should be written without some special tribute of + reverence to this sublime treatment of a sublime subject. Bach, + Graun, Beethoven, Spohr, Rossini and Mendelssohn have all composed + on the same theme. But no one in completeness, in range of effect, + in elevation and variety of conception, has ever approached + Handel's music upon this one subject. + + --_Rev. H. R. Haweis_ + + +GEORGE HANDEL + +"Did you meet Michelangelo while you were in Rome?" asked a good Roycroft +girl of me the other day. + +"No, my dear, no," I answered, and then I gulped hard to keep back some +very foolish tears. "No, I did not meet Michelangelo," I said, "I +expected to, and was always looking for him; but these eyes never looked +into his, for he died just three hundred years before I was born." But +how natural was this question from this bright, country girl! She had +been examining a lot of photographs of the Sistine Chapel, and had seen +pictures of "Il Penseroso," the "Night" and "Morning," the "Moses"; and +then she had seen on my desk a bronze cast of the hand of the +"David"--that imperial hand with the gently curved wrist. + +These things lured her--the splendid strength and suggestion of power in +it all, had caught her fancy, and the heroic spirit of the Master seemed +very near to her. It all meant pulsating life and hope that was +deathless; and the thought that the man who did the work had turned to +dust three centuries ago, never occurred to this naive, budding soul. + +"Did you see Michelangelo while you were in Rome?" No, dear girl, no. +But I saw Saint Peter's that he planned, and I saw the result of his +efforts--things worked out and materialized by his hands--hands that +surely were just like this hand of the "David." + +The artist gives us his best--gives it to us forever, for our very own. +He grows aweary and lies down to sleep--to sleep and wake no more, +deeding to us the mintage of his love. And as love does not grow old, +neither does Art. Fashions change, but hope, aspiration and love are as +old as Fate who sits and spins the web of life. The Artist is one who is +educated in the three H's--head heart and hand. He is God's child--no +less are we--and he has done for us the things we would have liked to do +ourselves. + +The classic is that which does not grow old--the classic is the +eternally true. + +"Did you meet Michelangelo in Rome?" Why, it is the most natural +question in the world! At Stratford I expected to see Shakespeare; at +Weimar I was sure to meet Goethe; Rubens just eluded me at Antwerp; at +Amsterdam I caught a glimpse of Rembrandt; in the dim cloisters of Saint +Mark's at Florence I saw Savonarola in cowl and robe; over Whitehall in +London I beheld the hovering smoke of martyr-fires, and knew that just +beyond the walls Ridley and Latimer were burned; and only a little way +outside of Jerusalem a sign greets the disappointed traveler, thus: "He +is risen--He is not here!" + + * * * * * + +In one of his delightful talks--talks that are as fine as his feats of +leadership--Walter Damrosch has referred to Handel as a contemporary. +Surely the expression is fitting, for in the realm of truth time is an +illusion and the days are shadows. + +George Frederick Handel was born in Sixteen Hundred Eighty-five, and +died in Seventeen Hundred Fifty-nine. His dust rests in Westminster +Abbey, and above the tomb towers his form cut in enduring marble. There +he stands, serene and poised, accepting benignly the homage of the +swift-passing generations. For over a hundred years this figure has +stood there in its colossal calm, and through the cathedral shrines, the +aisles, and winding ways of dome and tower, Handel's music still peals +its solemn harmonies. + +At Exeter Hall is another statue of Handel, seated, holding in his hand +a lyre. At the Foundling Hospital (which he endowed) is a bust of the +Master, done in Seventeen Hundred Fifty-eight; and at Windsor is the +original of still another bust that has served for a copy of the very +many casts in plaster and clay that are in all the shops. + +There are at least fifty different pictures of Handel, and nearly this +number were brought together, on the occasion of a recent Handel and +Haydn Festival, at South Kensington. + +When Gladstone once referred to Handel as our greatest English +Composer, he refused to take it back even when a capricious critic +carped and sneezed. + +Handel essentially belongs to England, for there his first battles were +fought, and there he won his final victory. To be sure, he did some +preliminary skirmishing in Germany and Italy; but that was only getting +his arms ready for that conflict which was to last for half a century--a +conflict with friends, foes and fools. + +But Handel was too big a man to be undermined by either the fulsome +flattery of friends, or the malice of enemies, who were such only +because they did not understand. And so always to the fore he marched, +zigzagging occasionally, but the Voice said to him, as it did to +Columbus, "Sail on, and on, and on." Like the soul of John Brown, the +spirit of Handel goes marching on. And Sir Arthur Sullivan was right +when he said, "Musical England owes more to Father Handel than to any +other ten men who can be named--he led the way for us all, and cut out a +score that we can only imitate." + + * * * * * + +At the Court of George of Brunswick, at Hanover, in Seventeen Hundred +Nine, was George Frederick Handel, six feet one, weight one hundred +eighty, rubicund, rosy, and full of romp, aged twenty-four. George of +Brunswick was to have the felicity of being King George the First of +England, and already he was straining his gaze across the Channel. + +At his Court were divers and sundry English noblemen. Handel was a prime +favorite with every one in the merry company. The ladies doted on him. A +few gentlemen, possibly, were slightly jealous of his social prowess, +and yet none pooh-poohed him openly, for only a short time before he had +broken a sword in a street duel with a brother musician, and once had +thrown a basso profundo, who sang off key, through a closed window--all +this to the advantage of a passing glazier, who, being called in, was +paid his fee three times over for repairing the sash. It's an ill wind, +etc. + +Handel played the harpsichord well, but the organ better. In fact, he +played the organ in such a masterly way that he had no competitor, save +a phenomenal yokel by the name of Johann Sebastian Bach. These men were +born just a month apart. Saint Cecilia used to whisper to them when they +were wee babies. For several years they lived near each other, but in +this life they never met. + +Handel was an aristocrat by nature, even if not exactly so by birth, +and so had nothing to do with the modest and bucolic Bach--even going so +far, they do say, as to leave, temporarily, the City of Halle, his +native place, when a contest was suggested between them. Bach was the +supreme culminating flower of two hundred fifty years of musical +ancestors--servants to this Grand Duke or that. But in the tribe of +Handel there was not a single musical trace. George Frederick succeeded +to the art, and at it, in spite of his parents. But never mind that! He +had been offered the post as successor to Buxtehude, and Buxtehude was +the greatest organist of his time. He accepted the invitation to play +for the Buxtehude contingent. A musical jury sat on the case, and +decided to accept the young man, with the proviso that Handel (taught by +Orpheus) should take to wife the daughter of Buxtehude--this in order +that the traditions might be preserved. + +Young Handel declined the proposition with thanks, declaring he was +unworthy of the honor. + +Young Handel had spent two years in Italy, had visited most of the +capitals of Europe, had composed several operas and numerous songs. He +was handsome, gracious and talented. Money may use its jimmy to break +into the Upper Circles; but to Beauty, Grace and Talent that does not +shiver nor shrink, all doors fly open. And now the English noblemen +requested--nay, insisted--that Handel should accompany them back to +Merry England. + +He went, and being introduced as Signore Handello, he was received with +salvos of welcome. There is a time to plant, and a time to reap. There +is a time for everything--launch your boat only at full of tide. London +was ripe for Italian Opera. Discovery had recently been made in England +that Art was born in Italy. It had traveled as far as Holland, and so +Dutch artists were hard at work in English manor-houses, painting +portraits of ancestors, dead and living. Music, one branch of Art, had +made its way up to Germany, and here was an Italian who spoke English +with a German accent, or a German who spoke Italian--what boots it, he +was a great musician! + +Handel's Italian opera, "Rinaldo," was given at a theater that stood on +the site of the present Haymarket. The production was an immense +success. All educated people knew Latin (or were supposed to know it), +and Signore Handello announced that his Italian was an improvement on +the Latin. And so all the scholars flocked to see the play, and those +who were not educated came too, and looked knowing. In order to hold +interest, there were English syncopated songs between the acts--ragtime +is a new word, but not a new thing. + +Handel was very wise in this world's affairs. He assured England that it +was the most artistic country on the globe. He wrote melodies that +everybody could whistle. Airs from "Rinaldo" were thrummed on the +harpsichord from Land's End to John O'Groat's. The grand march was +adopted by the Life Guards, and at least one air from that far-off opera +has come down to us--the "Tascie Ch'io Pianga," which is still listened +to with emotion unfeigned. The opera being uncopyrighted, was published +entire by an enterprising Englishman from Dublin by the name of Walsh. +At two o'clock one morning at the "Turk's Head," he boasted he had +cleared over two thousand pounds on the sale of it. Handel was present +and responded, "My friend, the next time you will please write the opera +and I will sell it." Walsh took the hint, they say, and sent his check +on the morrow to the author for five hundred pounds. And the good sense +of both parties is shown in the fact that they worked together for many +years, and both reaped a yellow harvest of golden guineas. + +On the birthday of Queen Anne, Handel inscribed to her an ode, which we +are told was played with a full band. The performance brought the +diplomatic Handel a pension of two hundred pounds a year. + +Next, to celebrate the peace of Utrecht, the famous "Te Deum" and +"Jubilate" were produced, with a golden garter as a slight token of +recognition. + +But Good Queen Anne passed away, as even good queens do, and the +fuzzy-witted George of Hanover came over to be King of England, and +transmit his fuzzy-wuzzy wit to all the Georges. About his first act was +to cut off Handel's pension, "Because," he said, "Handel ran away from +me at Hanover." + +A time of obscurity followed for Handel, but after some months, when the +Royal Barge went up the Thames, a band of one hundred pieces boomed +alongside, playing a deafening racket, with horse-pistol accompaniments. +The King made inquiries and found it was "Water-Music," composed by Herr +Handel, and dedicated in loving homage to King George the First. + +When the Royal Barge came back down the river, Herr Handel was aboard, +and accompanied by a great popping of corks was proclaimed Court +Musician, and his back-pension ordered paid. + +The low ebb of art is seen in that, in the various operas given about +this time by Handel, great stress is made in the bills about costumes, +scenery and gorgeous stage-fittings. When accessories become more than +the play--illustrations more than the text--millinery more than the +mind--it is unfailing proof that the age is frivolous. Art, like +commerce and everything else, obeys the law of periodicity. Handel saw +the tendency of the times, and advertised, "The fountain to be seen in +'Amadigi' is a genuine one, the pump real and the dog alive." Three +hours before the doors opened, the throng stood in line, waiting. + + * * * * * + +But London is making head. Other good men and true are coming to town. +Handel does not know much about them, or care, perhaps. His wonderful +energy is now manifesting itself in the work of managing theaters and +concerts, giving lessons and composing songs, arias, operas, and +attending receptions where "the ladies refrain from hoops for fear of +the crush," to use the language of Samuel Pepys. + +In shirt-sleeves, in a cheap seat in the pit, at one of Handel's +performances, is a big lout of a fellow, with scars of scrofula on his +neck and cheek. Next to him is a little man, and these two, so chummy +and confidential, suggest the long and short of it. They are countrymen, +recently arrived, empty of pocket, but full of hope. They have a selfish +eye on the stage, for the big 'un has written a play and wants to get it +produced. + +The little man's name is David Garrick; the other is Samuel Johnson. + +They listen to the singing, and finally Samuel turns to his friend and +says, "I say, Davy, music is nothing but a noise that is less +disagreeable than some others." They would go away, would these two, but +they have paid good money to get in, and so sit it out disgustedly, +watching the audience and the play alternately. + +In one of the boxes is a weazened little man, all out of drawing, in a +black velvet doublet, satin breeches and silk stockings. At his side is +a rudimentary sword. The man's face is sallow, and shrewdness and +selfishness are shown in every line. He looks like a baby suddenly grown +old. The two friends in the pit have seen this man before, but they have +never met him face to face, because they do not belong to his set. + +"Do you think God is proud of a work like that?" at last asked Davy, +jerking his thumb toward the bad modeling in courtly black. + +"God never made him." The big man swayed in his seat, and added, "God +had nothing to do with him--he is the child of Beelzebub." + +"Think 'ee so?" asks Davy. "Why, Mephisto has some pretty good traits; +but Alexander Pope is as crooked as an interrogation-point, inside and +out." + +"I hear he wears five pairs of stockings to fill out his shanks, and +sole-leather stays to keep him from flattening out like a devilfish," +said Doctor Johnson. + +"But he makes a lot o' money!" + +"Well, he has to, for he pays an old woman a hundred guineas a year to +dress and undress him." + +"I know, but she writes his heroic couplets, too!" + +"Davy, I fear you are getting cynical--let's change the subject." + +It surely is a case of artistic jealousy. Our friends locate the poet +Gay, a fat little man, who is with his publisher, Rich. + +"They say," says Samuel, again rolling in his seat as if about to have +an apoplectic fit, "they say that Gay has become rich, and Rich has +become gay since they got out that last book." There comes an interlude +in the play, and our friends get up to stretch their legs. + +"How now, Dick Savage?" calls Samuel, as he pushes three men over like +ninepins, to seize a shabby fellow whose neckcloth and hair-cut betray +him as being a poet. "How now, Dick, you said that Italian music was +damnably bad! Why do you come to hear it?" + +"I came to find out how bad it is," replied the literary man. "Eh! your +reverence?" he adds to his companion, a sharp-nosed man with china-blue +eyes, in Church-of-England knee-breeches, high-cut vest, and shovel-hat. + +Dean Swift replies with a knowing smirk, which is the nearest approach +to a laugh in which he ever indulged. Then he takes out his snuffbox and +taps it, which is a sign that he is going to say something worth while. +"Yes, one must go everywhere, and do everything, just to find out how +bad things are. By this means we clergymen are able to intelligently +warn our flocks. But I came tonight to hear that rogue Bononcini--you +know he is from County Down--I used to go to school with him," and the +Dean solemnly passes the snuffbox. + +Garrick here bursts into a laugh, which is broken off short by a +reproving look from the Dean, who has gotten the snuffbox back and is +meditatively tapping it again. The friends listen and hear from the +muttering lips of the Dean, this: + + Some say that Signore Bononcini, + Compared to Handel is a ninny; + Whilst others vow that to him Handel, + Is hardly fit to hold a candle. + Strange all this difference should be + 'Twixt tweedledum and tweedledee. + +The people are tumbling back to their seats as the musicians come +stringing in. Soon there is a general tuning up--scrapings, toots, +snorts, subdued screeches, raspings, and all that busy buzz-fuzz +business of getting ready to play. + +"The first time we came to the opera Doctor Johnson thought this was all +a part of the play, and applauded with unction for an encore," says +Garrick. + +"And I heard nothing finer the whole evening," answers Doctor Johnson, +accepting the defi, and winning by yielding. + +"Why don't they tune up at home, or behind the scenes?" asks some one. + +"I'll tell you why," says Savage, and he relates this: "Handel is a +great man for system--he is a strict disciplinarian, as any man must be +to manage musicians, who are neither men nor women, but a third sex. +Often Handel has to knock their heads together, and once he shook the +Cuzzoni until her teeth chattered." + +"That's the way you have to treat any woman before she will respect +you," interrupts the Dean. Nothing else being forthcoming, Savage +continues: "Handel is absolute master of everything but Death and +Destiny. Now he didn't like all this tuning up before the audience; he +said you might as well expect the prima donna to make her toilet in +front of the curtain"-- + +"I like the idea," says Johnson. + +Savage praises the interruption and continues: "And so ordered every man +to tune up his artillery a half-hour before the performance, and carry +his instrument in and lay it on his chair. Then when it came time to +commence, every musician would walk in, take up his instrument, and +begin. The order was given, and all tuned up. Then the players all +adjourned for their refreshments. + +"In the interval a wag entered and threw every instrument out of key. + +"It came time to begin--the players marched in like soldiers. Handel was +in his place. He rapped once--every player seized his instrument as +though it were a musket. At the second rap the music began--and such +music! Some of the strings were drawn so tight that they snapped at the +first touch; others merely flapped; some growled; and others groaned and +moaned or squealed. Handel thought the orchestra was just playing him a +scurvy trick. He leaped upon the stage, kicked a hole in the bass-viol, +and smashed the kettledrum around the neck of the nearest performer. The +players fled before the assault, and he bombarded them with cornets and +French horns as they tumbled down the stairs. + +"The audience roared with delight, and not one in forty guessed that it +was not a specially arranged Italian feature. But since that evening all +tuning-up is done on the stage, and no man lets his instrument get out +of his hands after he gets it right." + +"It's a moving tale, invented as an excuse for a man who writes music so +bad that he gets disgusted with it himself, and flies into wrath when he +hears it," says Johnson. + +A subdued buzz is heard, and the master comes forth, gorgeous in a suit +of purple velvet. His powdered wig and the enormous silver buckles on +his shoes set off his figure with the proper accent. His florid face is +smiling, and Garrick expresses a regret that there are to be no +impromptu tragic events in way of chasing players from the stage. + +"Would you like to meet him?" asks the sharp-nosed Dean. + +Garrick and Johnson have enough of the rustic in them to be +lion-hunters, and they reply to the question as one man, "Yes, indeed!" + +"I'll arrange it," was the answer. The leader raps for attention. +Johnson closes his eyes, sighs, and leans back resignedly. + +The others look and listen with interest as the play proceeds. + + * * * * * + +The other day I read a book by Madame Columbier entitled, "Sara Barnum." +Only a person of worth could draw forth such a fire of hot invective, +biting sarcasm and frenzied vituperation as this volume contains. When I +closed the volume it was with the feeling that Sara Bernhardt is surely +the greatest woman of the age; and I was fully resolved that I must see +her play at the first opportunity, no matter what the cost. And as for +Madame Columbier, why she isn't so bad, either! The flashes of lightning +in her swordplay are highly interesting. The book was born, as all good +books, because its mother could not help it. Behind every page and +between the lines you see the fevered toss of human emotion and hot +ambition--these women were rivals. There were digs and scratches, +bandied epithets in falsetto, and sounds like a piccolo played by a man +in distress, before all this; and these are not explained, so you have +to fill them in with your imagination. But the Bernhardt is the bigger +woman of the two. She goes her splendid pace alone, and all the other +woman can do is to bombard her with a book. + +The excellence of Handel is shown in that he achieved the enmity of some +very good men. Read the "Spectator," and you will find its pages well +peppered with thrusts at "foreigners," and sweeping cross-strokes at +Italian Opera and all "bombastic beaters of the air, who smother harmony +with bursts of discord in the name of music." + +These battles royal between the kings of art are not so far removed from +the battles of the beasts. Rosa Bonheur has pictured a duel to the death +between stallions; and that battle of the stags--horn-locked--with the +morning sun revealing Death as victor, by Landseer, is familiar to us +all. Then Landseer has another picture which he called "The Monarch," +showing a splendid stag, solitary and alone, standing on a cliff, +overlooking the valley. There is history behind this stag. Before he +could command the scene alone, he had to vanquish foes; but in the main, +in some way, you feel that most of his battles have been bloodless and +he commands by divine right. The Divine Right of a King, if he be a +King, has its root in truth. + +One mark of the genius of Handel is shown in the fact that he has +achieved a split and created a ruction in the Society of Scribblers. He +once cut Dean Swift dead at a fashionable gathering--the doughty Dean, +who delighted in making men and women alike crawl to him--and this won +him the admiration of Colley Cibber, who immortalized the scene in a +sonnet. People liked Handel, or they did not, and among the Old Guard +who stood by him, let these names, among others, be remembered: Colley +Cibber, Gay, Arbuthnot, Pope, Hogarth, Fielding and Smollett. + +People who through incapacity are unable to comprehend or appreciate +music, are prone to wax facetious over it--the feeble joke is the last +resort of the man who does not understand. + +The noisy denizens of Grub Street, drinking perdition to that which they +can not comprehend, always getting ready to do great things, seem like +fussy pigmies beside a giant like Handel. See the fifth act ere the +curtain falls on the lives of Oliver Goldsmith, Doctor Johnson, Steele, +Addison and Dean Swift (dead at the top, the last), and the others +unhappily sent into Night; and then behold George Frederick Handel, in +his seventy-fifth year, blind, but with inward vision all aflame, +conducting the oratorio of "Elijah" before an audience of five thousand +people! + +The life of Handel was packed with work and projects too vast for one +man to realize. That he deferred to the London populace and wrote down +to them at first, is true; but the greatness of the man is seen in +this--he never deceived himself. He knew just what he was doing, and in +his heart was ever a shrine to the Ideal, and upon this altar the fires +never died. + +Handel was a man of affairs as well as a musician, and if he had loved +money more than Art, he could have withdrawn from the fray at thirty +years of age, passing rich. + +Three times in his life he risked all in the production of Grand Opera, +and once saw a sum equal to fifty thousand dollars disappear in a week, +through the treachery of Italian artists who were pledged to help him. +At great expense and trouble he had gone abroad and searched Europe for +talent, and, regardless of outlay, had brought singers and performers +across the sea to England. In several notable instances these singers +had, in a short time, been bought up by rivals, and had turned upon +their benefactor. + +But Handel was not crushed by these things. He was philosopher enough to +know that ingratitude is often the portion of the man who does well, and +a fight with a fox you have warmed into life is ever imminent. At +fifty-five, a bankrupt, he makes terms with his creditors and in a few +years pays off every shilling with interest, and celebrates the event by +the production of "Saul," the "Dead March" from which will never die. + +The man had been gaining ground, making head, and at the same time +educating the taste of the English people. But still they lagged behind, +and when the oratorio of "Joshua" was performed, the Master decided he +would present his next and best piece outside of England. Jealousy, a +dangerous weapon, has its use in the diplomatic world. + +Handel set out for Dublin with a hundred musicians, there to present the +"Messiah," written for and dedicated to the Irish people. The oratorio +had been turned off in just twenty-one days, in one of those titanic +bursts of power, of which this man was capable. Its production was a +feat worthy of the Frohmans at their best. The performance was to be for +charity--to give freedom to those languishing in debtors' prisons at +Dublin. What finer than that the "Messiah" should give deliverance? + +The Irish heart was touched. A fierce scramble ensued for seats, +precedence being emphasized in several cases with blackthorns deftly +wielded. The price of seats was a guinea each. Handel's carriage was +drawn through the streets by two hundred students. He was crowned with +shamrock, and given the freedom of the city in a gold box. Freedom even +then, in Ireland, was a word to conjure with. Long before the +performance, notices that no more tickets would be sold were posted. The +doors of the Debtors' Prison were thrown open, and the prisoners given +seats so they could hear the music--thus overdoing the matter in true +Irish style. + +The performance was the supreme crowning event in the life of Handel up +to that time. + +Couriers were dispatched to London to convey the news of Handel's great +triumph to the newspapers; bulletins were posted at the clubs--the +infection caught! On the return of the master a welcome was given him +such as he had never before known--Dublin should not outdo London! When +the "Messiah" was given in London, the scene of furore in Dublin was +repeated. The wild tumult at times drowned the orchestra, and when the +"Hallelujah Chorus" was sung, the audience arose as one man and joined +in the song of praise. And from that day the custom has continued: +whenever in England the "Messiah" is given, the audience arises and +sings in the "Chorus," as its privilege and right. The proceeds of the +first performance of the "Messiah" in England were given to charity, as +in Dublin. This act, with the splendor of the work, subdued the last +lingering touch of obdurate criticism. The man was canonized by popular +acclaim. Many of his concerts were now for charity--"The Foundlings' +Home," "The Seamen's Fund," "Home for the Aged," hospitals and +imprisoned debtors--all came in for their share. + +Handel never married. That remark of Dean Swift's, "I admire +Handel--principally because he conceals his petticoat peccadilloes with +such perfection," does not go. Handel considered himself a priest of +art, and his passion spent itself in his work. + +The closing years of his life were a time of peace and honor. His bark, +after a fitful voyage, had glided into safe and peaceful waters. The +calamity of blindness did not much depress him--"What matters it so long +as I can hear?" he said. And good it is to know that the capacity to +listen and enjoy, to think and feel, to sympathize and love--to live his +Ideals--were his, even to the night of his passing Hence. + + + + +[Illustration: GIUSEPPE VERDI] + +GIUSEPPE VERDI + + + Of all the operas that Verdi wrote, + The best, to my taste, is the Trovatore; + And Mario can soothe, with a tenor note, + The souls in purgatory. + + The moon on the tower slept soft as snow; + And who was not thrilled in the strangest way, + As we heard him sing while the lights burned low, + "Non ti scordar di me"? + + * * * * * + + But O, the smell of that jasmine-flower! + And O, the music! and O, the way + That voice rang out from the donjon tower, + "Non ti scordar di me, + Non ti scordar di me!" + + --_Bulwer-Lytton_ + + +GIUSEPPE VERDI + +He sort of clung to the iron pickets, did the boy, and pressed his face +through the fence and listened. Some one was playing the piano in the +big house, and the windows with their little diamond panes were flung +open to catch the evening breeze. He listened. + +His big gray eyes were open wide, the pupils dilated--he was trying to +see the music as well as hear it. + +The boy's hair matched the yellow of his face, being one shade lighter, +sun-bleached from going hatless. His clothes were as yellow as the +yellow of his face, and shaded off into the dust that strewed the +street. He was like a quail in a stubble-field--you might have stepped +over him and never seen him at all. He listened. Almost every evening +some one played the piano in the big house. He had discovered the fact a +week before, and now, when the dusk was gathering, he would watch his +chance and slide away from the hut where his parents lived, and run fast +up the hill, and along the shelving roadway to the tall iron fence that +marked the residence of Signore Barezzi. He would creep along under the +stone wall, and crouching there would wait and listen for the music. +Several evenings he had come and waited, and waited, and waited--and not +a note or a voice did he hear. + +Once it had rained and he didn't mind it much, for he expected every +moment the music would strike up, you know--and who cares for cold, or +wet, or even hunger, if one can hear good music! The air grew chill and +the boy's threadbare jacket stuck to his bony form like a postage-stamp +to a letter. Little rivulets of water ran down his hair and streamed off +his nose and cheeks. He waited--he was waiting for the music. + +He might have waited until the water dissolved his insignificant cosmos +into just plain, yellow mud, and then he would have been simply +distributed all along the gutter down to the stream, and down the stream +to the river, and down the river to the ocean; and no one would ever +have heard of him again. + +But Signore Barezzi's coachman came along that night, keeping close to +the fence under the trees to avoid the wet; and the coachman fell over +the boy. + +Now, when we fall over anything we always want to kick it--no matter +what it is, be it cat, dog, stump, stick, stone or human. The coachman +being but clay (undissolved) turned and kicked the boy. Then he seized +him by the collar, and accused him of being a thief. The lad +acknowledged the indictment, and stammeringly tried to explain that it +was only music he was trying to steal; and that it really made no +difference because even if one did fill himself full of the music, there +was just as much left for other people, since music was different from +most things. + +The thought was not very well expressed, although the idea was all +right, but the coachman failed to grasp it. So he tingled the boy's bare +legs with the whip he carried, by way of answer, duly cautioning him +never to let it occur again, and released the prisoner on parole. + +But the boy forgot and came back the next night. He sat on the ground +below the wall, intending to keep out of sight; but when the music began +he stood up, and now, with face pressed between the pickets, he +listened. + +The wind sighed softly through the orange-trees; the air was heavy with +the perfume of flowers; the low of cattle came from across the valley, +and on the evening breeze from an open casement rose the strong, +vibrant, yet tender, strains of Beethoven's "Moonlight Sonata." The lad +listened. + +"Do you like music?" came a voice from behind. The boy awoke with a +start, and tried to butt his head through the pickets to escape in that +direction. He thought it was the coachman. He turned and saw the kindly +face of Signore Barezzi himself. + +"Do I like music? Me! No, I mean yes, when it is like that!" he +exclaimed, beginning his reply with a tremolo and finishing bravura. + +"That is my daughter playing; come inside with me." The hand of the +great man reached out, and the urchin clutched at it as if it were +something he had been longing for. + +They walked through the big gates where a stone lion kept guard on each +side. The lions never moved. They walked up the steps, and entering the +parlor saw a young woman seated at the piano. + +"Grazia, dear, here is the little boy we saw the other day--you +remember? I thought I would bring him in." The young woman came forward +and touched the lad on his tawny head with one of her beautiful +hands--the beautiful hands that had just been playing the "Sonata." + +"That's right, little boy, we have seen you outside there before, and if +I had known you were there tonight, I would have gone out and brought +you in; but Papa has done the service for me. Now, you must sit down +right over there where I can see you, and I will play for you. But won't +you tell us your name?" + +"Me?" replied the little boy, "why--why my name is Giuseppe Verdi--I am +ten years old now--going on 'leven--you see, I like to hear you play +because I play myself, a little bit!" + + * * * * * + +For over a hundred years three-fourths of Italy's population had been on +reduced rations. Starvation even yet crouches just around the corner. + +In his childhood young Verdi used to wear a bit of rope for a girdle, +and when hunger gnawed importunately, he would simply pull his belt one +knot tighter, and pray that the ravens would come and treat him as well +as they did Elijah. His parents were so poor that the question of +education never came to them; but desire has its way, so we find the boy +at ten years of age running errands for a grocer with a musical +attachment. This grocer, at Busseto, Jasquith by name, hung upon the +fringe of art, and made the dire mistake of mixing business with his +fad, for he sold his wares to sundry gentlemen who played in bands. This +led the good man to moralize at times, and he would say to Giuseppe, who +had been promoted from errand-boy to clerk: "You can trust a first +violin, and a 'cello usually pays, but never say yes to a trombone nor +an oboe; and as for a kettle-drum, I wouldn't believe one on a stack of +Bibles!" + +Over the grocer's shop was a little parlor, and in it was a spinet that +young Giuseppe had the use of four evenings a week. In his later years +Verdi used to tell of this, and once said that the idea of prohibition +and limit should be put on every piano--then the pupil would make the +best of his privileges. In those days there was a tax on spinets, and I +believe that this tax has never been rescinded, for you are taxed if +you keep a piano, now, in any part of Italy. Several times the poor +grocer's spinet stood in sore peril from the publicans and sinners, but +the bailiffs were bought off by Signore Barezzi, who came to the rescue. + +The note of thrift was even then in Verdi's score, for he himself has +told how he induced the Barezzi household to patronize the honest grocer +with musical proclivities. + +When twelve years of age Verdi occasionally played the organ in the +village church at Busseto. It will be seen from this that he had +courage, and even then possessed a trace of that pride and self-will +that was to be his disadvantage and then his blessing. Signore Barezzi's +attachment to the boy was very great, and we find the youngster was on +friendly terms with the family, having free use of their piano, with +valuable help and instruction from Signorina Grazia. When he was +seventeen he was easily the first musician in the place, and Busseto had +nothing more to offer in the way of advantages. He thirsted for a wider +career, and cast longing looks out into the great outside world. He had +played at Parma, only a few miles away, and the Bishop there, after +hearing him improvise on the organ, had paid him a doubtful compliment +by saying, "Your playing is surely unlike anything ever before heard in +Parma." Fair fortune smiled when Signore Barezzi secured for young Verdi +a free scholarship at the Conservatory at Milan. + +The youth went gaily forth, attended by the blessings of the whole +village, to claim his honors. + +Arriving at the Conservatory, the directors put him through his paces, +after the usual custom, to prove his fitness for the honor that had been +thrust upon him. He played first upon the piano, and the committee +advised together in whispered monotone. Then they asked him to play on +the organ, and there was more consultation, with argument which was +punctuated by rolling adjectives and many picturesque gesticulations. +Then they asked him to play the piano again. He did so, and the great +men retired to deliberate and vote on the issue. + +Their decision was that the youth was self-willed, erratic, and that he +had some absurd mannerisms and tricks of performance that forbade his +ever making a musician. And therefore, they ruled that his admission to +the Conservatory was impossible. + +Barezzi, who was present with his protege, stormed in wrath, and +declared that Verdi was the peer of any of his judges; in fact, was so +much beyond them that they could not comprehend him. + +This only confirmed the powers in the stand they had taken, and they +intimated that a great musician in Busseto was something different in +Milan--Signore Barezzi had better take his young man home and be content +to astonish the villagers with noisy acrobatics. There being nothing +else to do, the advice was first flouted and then followed. They +arrived home, and Grazia and the grocer were informed that the +Conservatory at Milan was a delusion and a snare--"a place where pebbles +were polished and diamonds were dimmed." Shortly after, the townspeople, +to show faith in the home product, had Verdi duly installed as organist +of the village church at a salary equal to forty dollars a year. + +Under the spell of this good fortune, Verdi proposed marriage to the +daughter of Jasquith, the grocer, his friend and benefactor. Gratitude +to the man who had first assisted him had much to do with the alliance; +and in wedding the daughter, Verdi simply complied with what he knew to +be the one ardent desire of the father. + +The girl was a frail creature, of fine instincts, but her intellect had +been starved just as her body had been. Her chief virtue seems to have +been that she believed absolutely in the genius of Verdi. + +The ambition of Verdi began to show itself. He wrote an opera, and +offered it to Merelli, the impresario of "La Scala" at Milan. The +impresario had heard of Verdi, through the fact that the Conservatory +had blackballed him. This of itself would have been no passport to fame, +but the Committee saw fit to defend themselves in the matter by making a +public report of the considerations which had moved them to shut the +doors on the young man from Busseto. This gave the subject a weight and +prominence that simple admission never would have given. + +Merelli, the Major Pond of Milan, saw the expressions "bizarre," +"erratic," "peculiar," "unprecedented," and kept his eye on Verdi. And +so when the opera was written he pounced upon it, thinking possibly a +new star had appeared on the horizon. The opera was accepted. Verdi, +feverish with hope, moved his scanty effects to Milan, and there, with +his frail and beautiful girl-wife and their baby-boy, lived in a garret +just across from the theater. + +Preparations for the performance were going on apace. The night of +November Seventeenth, Eighteen Hundred Thirty-nine came, and the play +was presented. The critics voted it a failure. Merelli, the manager, saw +that it was not strong enough with which to storm the town, and so +decided to abandon it. He liked the young composer, though, and admired +his work; and inasmuch as he had brought him to Milan, he felt a sort of +obligation to help him along. So Verdi was given an order for an opera +bouffe. That's it! Opera bouffe!--the people want comedy--they must be +amused. Even Verdi's serious work ran dangerously close to farce--bouffe +is the thing! + +Merelli's hope was infectious. Verdi began work on the new play that was +to be presented in the Spring. The winter rains began. There was no fire +in the garret where the composer and his frail girl-wife lived. They +were so proud that they did not let the folks at Busseto know where they +were: even Merelli did not know their place of abode. Under an assumed +name Verdi got occasional work as an underling in one of the theaters, +and also played the piano at a restaurant. The wages thus earned were a +pittance, but he managed to take home soup-bones that the baby-boy +sucked on as though they were nectar. + +Another baby was born that winter. The mother was unattended, save by +her husband--no other woman was near. Verdi managed to bring home scraps +of food by stealth from the restaurant where he played, but it was not +the kind that was needed. There was no money to buy goat's milk for the +new-born babe, and the famishing mother, ever hopeful, assured the +husband it wasn't necessary--that the babe was doing well. The child +grew aweary of this world before a month had passed, and slept to wake +no more. + +But the opera bouffe was taking shape. It was rehearsed and hummed by +husband and wife together. They went over it all again and again, and +struck out and added to. It was splendid work--subtle, excruciatingly +funny, and possessed a dash and go that would sweep all carping and +criticism before it. + +Food was still scarce, and there was no fuel even to cook things; but as +there was nothing to cook, it really made no difference. Spring was +coming--it was cold, to be sure, but the buds were swelling on the trees +in the park. Verdi had seen them with his own eyes, and he hastened home +to tell his wife--Spring was coming! + +The two-year-old boy didn't seem to thrive on soup-bones. The father +used to hold him in his arms at night to warm the little form against +his own body. He awoke one morning to find the child cold and stiff. The +boy was dead. + +The mother used to lie abed all day now. She wasn't ill she said--just +tired! She never looked so beautiful to her husband. Two bright pink +spots marked her cheeks, and set off the alabaster of her complexion. +Her eyes glowed with such a light as Verdi had never before seen. No, +she was not ill--she protested this again and again. She kept to her bed +merely to be warm; and then if one didn't move around much, less food +was required--don't you see? + +Spring had come. The opera was being rehearsed. The title of the play +was "Un Giorno di Regno." Merelli said he thought it would be a success; +Verdi was sure of it. + +The night of presentation came. After the first act Verdi ran across the +street, leaped up the stairs three steps at a time, and reached the +garret. The play was a success. The worn woman there on her pallet, the +pale moonlight streaming in on her face, knew it would be. She raised +herself on her elbow and tried to call, "Viva Verdi!" But the cough cut +her words short. Verdi kissed her forehead, her hands, her hair, and +hurried back in time to see the curtain ascend on the second act. This +act went without either applause or disapproval. Verdi ran home to say +that the audience was a trifle critical, but the play was all right--it +was a success! He said he would remain at home now, he would not go to +hear the third and last act. He would attend his wife until she got well +and strong. The play was a success! + +She prevailed upon him to leave her and then come back at the finale and +tell her all about it. + +He went away. + +When he returned he stumbled up the stairway and slowly entered the +door. + +The last act had not been completed--the audience had hissed the players +from the stage! + +Upon the ashen face of her husband, the stricken woman read all. She +tried to smile. She reached out one thin hand on which loosely hung a +marriage-ring. The hand dropped before he could reach it. The eyes of +the woman were closed, but upon the long, black lashes glistened two big +tears. The spirit was brave, but the body had given up the great +struggle. + + * * * * * + +The calamities that had come sweeping over Verdi well-nigh broke his +proud heart. He was only twenty-six, but he had had a taste of life and +found it bitter. + +He lost interest in everything. All his musical studies were abandoned, +his excursions into science went by default, and he was quite content to +bang the piano in a concert saloon for enough to secure the bare +necessaries of life. Suicide seemed to present the best method of +solving the problem, and the various ways of shuffling off this mortal +coil were duly considered. Meanwhile he filled in the time reading +trashy novels--anything to forget time and place, and lose self in +poppy-dreams of nothingness. + +Two years of such blankness and blackness followed. He was sure that the +desire to create, to be, to do, would never come again--these were all +of the past. One day on an idle stroll through the park he met Merelli. +As they walked along together, Merelli took from his pocket a book, the +story of "Nabucco," and handing it to Verdi, asked him to look it over, +and see if he thought there was a chance to make an opera out of it. +Verdi responded that he was not in the business of writing operas--he +had quit all such follies. He took the volume, however, but neglected to +look at it for several days. At last he read the pages. He laid the book +down and began to pace the floor. Possibilities of creation were looming +large before him--a rush of thought was upon him. His soul was not +dead--it had only been lying fallow. + +He secured the loan of a piano and set to work. In a month the opera was +completed. Merelli hesitated about accepting it--twice he had lost money +on Verdi. Finally he decided he would put the play on, if Verdi would +waive all royalties for the first three performances, if it were a +success, and then sell the opera outright "at a reasonable price," if +Merelli should chance to want it. The "reasonable price" was assumed to +be about a thousand francs--two hundred dollars--pretty good pay for a +month's work. + +Verdi took no interest in the production of the piece. He had come to +the conclusion that the public was a fickle, foolish thing, and no one +could tell what it would hiss or applaud. Then he remembered the +blackness of the night when only two years before his other opera was +produced. + +He made his way to his dingy little room and went to bed. + +Very early the next morning there was a loud pounding on his door. It +was Merelli. "How much for your opera?" asked the impresario, pushing +his way into the room. + +"Thirty thousand francs," came a voice, loud and clear out of the +bedclothes. + +"Don't be a fool," returned Merelli--"why do you ask such a sum!" + +"Because you are here at five o'clock in the morning--the price will be +fifty thousand this afternoon." + +Ten minutes of parley followed, and then Merelli drew his check for +twenty thousand francs, and Verdi gave his quitclaim, turned over in +bed, and went to sleep again. + + * * * * * + +The success of "Nabucodonosor" was complete. Its author had his twenty +thousand francs, but Merelli made more than that. From Eighteen Hundred +Forty-two to Eighteen Hundred Fifty-one may be called the First Verdi +Period. A dozen successful operas were produced, and simultaneously at +Rome, Naples, Venice, Milan, Genoa and Florence, Verdi's compositions +were being presented. The master was a businessman, as well as an +artist--the combination is not so unusual as was long believed--and knew +how to get the most for the mintage of his mind. Money fairly flowed his +way. + +Verdi married again in Eighteen Hundred Fifty. His life now turns into +what may be called the Second Verdi Period. After this we shall see no +more such curious exhibitions of bad taste as a ballet of forty witches +in "Macbeth," capering nimbly to a syncopated melody, with "Lady +Macbeth" in a needlessly abbreviated skirt singing a drinking-song to an +absent lover. In strenuous efforts to avoid coarseness Verdi may +occasionally give us soft sentimentality, but the change is for the +best. + +His mate was a woman of mind as well as heart. She was his intellectual +companion, his friend, his wife. For nearly fifty years they lived +together. Her dust now lies in the "House of Rest," at Milan, a home for +aged artists, founded by Verdi. This "House of Rest" was a +Love-Offering, dedicated to the woman who had given him, without stint, +of the richness of her nature; who had bestowed rest, and peace, and +hope and gentle love. She had no feverish ambitions and petty plans and +schemes for secretly corralling pleasure, power, place, attention, or +selfish admiration. By giving all, she won all. She devoted herself to +this man in whom she had perfect faith, and he had perfect faith in her. +She ministered to him. They grew great together. When each was over +eighty years of age, Henry James met them at Cremona, at a musical +festival in honor of the birthday of Stradivari. And thus wrote Henry +James: "Verdi and his wife were there, admired above all others. And why +not? Think of whom they are, and what they stand for--nearly a century +of music, and a century of life! The master is tall, straight, proud, +commanding. He has a courtly old-time grace of bearing; and he kissed +his wife's hand when he took leave of her for an hour's stroll. And the +Madame surely is not old in spirit; she is as sprightly as our own Mrs. +John Sherwood, who translated 'Carcassonne' so well that she improved on +the original, because in her heart spring fresh and fragrant every day +the flowers of tender, human, Godlike sympathy." + + * * * * * + +"Rigoletto," produced in the year Eighteen Hundred Fifty-one at Venice, +is founded on Victor Hugo's "Le Roi s'Amuse"; and the music has all the +dramatic fire that matches the Hugo plot. Verdi's devotion to Victor +Hugo is seen again in the use of "Hernani" for operatic purposes. "Il +Trovatore" and "La Traviata" followed "Rigoletto," and these three +operas are usually put forward as the Verdi masterpieces. The composer +himself regarded them with a favor that may well be pardoned, since he +used to say that he and his wife collaborated in their production--she +writing the music and he looking on. The proportion of truth and poetry +in this statement is not on record. But the simple fact remains that "Il +Trovatore" was always a favorite with Verdi, and even down to his death +he would travel long distances to hear it played. A correspondent of the +"Musical Courier," writing from Paris in Eighteen Hundred Eighty-seven, +says: "Verdi and his wife occupied a box last evening at the Grand Opera +House. The piece was 'Il Trovatore,' and many smiles were caused by the +sight of the author and his spouse seemingly leading the claque as if +they would split their gloves." + +The flaming forth of creative genius that produced the "Rigoletto," "Il +Trovatore," and "La Traviata," subsided into a placid calm. + +The serene happiness of Verdi's married life, the fortune that had come +to him, and the consciousness of having won in spite of great +obstacles, led him to the thought of quiet and well-earned rest. The +master interested himself in politics, and was elected to represent the +district of Parma in the Italian Parliament. He proved himself a man of +power--practical, self-centered and businesslike--and as such served his +country well. + +The sentiment of the man is shown in his buying the property at Busseto, +his old home, which was owned by Signore Barezzi. He removed the high +picket fence, replacing it with a low stone wall; remodeled the house +and turned the conservatory into a small theater, where free concerts +were often given with the help of the villagers. The adjoining grounds +and splendid park were free to the public. + +The master's attention to music was now limited to enjoying it. So +passed the days. + +Ten years of the life of a country gentleman went by, and the Shah of +Persia, who had been on a visit to Italy and met Verdi, sent a command +for an opera. The plot must be laid in the East, the characters Moorish, +and the whole to be dedicated to the immortal Son of the Sun--the Shah. + +It is a little doubtful whether the Shah knew that operas are produced +only in certain moods and can not be done to order as a carpenter builds +a fence. But it was the way that Eastern Royalty had of showing its high +esteem. + +Verdi smiled, and his wife smiled, and they had quite a merry little +time over the matter, calling in the neighbors and friends, and drinking +to the health of a real live Shah who knew a great musical genius when +he found one. But suddenly the matter began to take form in the master's +mind. He set to work, and the result was that in a few weeks "Aida" was +completed. The stories often told of the long preparation for composing +this opera reveal the fine imagination of the men who write for the +newspapers. Verdi seized upon knowledge as a devilfish absorbs its +prey--he learned in the mass. + +"Aida" was first produced at Cairo in Eighteen Hundred Seventy-one, with +a grand setting and the best cast procurable. A new Verdi opera was an +event, and critics went from London, Paris, and other capitals to see +the performance. + +The first thing the knowing ones said was that Verdi was touched with +Wagnerism, and that he had studied "Lohengrin" with painstaking care. If +Verdi was influenced by Wagner it was for good; but there was no servile +imitation in it. The "Aida" is rich in melody, reveals a fine balance +between singers and orchestra, and the "local color" is correct even to +the chorus of Congo slaves that was introduced at the performance in +Cairo. + +All agreed that the rest had done the master good, and the +correspondents wrote, "We will look anxiously for his next." They +thought the stream had started and there would be an overflow. + +But they were mistaken. Sixteen years of quiet farming followed. Verdi +was more interested in his flowers than his music, and told Philip Hale, +who made a pious pilgrimage to Busseto in Eighteen Hundred Eighty-three, +that he loved his horses more than all the prima donnas on earth. + +But in Eighteen Hundred Eighty-seven, the artistic and music-loving +world was surprised and delighted with "Otello." This grand performance +made amends for the mangling of "Macbeth." James Huneker says: "The +character-drawing in 'Otello' is done with the burin of a master; the +plot moves in processional splendor; the musical psychology is subtle +and inevitable. At last the genius of Verdi has flowered. The work is +consummate and complete." + +"Falstaff" came next, written by a graybeard of eighty as if just to +prove that the heart does not grow old. It is the work of an +octogenarian who loved life and had seen the world of show and sense +from every side. Old men usually moralize and live in the past--not so +here. The play flows with a laughing, joyous, rippling quality that +disarmed the critics and they apologized for what they had said about +Wagnerian motives. There were no sad, solemn, recurring themes in the +full-ripened fruit of Verdi's genius. When he died, at the age of +eighty-seven, the curtain fell on the career of a great and potent +personality--the one unique singer of the Nineteenth Century. + + + + +[Illustration: WOLFGANG MOZART] + +WOLFGANG MOZART + + + Mozart composed nine hundred twenty-two pieces of which we know. He + is considered the greatest composer the world has ever seen, judged + by the versatility and power of his genius. In every kind of + composition he was equally excellent. Beside being a great composer + he was a great performer, being the most accomplished pianist of + his day. He was also an excellent player on the violin. + + --_Dudley Buck_ + + +WOLFGANG MOZART + +Apology: The Mozart "Little Journey" was written, and as over a month +had been taken to do the task, the result was something of which I was +justly proud. It was quite unlike anything ever before written. The +printers were ready to take the work in hand, but I begged them to allow +me two more days for careful revision; and as I was just starting away +to give a lecture at Janesville, Wisconsin, I took the manuscript with +me, intending to do the final work of revision on the train. + +All went well on the journey, the lecture had been given with no special +tokens of disapproval on part of the audience, and I was on board the +early morning train that leaves for Chicago. And as my mind is usually +fairly clear in the early hours, I began work retouching the good +manuscript. We were nearing Beloit when I bethought me to go into the +Buffet-Car for a moment. + +When I returned the manuscript was not to be seen. I looked in various +seats, and under the seats, asked my neighbors, inquired of the +brakeman, and then hunted up the porter and asked him if he had seen my +manuscript. He did not at first understand what I meant by the term +"manuscript," but finally inquired if I referred to a pile of dirty, +dog-eared sheets of paper, all marked up and down and over and +crisscross, ev'ry-which-way. + +I assured him that he understood the case. + +He then informed me that he had "chucked the stuff," that is to say, he +had tossed it out of the window, as he was cleaning up his car, just as +he always did before reaching Chicago. + +I made a frantic reach for the bell-cord, but was restrained. A +sympathetic passenger came forward and explained that five miles back he +had seen the sheets of my precious manuscript sailing across the +prairie. We were going at the rate of a mile a minute and the wind was +blowing fiercely, so there was really no need of backing up the train to +regain the lost goods. + +"I hope dem scribbled papers was no 'count, boss!" said the porter +humbly, as I stood sort of dazed, gazing into vacancy. + +I shook myself into partial sanity. "Oh, they were of no value--I was +looking for them so as to throw them out of the window myself," I +answered. + +"Brush?" said he. + +"Yes," said I. + +I placed the expected quarter in his dusky palm, still pondering on what +I should do. + +To reproduce the matter was impossible, for I have no verbal +memory--something must be written, though. I decided to leave Chicago in +an hour by the Lake Shore Railroad, and have the copy ready for the +Roycroft boys when I reached home. + +This I did, and as I had no reference-books, maps or memoranda to guide +me, the matter seems to lack synthesis. I say seems to lack--but it +really doesn't, for the facts will all be found to be as stated. Still +the form may be said to be slightly colored by the environment, so some +explanation is in order--hence this apology to the Gentle Reader. And +further, if the Reader should find in these pages that, at rare +intervals, I use the personal pronoun, he must bear in mind that I live +in the country, and that it is the privilege and right, established by +long precedent and custom of country folk, to talk about themselves and +their own affairs if they are so minded. + + * * * * * + +Chicago: Talent is usually purchased at a high price, and if the gods +give you a generous supply of this, they probably will be niggardly when +it comes to that. But one thing the artist is usually long on, and that +is whim. Let us all pray to be delivered from whim--it is the poisoner +of our joys, the corrupter of our peace, and Dead-Sea fruit for all +those about us. + +Heaven deliver us from whim! + +I am told by a famous impresario, who gained some valuable experience by +marrying a prima donna, and therefore should know, that whim is purely a +feminine attribute. This, though, is surely a mistake, for there have +lived men, as well as women, who had such an exaggerated sense of their +own worth, that they lost sight, entirely, of the rights and feelings of +everybody else. All through life they kept the stage waiting without +punctilio. These men thought dogs were made to kick, servants to rail +at, the public to be first crawled to and then damned, and all rivals to +be pooh-poohed, cursed or feared, as the mood might prompt. Further than +this they considered all landlords robbers, every railroad-manager a +rogue, and businessmen they bunched as greedy, grasping Shylocks. They +always used the word "commercial" as an epithet. + +Devotees of the histrionic art can lay just claim to having more than +their share of whim, but the musical profession has no reason to be +abashed, for it is a good second. However, the actor's and the +musician's art are often not far separated. In speaking to James McNeil +Whistler of a certain versatile musician, a lady once said, "I believe +he also acts!" + +"Madame, he does nothing else," replied Mr. Whistler. + +Art is not a thing separate and apart--art is only the beautiful way of +doing things. And is it not most absurd to think, because a man has the +faculty of doing a thing well, that on this account he should assume +airs and declare himself exempt along the line of morals and manners? +The expression "artistic temperament" is often an apologetic term, like +"literary sensitiveness," which means that the man has stuck to one task +so long that he is unable to meet his brother men on a respectful +equality. + +The artist is the voluptuary of labor, and his fantastic tricks often +seem to be only Nature's way of equalizing matters, and showing the +world that he is very common clay, after all. To be modest and gentle +and kind, as we all can be, is just as much to God as to be learned and +talented, and yet be a cad. + +Still, instances of great talent and becoming modesty are sometimes +found; and in no great musician was the balance of virtues held more +gracefully than with Mozart. He had humor. + +Ah! that is it--he knew values--had a sense of proportion, and realized +that there is a time to laugh. And a good time to laugh is when you see +a mighty bundle of pretense and affectation coming down the street. +Dignity is the mask behind which we hide our ignorance; and our forced +dignity is what makes the imps of comedy, who sit aloft in the sky, hold +their sides in merriment when they behold us demanding obeisance because +we have fallen heir to tuppence worth of talent. + + * * * * * + +Laporte: Mozart had a sense of humor. He knew a big thing from a little +one. When yet a child the tendency to comedy was strong upon him. When +nine years of age he once played at a private musicale where the +Empress, Maria Theresa, was present. The lad even then was a consummate +violinist. He had just played a piece that contained such a tender, +mournful, minor strain that several of the ladies were in tears. The boy +seeing this, relentingly dashed off into a "barnyard symphony," where +donkeys brayed, hens cackled, pigs squealed and cows mooed, all ending +with a terrific cat-fight on a wood-shed roof. This done, the boy threw +his violin down, ran across the room, climbed into the lap of the +Empress and throwing his arms around the neck of the good lady, kissed +her a resounding smack first on one cheek, then on the other. It was all +very much like that performance of Liszt, who one day, when he was +playing the piano, suddenly shouted, "Pitch everything out of the +windows!" and then proceeded to do it--on the keyboard, of course. + +On the same visit to the palace, when Mozart saluted Maria Theresa in +his playful way, he had the misfortune to slip and fall on the waxed +floor. + +Marie Antoinette, daughter of Maria Theresa, just budding into +womanhood, ran and picked him up and rubbed his knee where it was hurt. +"You are a dear, good lady," said the boy in gratitude, "and when I +grow up I am going to marry you." Liszt never made any such promise as +that. Liszt never offered to marry anybody. But it is too bad that Marie +Antoinette did not hold the lad to his promise. It would have probably +proved a valuable factor for her in the line of longevity; and her +husband's circumstances would have saved her from making that silly +inquiry as to why poor people don't eat cake when they run short of +bread. These moods of merriment continued with Mozart, as they did with +Liszt, all his life--not always manifesting themselves, though, in the +way just described. + +As a companion I would choose Mozart--generous, unaffected, kind--rather +than any other musician who ever played, danced, sang or +composed--excepting, well, say Brahms. + + * * * * * + +South Bend: We take an interest in the lives of others because we +always, when we think of another, imagine our relationship to him. "Had +I met Shakespeare on the stairs I would have fainted dead away," said +Thackeray. + +Another reason why we are interested in biography is because, to a +degree, it is a repetition of our own life. + +There are certain things that happen to every one, and others we think +might have happened to us, and may yet. So as we read, we unconsciously +slip into the life of the other man and confuse our identity with his. +To put yourself in his place is the only way to understand and +appreciate him. It is imagination that gives us this faculty of +transmigration of souls; and to have imagination is to be universal; not +to have it is to be provincial. Let me see--wouldn't you rather be a +citizen of the Universe than a citizen of Peoria, Illinois, which modest +town the actors always speak of as being one of the provinces? + +As I read biography I always keep thinking what I would have done in +certain described circumstances, and so not only am I living the other +man's life, but I am comparing my nature with his. Everything is +comparative; that is the only way we realize anything--by comparing it +with something else. As you read of the great man he seems very near to +you. You reach out across the years and touch hands with him, and with +him you hope, suffer, strive and enjoy: your existence is all blurred +and fused with his. + +And through this oneness you come to know and comprehend a character +that has once existed, very much better than the people did who lived in +his day and were blind to his true worth by being ensnared in cliques +that were in competition with him. + + * * * * * + +Elkhart: I intimated a few pages back that I would have liked to have +Mozart for a friend and companion. Mozart needed me no less than I need +him. "Genius needs a keeper," once said I. Zangwill, probably with +himself in mind. We all need friends--and to be your brother's keeper is +very excellent if you do not cease being his friend. And poor Mozart did +so need a friend who could stand between him and the rapacious wolf that +scratched and sniffed at his door as long as he lived. I do not know why +the wolf sniffed, for Mozart really never had anything worth carrying +away. He was so generous that his purse was always open, and so full of +unmixed pity that the beggars passed his name along and made cabalistic +marks on his gateposts. Every seedy, needy, thirsty and ill-appreciated +musician in Germany regarded him as lawful prey. They used to say to +Mozart, "I can not beg and to dig I am ashamed--so grant me a small +loan, I pray thee." + +Yes, Mozart needed me to plan his tours and market his wares. I'm no +genius, and although they say I was an infant terrible, I never was an +infant prodigy. At the tender age of six, Mozart was giving concerts and +astonishing Europe with his subtle skill. At a like age I could catch a +horse with a nubbin, climb his back, and without a saddle or bridle +drive him wherever I listed by the judicious use of a tattered hat. Of +course I took pains to mount only a horse that had arrived at years of +discretion, matronly brood-mares or run-down plow-horses; but this is +only proof of my practical turn of mind. Mozart never learned how to +control either horse or man by means of a tattered hat or diplomacy: +music was his hobby, and it was long years after his death before the +world discovered that his hobby was no hobby at all, but a genuine +automobile that carried him miles and miles, clear beyond all his +competitors: so far ahead that he was really out of shouting distance. + +Indeed, Mozart took such an early start in life and drove his machinery +so steadily, not to say so furiously, that at thirty-five all the +bearings grew hot for lack of rebabbitting, and the vehicle went the way +of the one-horse shay--all at once and nothing first, just as bubbles do +when they burst. + +At the age which Mozart died I had seen all I wanted to of business +life, in fact I had made a fortune, being the only man in America who +had all the money he wanted, and so just turned about and went to +college. This I firmly hold is a better way than to be sent to college +and then go into trade later and forget all you ever learned at school. +I had rather go to college than be sent. Every man should get rich, that +he might know the worthlessness of riches; and every man should have a +college education, just to realize how little the thing is worth. + +Yes, Mozart needed a good friend whose abilities could have rounded out +and made good his deficiencies. Most certainly I could not do the +things that he did, but I should have been his helper, and might, too, +had not a century, one wide ocean, and a foreign language separated us. + + * * * * * + +Waterloo: Friendship is better than love for a steady diet. Suspicion, +jealousy, prejudice and strife follow in the wake of love; and disgrace, +murder and suicide lurk just around the corner from where love coos. +Love is a matter of propinquity; it makes demands, asks for proofs, +requires a token. But friendship seeks no ownership--it only hopes to +serve, and it grows by giving. Do not say, please, that this applies +also to love. Love bestows only that it may receive, and a one-sided +passion turns to hate in a night, and then demands vengeance as its +right and portion. + +Friendship asks no rash promises, demands no foolish vows, is strongest +in absence, and most loyal when needed. It lends ballast to life, and +gives steadily to every venture. Through our friends we are made +brothers to all who live. + +I think I would rather have had Mozart for a friend than to love and be +loved by the greatest prima donna who ever warbled in high C. Friendship +is better than love. Friendship means calm, sweet sleep, clear brain and +a strong hold on sanity. Love I am told is only friendship, plus +something else. But that something else is a great disturber of the +peace, not to say digestion. It sometimes racks the brain until the +world reels. Love is such a tax on the emotions that this way madness +lies. Friendship never yet led to suicide. + + * * * * * + +Toledo: Yes, just at the age when Mozart wrote and played his "Requiem," +getting ready to die, I was going to school and incidentally falling in +love. I was thirty-four and shaved clean because there were gray hairs +coming in my beard. Love has its advantages, of course, and the benefits +of passionate love consist in scarifying one's sensibilities until they +are raw, thus making one able to sympathize with those who suffer. Love +sounds the feelings with a leaden plummet that sinks to the very depths +of one's soul. This once done the emotions can return with ease, and so +this is why no singer can sing, or painter paint, or sculptor model, or +writer write, until love or calamity, often the same thing, has sounded +the depths of his soul. Love makes us wise because it makes room inside +the soul for thoughts and feelings to germinate; but passionate love as +a lasting mood would be hell. Henry Finck says that is why Nature has +fixed a two-year limit on romantic or passionate love. "War is hell," +said General Sherman. "All is fair in Love and War," says the old +proverb. Love and War are one, say I. Love is mad, raging unrest and a +vain, hot, reaching out for nobody knows what. Of course the kind which +I am talking about is the Grand Passion, not the sort of sentiment that +one entertains towards his grandmother. + +"But it is good to fall in love, just as it is well to have the +measles," to quote Schopenhauer. Still, there is this difference: one +only has the measles once, but the man who has loved is never immune, +and no amount of pledges or resolves can ere avail. + +Just here seems a good place to express a regret that the English +language is such a crude affair that we use the same word to express a +man's regard for roast-beef, his dog, child, wife and Deity. There are +those who speedily cry, "Hold!" when one attempts to improve on the +language, but I now give notice that on the first rainy day I am going +to create some distinctions and differentiate for posterity along the +line just mentioned. + + * * * * * + +Elyria: As intimated in a former chapter, I was a successful farmer +before I went to college. I was also a manufacturer, and made a success +in this business, too. I made a fortune of a hundred thousand dollars +before I was thirty, and should have it yet had I sat down and watched +it. If you go into a railroad-car and sit down by the side of your +valise (or manuscript), in an hour your valuables will probably be there +all right. + +But if you leave the valise (or the manuscript) in a seat and go into +another car, when you come back the goods may be there and they may not. +That is the only way to keep money--fasten your eye right on it. If you +leave it in the hands of others, and go away to delve in books, the +probabilities are that, when you get back, certain obese attorneys have +divided your substance among them. + +However, there is good in every exigency of life, and to know that your +fortune is gone is a great relief. When the trial is ended and the +prisoner has received his sentence, he feels a great relief, for it is +only the unknown that fills our souls with apprehension. + + * * * * * + +Cleveland: In all the realm of artistic history no record of such +extremes can be found in one life as those seen in the life of Mozart. +The nearest approach to it is found in the career of Rembrandt, who won +fame and fortune at thirty, and then holding the pennant high for ten +years, his powers began to decline. It took twenty-six years of steady +down grade to ditch his destinies in a pauper's grave. + +But Rembrandt, during his lifetime, was scarcely known out of Holland, +whereas Mozart not only won the nod of nobility, and the favor of the +highest in his own land, but he went into the enemy's country and +captured Italy. Mozart's art never languished: he held a firm grip on +sublime verities right to the day of his death. The high-water mark in +Mozart's career was reached in those two years in Italy, when in his +thirteenth and fourteenth years. The arts all go hand in hand, for the +reason that strong men inspire strong men, and each does what he can do +best. In painting, sculpture and music (not to mention Antonio +Stradivari of Cremona) Italy has led the world. A hundred years ago no +musician could hope for the world's acclaim until Italy had placed its +stamp of approval upon him. + +Savants in Milan, Florence, Padua, Rome, Verona, Venice and Naples, +tested the powers of young Mozart to their fullest; and although he had +to overcome doubt and the prejudice arising from being "a barbaric +German," yet the highest honors were at the last ungrudgingly paid him. +He was enrolled as an honorary member of numerous musical societies, old +musicians gave their blessings, proud ladies craved the privilege of +kissing his fair forehead, and the Pope conferred upon the gifted boy +the Order of the Golden Spur, which gave him the right to have his mail +come directed to "The Signor Cavaliere Mozarti." + +At Naples the result of his marvelous playing was ascribed to +enchantment, and this was thought to be centered in a diamond ring that +had been presented to the lad by a fair lady in a mood of ecstasy. To +convince the Neapolitans of their error Mozart was obliged to accept +their challenge and remove the ring. He wrote home to his mother that he +had no time to practise, as in every city where he went artists insisted +on his sitting for his portrait. + +The acme of attention and applause was reached at Milan, where he was +commissioned to write an opera for the Christmas festivities. The +production of this opera at La Scala was the most glorious item in the +life of Mozart. A boy of fourteen conducting an opera of his own +composition before enraptured multitudes is an event that stands to the +credit of Mozart, and Mozart alone. "Evviva the Little Master--Evviva +the Little Master!" cried the audience. "It is music for the stars," and +against all precedent aria after aria had to be repeated. The boy, +always rather small for his age, stood on a chair to wield his baton, +and the flowers that were rained upon him nearly covered the lad from +view. + + * * * * * + +Ashtabula: The place of a man's birth does not honor him until after he +is dead, and every man of genius has been distrusted by his intimate +kinsmen. If he is granted recognition by the outside world, those who +have known him from childhood wink slyly and repeat Phineas T. Barnum's +aphorism, a free paraphrase of which the Germans have used since the +days of the Vandals. + +Leopold Mozart returned home with his wonderful boy not much richer than +when he went away. He had left the management of finances to others, and +was quite content to travel in a special carriage, stop at the best +hotels, and have any "label" he might order, just for the asking. + +Reports had reached Germany of the wonderful success of the youthful +Mozart in Italy, but Vienna smiled and Salzburg sneezed. + + * * * * * + +North East: It is not so very long ago that all the beautiful things of +earth were supposed to belong to the Superior Class. That is to say, all +the toilers, all the workers in metals, all the bookmakers, authors, +poets, painters, sculptors and musicians, did their work to please this +noble or that. All bands of singers were singers to His Lordship, and if +a man wrote a book he dedicated it to His Royal Highness. At first these +thinkers and doers were veritable slaves, and no court was complete that +did not have its wise man who wore the cap and bells, and made puns, +epigrams and quoted wise saws and modern instances for his board and +keep. This man usually served as a clerk or overseer, during his odd +hours, and only appeared to give a taste of his quality when he was sent +for. + +It was the same with the musicians and singers--they were cooks, waiters +and valets, and when there were guests these performers were notified to +be in readiness to "do something" if called upon. It was the same with +painters--every court had its own. Rubens, as we know, was looked upon +by the Duke of Mantua as his private property, and the artist had to run +away, when the time was ripe, to save his soul alive. Van Dyck was court +painter to Charles the First, and married when he was told to do so. + +There is no such office as "Poet Laureate of England"--the Laureate is +poet to the King, and used to dine with the Master of the Hounds. Later +he was allowed to choose his domicile and live in his own house, like +Saint Paul, the prisoner at Rome. His yearly stipend is yet that tierce +of Canary. + + * * * * * + +Silver Creek: Leopold Mozart, and the son who caused his name to endure, +were in the employ of the Archbishop of Salzburg. The Archbishop was a +veritable prince, with short breath and a double chin, and no shade of +doubt ever came to him concerning the divinity of his succession. He +ruled by divine right, and everybody and everything were made to +minister to the well-being of his person and estate. The Mozarts were +too poor to escape from the employ of the Archbishop, and he took pains +to warn all interested persons not to harbor, encourage or entice his +servants away on penalty of dire displeasure. Mozart ate with the +servants, and we have his letters written to his sister showing how his +seat was next below that of the coachman. When he was to play before +invited guests he was made to wait in the entry until the footman called +him, and there he often stood for hours, first on one foot, then on t' +other. + +It is easy to ask why a man of such sublime talent should endure such +treatment, but the simple fact is Mozart was gentle, yielding, +kind--immersed in his music--with no power to set his will against the +tide of tendency that 'compassed him round. The Archbishop forbade his +playing at concerts or entertainments, and blocked the way to all +advancement. The Archbishop didn't have a diplomat like Rubens to cope +with, or a fighter like Wagner, or a plotter like Liszt, or a +stiletto-bearing man like Paganini, and so Mozart wrote his music on a +table in one corner of a beer-garden, and waltzed with his wife, +Constance, to keep warm when there was no fire and the weather was cold, +and all the time danced attendance on the Archbishop of Salzburg. All of +his feeble, spasmodic efforts at freedom came to naught, because there +was no persistency behind them. + +Gladly would he have sold his services for three hundred gulden a year, +but even this sum, equal to one hundred fifty dollars a year, was denied +him. He was always composing, always making plans, always seeing the +silver tint in the clouds, but all of his music was taken by this one or +that in whom he foolishly trusted, and only debt and humiliation +followed him. + +When at long intervals a sum would come his way from a generous admirer +touched with pity, all the beggars in the neighborhood seemed to know it +at once. Then it was that music filled the air at the beer-garden, +carking care and unkind fate were for the time forgot, and all went +merry as a wedding-bell. + +Finally the position of Court Musician to the Emperor of Austria fell +vacant, and certain good friends of Mozart secured him the place. But +the Emperor was not like Frederick the Great, for he could not +distinguish one tune from another, and did not consider it any special +virtue so to do. The result was that his musicians were looked after by +his valet, and Mozart found that his position was really no better than +it had been with the Archbishop of Salzburg. + +And still his mind proved infirm of purpose, and he had not the courage +to demand his right, for fear he might lose even the little that he +had. + + * * * * * + +Buffalo: Mozart was in his twentieth year when he met Aloysia Weber. She +was a gifted singer, surely, and was needlessly healthy. She was of that +peculiar, heartless type that finds digression in leading men a merry +chase and then flaunting and flouting them. Young Mozart, the +impressionable, Mozart the delicate and sensitive, Mozart the Æolian +harp, played upon by every passing breeze, loved this bouncing bundle of +pink-and-white tyranny. + +She encouraged the passion, and it gradually grew until it absorbed the +boy and he grew oblivious to all else. He lived in her smile, bathed in +the sunshine of her presence, fed on her words, and as for her singing +in opera it was not so much what her voice was now but what he was sure +it would be. + +His glowing imagination made good her every deficiency. He thought he +loved the girl. It was not the girl at all he loved: he only loved the +ideal that existed in his own heart. His father opposed the mating and +hastily transferred the youth from Vienna to Paris; but who ever heard +of opposition and argument and forced separation curing love? So matters +ran on and letters and messages passed, and finally Mozart made his way +back to Vienna and with breathless haste sought out the object of his +whole heart's love. + +She had recently met a man she liked better, and as she could not hold +them both, treated Mozart as a stranger, and froze him to the marrow. + +He was crushed, undone, and a fit of sickness followed. In his illness, +Constance, a younger sister of Aloysia, came to him in pity and nursed +him as a child. Very naturally, all the love he had felt for Aloysia was +easily and readily transferred to Constance. The tendrils of the heart +ruthlessly uprooted cling to the first object that presents itself. + +And so Wolfgang Amadeus Mozart and Constance Weber were married. And +they were happy ever afterward. It would have been much better if they +had quarreled, but Mozart's gentle, yielding character readily adapted +itself to the weaker nature of his wife. In his music she took a sort of +blind and deaf delight and guessed its greatness because she loved the +man. But when two weak wills combine, the net result is increased +weakness--never strength. + +Constance was as beautiful a specimen of the slipshod housekeeper as +ever piled away breakfast dishes unwashed, or swept dirt under a settee. +If they had money she bought things they did not need, and if there was +no money she borrowed provisions and forgot to return the loan. +Irregularity of living, deprivation and hope deferred, made the woman +ill and she became a chronic sufferer. But she was ever tended with +loving, patient care by the overburdened and underfed husband. + +A biographer tells how Mozart would often arise early in the morning to +set down some melody in music that he had dreamed out during the night. +On such occasions he would leave a little love-letter for his wife on +the stand at the head of the bed, where she would find it on first +awakening. One such note, freely translated, runs as follows: +"Good-morning, Dear Little Wife. I hope you rested well and had sweet +dreams. You were sleeping so peacefully that I dare not kiss your cheek +for fear of disturbing you. It is a beautiful morning and a bird outside +is singing a song that is in my heart. I am going out to catch the +strain and write it down as my own and yours. I shall be back in an +hour." + + * * * * * + +East Aurora: Aloysia married the man of her choice--an actor by the name +of Lange. They quarreled right shortly, and soon he used to beat her. +This was endured for a year or more, then she left him. For a while she +lived with Wolfgang and Constance, and Mozart, true to his nature, gave +her from his own scanty store and deprived himself for her benefit. He +stood godfather to one of her children and was a true friend to her to +the last. + +After Aloysia lived to be an old woman, and long after Mozart had passed +out, and the world had begun to utter his praises, she said: "I never +for a moment thought he was a genius--I always considered him just a +nice little man." + +Mozart's soul was filled with melody, and all of his music is faultless +and complete. He possessed the artistic conscience to a degree that is +unique. Careless and heedless in all else, if his mood was not right and +the product was halting, he straightway destroyed the score. He was +always at work, always hearing sweet sounds, always weighing and +balancing them in the delicate scales of his judgment. + +So absorbed was he in his art that he fell an easy victim to the +designing, and never stopped his work long enough to strike off the +shackles that bound him to a vain, selfish and unappreciative court. + +Worn by constant work, worried by his wife's continued illness, dogged +by creditors, and unable to get justice from those who owed it to him, +his nerves at the early age of thirty-five gave way. + +His vitality rapidly declined and at last went out as a candle does when +blown upon by a sudden gust from an open door. + +It was a blustering winter day in December, Seventeen Hundred +Ninety-one, when his burial occurred. A little company of friends +assembled, but no funeral-dirge was played for him, save the blast blown +through the naked branches of the trees, as they hurried the plain pine +coffin to its final resting-place. At the gate of the cemetery the few +friends turned back and left the lifeless clay to the old gravedigger, +who never guessed the honor thus done him. + +It was a pauper's grave that closed over the body of Mozart--coffin +piled on coffin, and no one marked the spot. All we know is, that +somewhere in Saint Mark's Cemetery, Vienna, was buried in a trench the +most accomplished composer and performer the world has ever known. It +was a hundred years afterward before the city made tardy amends by +erecting a fitting monument to his memory. + +His best monument is his work. The melody that once filled his soul is +yours and mine; for by his art he made us heirs to all that wealth of +love that was never requited, and the dreams, that for him never came +true, are our precious and priceless legacy. + + + + +[Illustration: JOHANNES BRAHMS] + +JOHANNES BRAHMS + + + What is music? This question occupied my mind for hours last night + before I fell asleep. The very existence of music is wonderful, I + might even say miraculous. Its domain is between thought and + phenomena. Like a twilight mediator, it hovers between spirit and + matter, related to both, yet differing from each. It is spirit, but + spirit subject to the measurement of time; it is matter, but matter + that can dispense with space. + + --_Heine_ + + +JOHANNES BRAHMS + +Emerson has said that, next to the man who first voices a great truth, +is the one who quotes it. + +Truth is in the air; it belongs to all who can appreciate it; and the +difference between the man who gives a truth expression and the listener +who at once comprehends and repeats it, is very slight. If you +understand what I say, it is because you have thought the same thoughts +yourself--I merely express for you that which you already know. And so +you approve and applaud, not stopping to think that you are applauding +your own thought; and your heart beats fast and you say, "Yes, yes, why +didn't I say that myself!" + +All conversation is a sort of communion--an echoing back and forth of +thoughts, feelings and emotions. We clarify our thoughts by expressing +them--no idea is quite your own until you tell it to another. + +Music is simply one form of expression. Its province is to impart a +sublime emotion. To give himself is the controlling impulse in the heart +of every artist--to impart to others the joy he feels--this is the +dominant motive in his life. + +Hence the poet writes, the artist paints, the sculptor models, the +singer sings, the musician plays--all is expression--a giving voice to +the Silence. But it is all done for others. In ministering to others the +artist ministers to himself. In helping others we help ourselves. We +grow strong through exercise, and only the faculties that are +exercised--that is to say, expressed--become strong. Those not in use +atrophy and fall victims to arrested development. + +Man is the instrument of Deity--through man does Deity create. And the +artist is one who expresses for others their best thoughts and feelings. +He may arouse in men emotions that were dormant, and so were unguessed; +but under the spell of the artist-spirit, these dormant faculties are +awakened from lethargy--they are exercised, and once the thrill of life +is felt through them, they will probably be exercised again and again. + +All art is collaboration between the performer and the partaker--music +is especially a collaboration. It is a oneness of feeling: action and +reaction, an intermittent current of emotion that plays backward and +forward between the player and his audience. The player is the positive +pole, or masculine principle; and the audience the negative pole, or +feminine principle. + +In great oratory the same transposition takes place. Almost every one +can recall occasions when there was an absolute fusion of thought, +feeling and emotion between the speaker and the audience--when one mind +dominated all, and every heart beat in unison with his. The great +musician is the one who feels intensely, and is able to express +vividly, and thus impart his emotion to others. + +Robert Schumann was such a man. In his youth, when he played at parlor +gatherings he could fuse the listeners into an absolute oneness of +spirit. You can not make others feel unless you yourself feel; you can +not make others see unless you yourself see. Robert Schumann saw. He +beheld the moving pictures, and as they passed before him he expressed +what he saw in harmonious sounds. His many admirers say he gave +"portraits" on the piano, and by sounds would describe certain persons, +so others who knew these persons would recognize them and call their +names. + +Sterndale Bennett has told of Schumann's playing Weber's "Invitation to +the Dance," and accompanying it with little verbal explanations of what +he saw, thus: "There," said the player as he struck the opening chords, +"there, he bows, and so does she--he speaks--she speaks, and oh! what a +voice--how liquid! listen--hear the rustle of her gown--he speaks, a +little deeper, you notice--you can not hear the words, only their voices +blending in with the music--now they speak together--they are lovers, +surely--see, they understand--oh! the waltz--see them take those first +steps--they are swaying into time--away!--there they go--look!--you can +not hear their voices now--only see them!" + +Schumann studied law, and had he followed that profession he would have +made a master before a jury. He saw so clearly and felt so deeply, and +was so full of generosity and bubbling good-cheer, that he was +irresistible. As we know, he proved so to Clara Wieck, who left father +and mother and home to cleave to this unknown composer. + +This splendid young woman was nine years younger than Robert, but she +had already made a name and fortune for herself before they were +married. + +In passing it is well enough to call attention to the fact that this is +one of the great loves of history. It ranks with the mating of Robert +Browning and Elizabeth Barrett. How strange that such things are so +exceptional that the world takes note of them! + +Yet for quite a number of years after their marriage, Madame Schumann +was at times asked this question: "Is your husband musical?" + +But Robert Schumann, like Robert Browning, was too big a man to be +jealous of his wife. Jealousy is an acknowledgment of weakness and +insecurity. "Robert and Clara," their many dear friends always called +them. They worked together--composed, sang, played, and grew great +together. And as if to refute the carping critics who cry that +domesticity and genius are incompatible, Clara Schumann became the happy +mother of eight children, and not a year passed but she appeared upon +the concert stage, while a nurse held the baby in the wings. Schumann +was very proud of his wife. He was grateful to her for interpreting his +songs in a way he could not. His lavish heart went out to every one who +expressed the happiness and harmony which he felt singing in his soul. + +And so he welcomed all players and all singers, and all who felt the +influence of an upward gravitation. Especially was he a friend of the +young and the unknown. His home at Dusseldorf was a Mecca for the +aspiring--worthy and unworthy--and to these he gave his time, money and +influence. "Genius must have recognition--we will discover and bring +forth these beautiful souls; we will liberate and give them to the +world," he used to say. Not only did he himself express great things, +but he quoted others. + +Among those who had reverenced the Schumanns from afar, came a young man +of twenty, small and fair-haired, from Hamburg. He was received at the +regular "Thursday Night" with various other strangers. These meetings +were quite informal, and everybody was asked to play or sing. On being +invited to play, our young man declined. But on a second visit he sat +down at the piano and played. It was several minutes before the company +ceased the little buzz of conversation and listened--the fledglings were +never taken seriously except by the host and hostess. The youth leaned +over the keyboard, and seemed to gather confidence from the sympathetic +attitude of the listeners, and especially Clara Schumann, who had come +forward and stood at his elbow. + +He played from Schumann's "Carnival," and as he played, freedom came to +him. He surprised himself. When he ceased playing, Robert kissed his +cheek, and the company were vehement in their applause. Next day +Schumann met Albert Dietrich, another disciple who had come from a +distance to bask in the Schumann sunshine, and said with an air of +mystery: "One has come of whom we shall yet hear great things. His name +is Johannes Brahms." + + * * * * * + +We have at least four separate accounts of Brahms' first appearance and +behavior when he arrived at the city of Dusseldorf. These descriptions +are by Robert and Clara Schumann, Doctor Dieters and Albert Dietrich. +All agree that Johannes Brahms was a most fascinating personality. +Dieters and Dietrich were about the age of Brahms, and were lesser +satellites swinging just outside the Schumann orbit. Very naturally when +a new devotee appeared, they gazed at him askance. Many visitors were +coming and going, and from most of them there was nothing to fear, but +when this short, deep-chested boy with flaxen hair appeared, Dietrich +felt there was danger of losing his place at the right hand of the +Master. + +Brahms carried his chin in, and the crown of his head high. He was +infinitely good-natured, met everybody on an equality, without abasement +or condescension. He was modest, never pushed himself to the front, and +was always ready to listen. A talented performer who can listen well, is +sure to be loved. And yet when Brahms went forward to play, there was +just a suggestion of indifference to his hearers in his manner, and a +half-haughty self-confidence that won before he had sounded a note. We +always believe in people who believe in themselves. + +Young Brahms brought a letter of introduction from Joachim. But that was +nothing--Joachim was always giving letters to everybody. He was like +the men who sign every petition that is presented; or those other good +men who give certificates of character to people they do not know, and +recommendation letters to those for whom they have no use. + +So the letter went for little with Robert Schumann--it was the way +Brahms approached the piano, and settled his hands and great shock-head +over the keyboard, that won. + +"He is no beginner," whispered Clara to Robert before Johannes had +touched a key. + +It didn't take Brahms long to get acquainted--he mixed well. In a few +days he dropped into that half-affectionate way of calling his host and +hostess by their first names, and they in turn called him "Johannes." +And to me this is very beautiful, for, at the last, souls are all of one +age. More and more we are realizing that getting old is only a bad +habit. The only man who is old is the one who thinks he is. Of course +these remarks about age do not exactly apply just here, for no member of +the trinity we are discussing was advanced in years. Robert was +forty-three, Clara was thirty-four, and Johannes was twenty. + +Johannes Brahms was thrice well blest in being well born. His parents +were middle-class people, fairly well-to-do. They proved themselves +certainly more than middle-class in intellect, when they adopted the +plan of being the companions and comrades of their children. Johannes +grew up with no slavish fear of "old folks." He had worked with his +father, studied with him; learned lessons from books with his mother, +and played "four hands" with her at the piano, by the hour, just for +fun. + +Then when Remenyi came that way with his violin, and wanted a pianist, +he took young Brahms. When their lines crossed the line of Liszt, they +played for him at his inn; and then Liszt played for them. + +This Remenyi was our own "Ol' Man Remenyi," who passed over only a year +or so ago. I wonder if he was Ol' Man Remenyi then! He never really was +an old man, and that appellation was more a mark of esteem than anything +else--a sort of diminutive of good-will. I met Remenyi at Chautauqua, +where he spent a month or more in Eighteen Hundred Ninety-three. He gave +me my first introduction to the music of Brahms, of whom he never tired +of talking. He considered Brahms without a rival--the culminating flower +of modern music; and if the Ol' Man slightly exaggerated his own +influence in bringing Brahms out and presenting him to the world, I am +not the one to charge it up against his memory. + +In explaining Brahms and his music, Remenyi used to grow animated, and +when words failed he would say, "Here, it was just like this"--and then +he would seize his violin, the bow would wave through the air, and the +notes would tell you how Brahms transposed Beethoven's "Kreutzer +Sonata" from A to B flat--a feat he never could have performed if +Remenyi had not told him how. It was Remenyi who introduced Brahms to +Joachim, and it was Joachim who introduced Brahms to Schumann, and it +was Schumann's article, "New Paths," in the "Neue Zeitschrift fur +Musik," that placed Brahms on a pedestal before the world. Brahms was +not the great man that Schumann painted, Remenyi thought, but the +idealization caused him to put forth a heroic effort to be what Clara +and Robert considered him. So it was really these two who compelled him +to push on: otherwise he might have relaxed into a mere concert +performer or a leader of some subsidized band. + +Remenyi always seemed to me like a choice antique mosaic, a trifle +weather-worn, set into the present. He used to quote Liszt as if he +lived around the corner, and would criticize Wagner, and tell of +Moescheles, Haertel, the Mendelssohns and the Schumanns, as if they +might all gather tomorrow and play for us at the Hall in the Grove. + +Recently I met dear old Herr Kappes, eighty years young, who knew the +Mendelssohns, and admired Brahms, loved Clara Schumann, and liked +Remenyi--sometimes. They were too much alike, I fear, to like each other +all the time. But the harmony is still in the heart of Herr Kappes. He +gives music-lessons, and lectures, and will explain to you just how and +where Brahms differs from Schumann, and where Schubert separates from +both. + +Herr Kappes can speak five languages, but even with them all he finds +difficulty in making his meaning clear, and at times adopts the Remenyi +plan, and will just turn to the piano and cry, "It's like this, see! +Schumann wrote it in this way"--and then the strong hands will chase the +keys down and back and over and up. "But Brahms took the motif and set +it like this"--and Herr Kappes will strike the bass a thunderous +stroke--pause, look at you, glide back and down, up and over, and you +are carried away in a swirl of sweet sounds, and see a pink face framed +in its beautiful aureole of white hair. You listen but you do not "see" +the fine distinctions, because you do not care--Herr Kappes is all there +is of it, so animated, so gentle, so true, so lovable--because he used +to pay court to Fanny Mendelssohn and then transferred his affections to +Clara Schumann, and now just loves his art, and everybody. + + * * * * * + +Schumann's article, "New Paths," at once determined Brahms' career. He +must either live up to the mark that had been set for him--or else run +away. + +I give below an extract from Robert's estimate of Brahms and his work: + + Ten years have passed away, as many as I formerly devoted to the + publication of this paper--since I have allowed myself to commit my + opinions to this soil so rich in memories. Often in spite of an + overstrained productive activity, I have felt moved to do so; many + new and remarkable talents have made their appearance, and a fresh + musical power seemed about to reveal itself among the many aspiring + artists of the day, even if their compositions were only known to + the few. + + I thought to follow with interest the pathways of these elect; + there would--there must--after such a promise, suddenly appear one + who should utter the highest ideal expression of the times, who + should claim the mastership by no gradual development, but burst + upon us fully equipped, as Minerva sprang from the brain of + Jupiter. And he has come, this chosen youth, over whose cradle the + Graces and Heroes seem to have kept watch. + + His name is Johannes Brahms; he comes from Hamburg, where he has + been working in quiet obscurity, instructed by an excellent, + enthusiastic teacher in the most difficult principles of his art, + and lately introduced to me by an honored and well-known master. + His mere outward appearance assures us that he is one of the + elect. + + Seated at the piano, he disclosed wondrous regions. We were drawn + into an enchanted circle. Then came a moment of inspiration which + transformed the piano into an orchestra of wailing and jubilant + voices. There were sonatas, or rather veiled symphonies, songs + whose poetry revealed itself without the aid of words, while + throughout them all ran a vein of deep song-melody, several pieces + of a half-demoniacal character, but of charming form; then sonatas + for piano and violin, string quartets, and each of these creations + so different from the last that they appeared to flow from so many + different sources. Then, like an impetuous torrent, he seemed to + unite these streams into a foaming waterfall; over the tossing + waves the rainbow presently stretches its peaceful arch, while on + the banks butterflies flit to and fro, and the nightingale warbles + her song. + + Whenever he bends his magic wand towards great works, and the + powers of orchestra and chorus lend him their aid, still more + wonderful glimpses of the ideal world will be revealed to us. + + May the Highest Genius help him onward! Meanwhile another + genius--that of modesty--seems to dwell within him. His comrades + greet him at his first step in the world, where wounds may, + perhaps, await him, but the bay and the laurel also; we welcome + this valiant warrior! + +Robert Schumann had been before the public as essayist, poet, pianist +and composer for twenty years. He had given himself without stint to +almost every musical enterprise of Germany, and his sympathy was ever on +tap for every needy and aspiring genius. You may give your purse--he +who takes it takes trash--but to give your life's blood and then hope +for a renewal of life's lease, is vain. + +The public man owes to himself and to his Maker the duty of reserve. + +The desert and mountain are very necessary to the individual who gives +himself to the public. That any man should so bestride the narrow world +like a colossus that the multitude must stop to gaze, and thousands feed +upon his words, is an abnormal condition. The only thing that can hold +the balance true is solitude. Relaxation is the first requirement of +strength. Watch the cat, the tiger or the lion asleep. See what complete +absence of intensity--what perfect relaxation! It is all a preparation +for the spring. + +Schumann had not sought the mountain, nor abandoned himself to the woods +in old shoes, corduroys and a flannel shirt. Now he was paying the +penalty of publicity. Virtue had gone out of him; and in the article +just quoted, there are signs that he is clutching for something. He +hails this new star and proclaims him, because in some way he feels that +the ruddy, valiant and youthful Brahms is to consummate his work. Brahms +is an extension of himself. It is a part of that longing for +immortality--we perpetuate ourselves in our children and look for them +to accomplish what we have been unable to do. + +Johannes Brahms was the spiritual son of Robert Schumann. + +In less than a year after Brahms and Schumann first met, there were +ominous signs and evil portents in the air. "Why do you play so fast, +dear Johannes? I beg of you, be moderate!" cried Robert on one occasion. +Brahms turned, and his quick glance caught the ashy face and bloodshot +eyes of a sick man. His reply was a tear and a hand-grasp. + +Soon, to Schumann, all music was going at a gallop, and in his ears +forever rang the sound of A. He could hear naught else. Tenderness, +patience, and even love were of no avail. Indeed, love is not exempt +from penalty--the law of compensation never rests. Nature forever +strives for a right adjustment. + +The richness and intensity of Schumann's life were bought with a price. +The first year after his marriage he composed one hundred thirty-eight +songs. Sonatas, scherzos, symphonies and ballads followed fast, and in +it all his gifted wife had gloried. + +But when, in Eighteen Hundred Fifty-four, Robert had, after sleepless +nights, in a fit of frenzy thrown himself into the Rhine, and had been +rescued, shattered, unable to recognize even his nearest friends--the +loyal and devoted wife saw where she herself had erred. + +Writing to Brahms she says: "I encouraged him in his work, and this +fired his ambition to do and to become. Oh! why did I not restrain that +intensity and send him away into the solitude to be a boy; to do nothing +but frolic and play and bathe in the sunshine, and eat and sleep? The +life of an artist is death. Kill ambition, my Brother!" + +Activity and rest--both are needed. The idea of the "retreat" in the +Catholic Church is founded on stern, hygienic science. Wagner's forced +exile was not without its advantages, and the "retreats" of Paganini and +the "retirements" of Liszt were very useful factors in the devolution of +their art. + + * * * * * + +For the malady that beset Robert Schumann, there was no cure save death; +his only rest, the grave. When his spirit passed away in Eighteen +Hundred Fifty-six, his devoted wife and the loyal Brahms attended him. +Owing to the insidious creeping of the disease, Schumann's affairs had +got into bad shape; and it was now left to Brahms, more than all others, +to smooth the way of life for the stricken wife and her fatherless +brood. + +The versatility and sturdy commonsense of Brahms were now in evidence. +In business affairs he was ready, decisive and systematic. And the +delicacy, tact and charming good-nature he ever showed, reveal the man +as a most extraordinary figure. Great talent is often bought at a +price--how well we know this, especially with musicians! But Brahms was +sane on all subjects. He could take care of his own affairs, lend a +needed hand with others, but never meddle--smile with that half-sardonic +grimace at all foolish little things, weep with the stricken when +calamity came; yet above it all the little man towered, carrying himself +like the giant that he was. And yet he never made the mistake of taking +himself too seriously. "I am trying to run opposition to Michelangelo's +'Moses,'" he once called to Dietrich, as he leaned out of the window in +the sunshine, and stroked his flowing beard. In his later years many +have testified to this Jovelike quality that Brahms diffused by his +presence. No one could come into his aura and fail to feel his sense of +power. Around such souls is a sacred circle--if you are allowed to come +within this boundary, it is only by sufferance; within this space only +the pure in heart can dwell. + + * * * * * + +Tolstoy in "Anna Karenina" speaks of that quiet and constant light to be +seen on the faces of those who are successful--those who know that their +success is acknowledged by the world. + +Brahms was a successful man by temperament, for success (like East +Aurora) is a condition of mind. There is no tragedy for those who do not +accept tragedy; and the treatment we receive from others is only our own +reflected thought. + +Brahms thought well of everybody, if he thought of any one at all. He +reveled in the sunshine, and everywhere made friends of children. "We +saw Brahms on the hotel veranda at Domodossola," wrote a young woman to +me in Eighteen Hundred Ninety-five, "and what do you think?--he was on +all fours, with three children on his back, riding him for a horse!" + +For many years Brahms used to make an annual pilgrimage to Italy, and +often on these tours at fairs he would fall in with Gipsy bands. At such +times he would always stop and listen, and would lustily applaud the +performance. On one such occasion, Dietrich tells, the leader recognized +Brahms, and instantly rapped for silence. He was seen to pass the +whispered word along, and then the band struck up one of Brahms' pieces, +greatly to the delight of the composer. + +He was a man of the people, and I am glad to know that he hated a table +d'hote, smiled a smile of derision at all dress-coats, had small +sympathy with pink teas, loved his friends, doted on babies, and was +never so happy as when in the country walking along grass-grown lanes in +the early summer morning, when the dew was on and the air was melodious +with the song of birds. He had a habit of going bareheaded, carrying his +hat in his hand; and on these country walks, always with bared head, he +would sing or whistle, and unconsciously in his mind the music would be +taking shape that was to be written out later in the quiet of his study. + +Brahms knew the world--not simply one little part of it--he knew it as +thoroughly as any man can, and was interested in it all. He knew the +world of workers--the toilers and bearers of burdens. He knew the weak +and the vicious, and his heart went out to them in sympathy; for he knew +his own heart and realized the narrow margin that separates the +so-called "good" from the alleged "bad." He knew that sin is only a +wrong expression of life, and reacts to the terrible disadvantage of the +sinner. + +He was interested in mechanics--bookbinding, printing, iron-working, +carpentry, and was well acquainted with all new inventions and +labor-saving devices. He knew the methods of farming, the different +breeds of cattle; he knew what soil would produce best a certain crop, +and understood "rotation." He could call the wild birds by name and +imitate their notes, and studied long their haunts and habits. That +excellent man and talented, George Herschel, in a letter to a friend +speaks of walking with Johannes Brahms along the highway, and Brahms +suddenly calling in alarm, "Look out! look out! you may kill it!" + +It was only a tumblebug, but he shrank from putting foot on any living +thing. Brahms reverenced all life, and felt in his heart that he was +brother to that bug in the dust, to the birds that chirruped in the +hedgerows, and to the trees that lifted their outstretching branches to +the sun. + +He was deeply religious--although he never knew it. All music is a hymn +of praise, a song of thanksgiving, a chant of faith. Music is a making +manifest to our dull ears the divine harmony of the universe, and thus +all music is sacred music, and all true musicians are priests, for by +their ministrations we are made to realize our Oneness with the Whole. +Through music we read the Universal. + +Music is the only one of the arts that can not be prostituted to a base +use. We hear of bad books, of the "Index Expurgatorius," and in every +State there are laws against the publication of immoral books and +indecent pictures. We also hear of orders issued by the courts requiring +certain statues to be removed or veiled, but no indictment can be +brought against music. It is the only one of the arts that is always +pure. + +Brahms realized this and felt the dignity of his office, holding high +the standard; and yet he knew that the toilers in the fields were doing +a service to humanity, just as necessary as his own. And possibly this +is why he uncovered, walking with bared head. All is holy, all is +good--it is all God's world, and all the men and women in it are His +children. + + * * * * * + +For forty-two years Brahms was the devoted friend of Clara Schumann. She +was thirteen years his senior, yet their spirits were as children +together. From the first he was to her, "Johannes," and she was "Clara" +to him. A few of their letters have been published in the "Revue des +deux Mondes," and this woman, who was a great-grandmother, and had sixty +years before captured a world, then in her seventy-fifth year, wrote to +her "Dear Johannes" with all the gentle fervor of a girl of twenty, +congratulating him on some recent success. In reply he writes back to +his "Dear Clara" in gracious banter; mentions rheumatism in his legs as +an excuse for bad penmanship; hopes she is keeping up her practise; +tells of a "Steinway Grand" that some one has sent him, and regrets that +she does not come to try it "four hands," as he has failed utterly to +get out of it alone the melody that he knows is there. + +Brahms never married--the bond between himself and Clara was too sacred +to allow another to sever or share it. And yet the relationship was so +high, so frank, so openly avowed, that no breath of scandal has ever +smirched it. + +The purity and excellence of it all has been its own apology, as love +ever should be its own excuse for being. + +For about three months every year these two friends dwelt near each +other. Together they worked, composed, sang, read, wrote and roamed the +woods. "None of Madame Schumann's children is as young as she is," +wrote Doctor Hanslick, when Clara was sixty and Johannes was +forty-seven. "With the hope of passing for her father, Brahms is +cultivating a patriarchal beard," continues Hanslick. + +In his essay on "Friendship," Emerson speaks of the folly of forcing our +personal presence on the friend we love best, and of the faith that +ideality brings. Something of this thought is shown in the letters of +Madame Schumann to Brahms, and in his to her. + +Often for six months they would not meet, he doing his work in his own +way, she doing hers, but each ever conscious of the life and love of the +other--feeding on the ideal--writing or not writing, but glorying in +each other's triumphs--lives linked first by the love of a third person, +cemented by dire calamity, and then fused by a oneness of hope and +aspiration. + +Brahms' nature was too decidedly masculine, that is to say, one-sided, +to exist without the love of woman; Clara Schumann, gentle, generous, +motherly, plastic, needed Johannes no less than he needed her. + +When Clara's spirit passed away, in May, Eighteen Hundred Ninety-six, +Brahms attended her funeral at Frankfort. Hero that he was in body and +spirit, the shock unnerved him. No rebound came--every bodily faculty +seemed to have lost its buoyancy. The doctors tried to cheer him by +telling him that he had no organic ailment, and that twenty years of +life and work were before him. He knew better, and told them so. Men do +not live any longer than they wish to. "Shall I live to see the +anniversary of her death?" asked Brahms of the doctor in March, Eighteen +Hundred Ninety-seven. "Oh, undoubtedly--you can live many years if you +only will to," was the answer. Three weeks later--on April Third--Max +Kalbrech telegraphed to Widmann, this message, "Brahms fell asleep early +this morning." + + + + + SO HERE ENDETH "LITTLE JOURNEYS TO THE HOMES OF GREAT MUSICIANS," + BEING VOLUME FOURTEEN OF THE SERIES, AS WRITTEN BY ELBERT HUBBARD: + EDITED AND ARRANGED BY FRED BANN; BORDERS AND INITIALS BY ROYCROFT + ARTISTS, AND PRODUCED BY THE ROYCROFTERS, AT THEIR SHOPS, WHICH ARE + IN EAST AURORA, ERIE COUNTY, NEW YORK, MCMXXII + + ++-----------------------------------------------------------------+ +|Transcriber's note: The index covers the complete set of "Little | +|Journeys" books. | ++-----------------------------------------------------------------+ + + +INDEX + +(_Compiled for Wm. H. Wise & Co., by John T. Hoyle, Managing Editor "The +Fra" Magazine._) + + +Abbey, Edwin A., birth of, vi, 305; + evolution of the art of, vi, 312; + work of, in the Boston Public Library, vi, 323; + studio of, vi, 322; + George W. Childs and, vi, 309; + Henry James on, vi, 311. + +Abbotsford, home of Sir Walter Scott, iv, 321. + +Abbott, John S. C., iii, 7; + his life of Napoleon, vi, 129. + +Abbott, Lyman, on H. W. Beecher, vii, 378. + +Abildgaard, the painter, Thorwaldsen and, vi, 105. + +Ability, a bucolic estimate of, viii, 173. + +Abnegation, v, 243. + +Abolition, v, 205; + in New England, vii, 408. + +Abraham, x, 19. + +_Abraham_, Rembrandt's, iv, 63. + +Abstinence, v, 248. + +_Account of the English Poets_, Addison, v, 246. + +Achievement, the price of, v, 135. + +Acton, Lord, i, 60. + +_Adam Bede_, Eliot, i, 59; v, 148. + +Adams, Brooks, _The Law of Civilization and Decay_, xii, 89. + +Adams, John, iii, 79, 251, 239; + quoted, iii, 89. + +Adams, John Quincy, mother of, iii, 143; + marriage of, iii, 145; + president, iii, 146; + member of Congress, iii, 146; + death of, iii, 146; + on business, ix, 131; + on Thomas Paine, ix, 158. + +Adams, Maude, i, p xxvii; xii, 169. + +Adams, Samuel, + letter of, to Arthur Lee, iii, 78; + politics of, iii, 80; + part of, in the Boston uprising, iii, 81; + member of the Calkers' Club, iii, 85; + as a member of the Congress of the Colonies, iii, 91; + characteristics of, iii, 94; + place in history of, iii, 95, 251; + typical Puritan, iii, 232; + quoted, iii, 240. + +Adams, Sarah Flower, v, 48. + +Addison, Joseph, iii, 60; + birthplace of, v, 239; + the perfect English gentleman, v, 239; + education of, v, 244; + travels of, v, 247; + under-secretary of State, v, 252; + Parliamentary experience of, v, 252; + meeting of, with Steele, v, 254; + his connection with the _Tatler_ and the _Spectator_, v, 254; + referred to, v, 294; + on Plato, x, 121. + +Adirondack Murray, vii, 375. + +Adler, Felix, ix, 282; + preaching of, vii, 310. + +Adolescence, Dr. Charcot on, xii, 23. + +_Adoration of the Magi_, Botticelli, vi, 70. + +Adversity, uses of, i, 110. + +Æschines, disciple of Socrates, viii, 29. + +Æschylus, ii, 28. + +_Æsthetic England_, Walter Hamilton, xiii, 272. + +Affectation, v, 238. + +_Africa_, Petrarch, xiii, 239. + +Agassiz, Louis, xi, 419; xii, 407; + Darwinism and, xii, 230; + Thoreau and, viii, 417; + compared with Disraeli, v, 338. + +Age, of enlightenment, viii, 271; + of Herbert Spencer, viii, 354; + of Michelangelo, iv, 6; + of Rembrandt, iv, 78. + +_Age of Reason, The_, Thomas Paine, ix, 157, 160, 179. + +Agitators, personality of, vii, 409. + +Agnosticism, x, 342. + +Agnostic School, the, xii, 327. + +Agriculture, Humboldt on, xii, 140. + +_Aida_, Verdi, xiv, 294. + +_Aids to Reflection_, Coleridge, v, 313. + +Alameda smile, the, viii, 365. + +Alaska, population of, iv, 128. + +Albert memorial, i, 314. + +Alcibiades, Socrates and, viii, 29; + Nero compared with, viii, 71. + +Alcott, Bronson, viii, 403; + Emerson and, viii, 405; xi, 392; +Socrates compared with, viii, 27. + +Alcott, Louisa, on the death of Thoreau, viii, 428. + +Alden, John, iii, 135. + +Alden, John B., i, p xxxv. + +Alderney, island of, i, 195. + +Aldus, on the Bellinis, vi, 253. + +Alexander the Great, iii, 119; iv, 160; + Aristotle and, viii, 93; + Diogenes and, viii, 96. + +Alexander VI, Pope, vi, 43. + +Ali Baba, i, p xv; ii, p x; vii, 189. + +Allegri, Antonio, of Correggio, vi, 232. + +Allen, Grant, educator, iv, 288; + quoted, viii, 18; + on sparrows, viii, 400. + +_All Sorts and Conditions of Men_, Besant, i, 262. + +Allston, American artist, iv, 318. + +_Almagest, The_, Ptolemy, xii, 99. + +Alma-Tadema, painter, vi, 14. + +_Almighty, The_, Rembrandt, iv, 63. + +Almsgiving, xi, 15. + +Alsatia, reference to, iii, 281. + +Alschuler, Sam, ix, 283. + +Altgeld, John P., x, 65, 111; + as an orator, vii, 22. + +Altruistic injury, law of, xi, 390. + +Amazons, the, iv, 9. + +Ambition, iii, 260; iv, 46. + +Ambrosian Library, Milan, vi, 52. + +Ambrosius, Bishop Georgius, iii, 101. + +_Amelia_, Fielding, iv, 302. + +America, art in, iv, 282; + Ary Scheffer's interest in, iv, 235; + Blue Book of, i, p vi; + famous paintings in, iv, 142; + freedom in, vi, 146; + Richard Cobden on, ix, 142; + the greatest need of, vii, 38. + +American institutions, Bruce on, iii, 75. + +American natural oil, xi, 371. + +American Revolution, Sons of, iii, 95. + +American travelers in Ireland, i, 155. + +American Undertakers' Association, i, 230. + +_Americanization of the World, The_, W. T. Stead, vi, 341. + +_American Note-Book_, Dickens, viii, 297. + +Americans in England, ii, 95. + +Amiel's Journal, vi, 273. + +Anabasis, Xenophon, iii, 119. + +Ananias and Sapphira referred to, ii, 217. + +_Anatomy Lesson, The_, Rembrandt, iv, 59. + +Anaxagoras, Greek philosopher, xii, 98, 369; + pupil of Pythagoras, x, 71; + teacher of Pericles, vii, 17; + work of, i, 343. + +Anaximander, Greek philosopher, xii, 368. + +Ancestor worship, x, 19, 59. + +_Ancient Mariner, The_, Coleridge, v, 305. + +Andersen, Hans Christian, on Thorwaldsen, vi, 93. + +Anderson, Mary, vi, 321. + +_Anecdotes of Painting_, Walpole, iv, 101. + +_Angelus, The_, Millet, iv, 281; vi, 215. + +Anglican church, Voltaire on the, viii, 297. + +Animality, vi, 71. + +_Animal Kingdom, The_, Swedenborg, viii, 194. + +Animal magnetism, x, 342. + +_Annabel Lee_, Edgar Allan Poe, xiii, 256. + +_Anna Karenina_, Tolstoy, xiv, 351. + +_Ansidei_, Raphael, vi, 29. + +Anthony, Susan B., ii, 52; + Dr. Buckley's opinion of, i, 135. + +Anti-Corn-Law League, the, ix, 147, 236. + +Anti-Masonic party, iii, 266. + +Antisthenes, the Cynic, friend of Socrates, viii, 28. + +Antoninus, Roman emperor, character of, viii, 120. + +Antony, Mark, Cleopatra and, vii, 63; + Cæsar and, vii, 54; + oration of, vii, 59; + death of, vii, 76. + +Antwerp, Spanish influence in, iv, 81; + Venice compared with, xiv, 224. + +A. P. A., the, iii, 265. + +Apollo referred to, i, 279. + +Apostle of negation, the American, v, 27. + +Apostle of the ugly, Beardsley, vi, 31. + +Apostolic succession, i, 114; v, 289. + +Appleton, Daniel, American publisher, ix, 58. + +Appreciation, vi, 238. + +Approbation, xiv, 81. + +Aquarellists, the, vi, 320. + +Archbold, John D., xi, 379. + +Architecture, Middle Ages in, v, 14. + +Ariosto, Ludovico, sonnet to Gian Bellini, vi, 254. + +Aristides the Just, iii, 244; + friend of Socrates, viii, 28. + +Aristocracy, iv, 242. + +Aristophanes, i, 342; + on the Pythagorean philosophy, x, 73; + on Cheropho, viii, 27; + quoted, vii, 32; + of heaven, Heine's estimate of, i, 147. + +Aristotle, xii, 99, 224, 370; + quoted, viii, 93; + the world's first naturalist, i, 341; + on happiness, viii, 82; + Leonardo compared with, viii, 91; + influence of, viii, 109; + +Kant compared with, viii, 154; + Alexander the Great and, viii, 93; + the Stagirite, viii, 86; + Plato and, viii, 88; x, 114; + the world's first scientist, xii, 265; + John Ray on, xii, 275; + Moses compared with, x, 13; + on science, xi, 386. + +Armour, Philip D., father of the packing-house industry, xi, 178; + boyhood of, xi, 167; + epigrams of, xi, 183; + David Swing and, xi, 186; + Joseph Leiter and, xi, 200; + Nelson Morris and, xi, 189; + Robert Collyer and, xi, 185; + in California, xi, 174; + business ideals of, xi, 199. + +Armstrong, Gen. Samuel C., founder of Hampton Institute, x, 198. + +Arnold, Matthew, quoted, v, 148; viii, 267; + Frederic Chopin and, xiv, 103; + Tennyson and, v, 80; + in America, x, 220; + home of, i, 218. + +Arnold of Brescia, x, 223. + +Arnold, Sir Edwin, as a lecturer, vii, 377. + +Arnold, Thomas, a teacher of teachers, x, 222; + education of, x, 226; + as head master of Rugby, x, 231; + Judge Lindsey compared with, x, 241; + parents of, x, 225; + the genius of, x, 234; + Thomas Jefferson compared with, x, 241. + +Arouet, Francois Marie, birthname of Voltaire, viii, 275. + +Arrested development, v, 72; vi, 175. + +Art, iv, 135; v, 183, 215; + definition of, i, p xl; vi, 17; + Venetian school of, vi, 255; + Wagner on, xiv, 22; + laws of, viii, 99; + for art's sake, i, 281; + roguery in, i, 241; + of the ugly, vi, 73; + of mentation, Spencer, viii, 355; + Wagner's essay on, iv, 260; + controlled by fad and fashion, iv, 220; + the Bible in, iv, 58; + the mintage of the soul, vi, 156; + evolution and, iv, 159; + the seven immortals of, vi, 244; + in the Middle Ages, vi, 17; + patriotism and, vi, 321; + sublimity and, x, 38. + +Artist, the, described, i, 132; + illustrator and, difference between, iv, 329; + Whistler on the, vi, 353; + personality of the true, vi, 178. + +Artistic conscience, the, iv, 133; vi, 177; x, 363. + +Artistic jealousy, vi, 176, 275. + +Artistic roustabouts, vi, 300. + +Artists, two classes of, iv, 49; + as teachers, iv, 53. + +Asbury, Francis, Methodist missionary, ix, 50. + +Asceticism, v, 105, 124, 235; + sensuality and, vi, 91. + +Aspasia, wife of Pericles, vii, 26; + Socrates and, vii, 32; viii, 20. + +Asser, father of English history, x, 139. + +_Assumption, The_, Titian, iv, 151, 167. + +Astor, John Jacob, boyhood of, xi, 205; + as a fur-trader, xi, 211; + prophecies of, xi, 213; + marriage of, xi, 214; + Thomas Jefferson and, xi, 221; + Fitz-Greene Halleck and, xi, 227. + +Astoria, history of, xi, 221. + +Astrology as a profession, xii, 184; + astronomy and, xii, 97; + Dean Swift's ridicule of, i, 149. + +Astronomy, Chinese, xii, 97; + the study of, xii, 176. + +Astuteness, John Fiske on, viii, 250. + +_As You Like It_, Shakespeare, v, 119. + +Atavism, vi, 97. + +Athens, i, 321; iv, 13; + climate of, viii, 28; + decline of, iii, 232. + +Atterbury, Bishop, reference to, i, 124. + +Attila, i, 238. + +Auburn, village of, i, 283. + +Audubon, the naturalist, v, 133. + +Augustus, age of, ix, 94; + the boast of, viii, 48. + +Austen, Jane, novels of, ii, 247; + family of, ii, 243; + home of, ii, 249; + friends of, ii, 254; + characters of, ii, 253; + referred to, v, 294. + +Austin, Hon. James T., attorney-general of Massachusetts, vii, 407. + +Australia, animals of, xii, 388. + +Authors, favorite, vi, 244; + troubles of, v, 308. + +Autobiography, xiii, 313. + +_Autobiography_, J. S. Mill, xiii, 153. + +Avon, the river, i, 301. + +Aztecs, the, vi, 70. + + +Babel, tower of, iv, 115. + +Bacchus, Michelangelo's statue of, iv, 19. + +Bachelors, classification of, viii, 290; + two kinds of, xi, 325. + +Bach, Johann Sebastian, xiv, 137; + home life of, xiv, 155; + Michelangelo compared with, xiv, 137. + +Bacon, Lord, referred to, iii, 37; + Shakespeare and, vi, 47. + +Baedeker's description of Stratford, i, 312; + description of London, ii, 118. + +Baer, Karl von, xii, 371. + +_Ballad of Boullabaisse_, Thackeray, i, 241. + +Ball family, the, xi, 404. + +Ballou, Hosea, and Thomas Paine compared, ix, 184. + +Balmoral, home of Queen Victoria, iv, 324. + +Baltimore and Ohio Railroad Company, formation of, xi, 247. + +Balzac and Madame De Berney, xiii, 282; + Napoleon and, xiii, 279; + on literary reputation, xiii, 209; + Victor Hugo on, xiii, 308; + _Contes Drolatiques_, iv, 338. + +Banbury Cross, i, 301. + +Bancroft, historian, quoted, iii, 48. + +Bandello and Leonardo, vi, 50. + +Baptists, Hook-and-Eye, v, 236. + +Barbarelli, Giorgio, vi, 258. + +Barbary pirates, the, iv, 295. + +Barbecue defined, vii, 247. + +Barbers' university, a, iii, 237. + +Barbizon, hills of, iv, 339; + school, the, vi, 189; + village of, iv, 278. + +Barnabee, Henry Clay, i, p xxvii. + +Barnum and Bailey Circus, iii, 194. + +Barnum of Science, the, i, 163. + +Barnum of Theology, the, i, 163. + +Barnum, Phineas T., iv, 344; xii, 383; xiv, 90, 319. + +Barons, age of the, xi, 306. + +Barrett, Elizabeth, ii, 239; v, 58. + +Barrie, James, xiii, 11; + on the Scotch, xi, 263. + +Barr, Robert, i, p xxvii. + +Bartenders, American, vii, 214. + +Bartol, Dr. C. A., on Starr King, vii, 313. + +Bartolomeo, the friend of Raphael, vi, 23. + +Bartolomeo, the friend of Savonarola, vi, 24. + +Bashfulness, Emerson on, v, 248. + +Bashkirtseff, Marie, diary of, vi, 273. + +Bastile, iii, 72. + +Bates, Joshua, on Starr King, vii, 317. + +Bath, English watering-place, xii, 167. + +_Battle of Wad Ras_, Fortuny, iv, 219. + +Bayreuth, home of Wagner, xiv, 35. + +Beaconsfield, Earl of, quoted, v, 41. + +Bear-baiting, v, 238. + +Beard, Dr. Charles, description of Luther's trial, vii, 145. + +Beardsley, Aubrey, iv, 159; vi, 73; + the apostle of the ugly, vi, 81. + +_Beata Beatrix_, Rossetti, xiii, 270. + +Beau Brummel, ii, 197. + +Beaumont, Sir George, and the Wordsworths, i, 215. + +Beau Nash, xiii, 412; + "the King of Bath," vi, 141. + +Beauty, v, 237; xiv, 26; + intellect and, x, 277; + Greek idealization of, iv, 9. + +Beecher, Henry Ward, vi, 148; xi, 258; + boyhood of, vii, 352; + influence of, vii, 345; + a man's preacher, vii, 356; + ministries of, vii, 356; + parents of, vii, 348; + preaching of, viii, 173; + wife of, vii, 368; + Lyman Abbott and, vii, 378; + Dr. E. H. Chapin and, vii, 320; + Robert Ingersoll and, vii, 357; + Lincoln and, vii, 379; + Lincoln compared with, vii, 348; + Major Pond and, vii, 360; + Talmage compared with, vii, 359; + the Tiltons and, vii, 364; + Rufus Choate on, vii, 359; + on elocution, viii, 54; vi, 187; + on the human heart, vii, 344; + on Henry Thoreau, viii, 424. + +Beecher, Lyman, logician, vii, 348; + W. L. Garrison and, vii, 395. + +Beecher, Sarah Porter, vii, 351. + +Beechers, the, ii, 115. + +Beef-eaters, the, v, 46. + +Beethoven, Ludwig van, xiv, 234; + blindness of, viii, 346; + influence of, on Wagner, xiv, 245. + +_Beggar, A_, Rembrandt, iv, 63. + +_Beggar's Opera, The_, Gay, viii, 295. + +Beilhart, Jacob, ix, 283. + +Bellamy, Edward, iii, 261; x, 117. + +Bellini, Gentile, vi, 252; + Giovanni and, iv, 156; + the Turkish Sultan and, vi, 261. + +Bellini, Gian, vi, 252; + Mrs. Oliphant's estimate of, vi, 248; + pupils of, vi, 254. + +Bellini, Giovanni, vi, 256. + +Bellini, Jacopo, iv, 60, 99; vi, 252. + +_Bells and Pomegranates_, Browning, v, 58. + +Benedictines, ii, 23; + industry of the, x, 318. + +Bentham, Jeremy, jurist, xi, 34; + Mill on, v, 289. + +Bergerac, Cyrano de, quoted, xi, 200. + +Berlitz method, the, ii, 245. + +Bernhardt, Sara, viii, 278; xiv, 266. + +Besant, Annie, Theosophist, x, 342; + Charles Bradlaugh and, ix, 266. + +Besant, Walter, i, 262; iii, 189. + +Bessemer, Sir Henry, xi, 278. + +Beveridge, Sen. Albert J., xi, 24. + +Bible, Dore's illustrations of, iv, 388; + in art, iv, 58. + +Bibliotheke, the, i, p xxvi. + +Bigelow, Poultney, and Herbert Spencer, viii, 189. + +Bigotry, vii, 30. + +Billingsgate fish market, i, 259. + +Biographies, machine-made, ii, 17; + the writing of, vi, 129. + +Biography, Edmund Gosse on, vii, 346; + James Anthony Froude on, vii, 347; + writers of, ii, 17. + +Biology, Humboldt on, xii, 140. + +Birrell, Augustine, the English essayist, quoted, i, 143; v, 176, 218; + on George Henry Lewes, viii, 339; + on Ruskin, vi, 126. + +_Birth of Venus, The_, Botticelli, vi, 69. + +Bishop of outsiders, Henry George, ix, 69. + +Bispham, David, i, p xxvii. + +_Blacksmith, The_, Whistler, vi, 177. + +Blackstone, xii, 179; + Burke and, vii, 164; + _Commentaries_, i, 295; + referred to, i, 295. + +Blaine, James G., Roscoe Conkling and, vii, 23; + compared with Henry Clay, iii, 222. + +Blair, John, v, 163. + +Blake, Admiral, and Oliver Cromwell, ix, 332. + +Blake, Harrison, friend of Thoreau, viii, 424. + +Blake, William, birth of, ii, 124. + +Blanc, Louis, i, 56. + +Blenheim, battle of, v, 250. + +_Blessed Damozel, The_, D. C. Rossetti, ii, 123; iv, 51; v, 16; xiii, 255. + +Blessington, Lady, and Lord Byron, v, 21. + +_Blithedale Romance_, Hawthorne, viii, 402. + +"Bloody Monday" at Harvard, i, 192. + +Bloomington, Ill., birthplace of Republican Party, iii, 287. + +Blue Book of America, i, p vi. + +Blue-coat school, ii, 218. + +Blue Grass Aristocracy, iii, 212. + +Boarding-schools, viii, 369; + English, ix, 135. + +Boccaccio and Petrarch, xiii, 232. + +_Body and Mind_, Maudsley, viii, 191. + +Boer war, the, vii, 35. + +Boleyn, Anne, ii, 198. + +Bolingbroke, Viscount, vii, 168. + +Bonaparte, Joseph, i, 185. + +Bonaparte, Napoleon, ii, 267. + +Bonheur, Rosa, v, 107; xiii, 22; xiv, 267; + father of, ii, 155; + birth of, ii, 155; + Paris home of, ii, 156; + success of, ii, 150; + home of, at By, ii, 147; vi, 213; + the Barbizon School and, vi, 213. + +Book-agents, Joseph Cannon on, viii, 349. + +Book-collectors, v, 44. + +Bookmaking, early, iv, 55. + +Book of Rules, St. Benedict, x, 324. + +Bookplate, Washington's, iii, 8. + +Bookplates, iv, 120. + +Books, illumination of, i, p xxv; + Charles Lamb's love of, iv, 140; + Turner's opinion of, i, 132. + +Boone, Daniel, iii, 216. + +Borgia, Cesare, and Leonardo, vi, 43. + +Borgia, Lucrezia, i, 75; v, 216; vi, 43. + +Bossism, political, v, 186. + +Boston Ideal Opera Company, i, p xxvii. + +Boston, founding of, ix, 337; + Washington at, iii, 19. + +Boston Massacre, iii, 114. + +Boston Public Library, vi, 323. + +Boston Thursday Lecture, ix, 358. + +Boswell, i, 259; iv, 8; ix, 164; xii, 179; + biographer of Samuel Johnson, v, 145; + Goldsmith's characterization of, viii, 26; + Garrick's characterization of, viii, 26; + Reynolds and, iv, 299; + Vasari compared with, vi, 19; + quoted, i, 294. + +Botany, science of, xii, 268. + +Botticelli, Sandro, iv, 28; vi, 12, 69; + _Adoration of the Magi_, vi, 70; + appearance of, vi, 70; + Burne-Jones and, vi, 71; + George Eliot on, vi, 69; + Goldsmith compared with, vi, 70; + influence of, iv, 159; + Rembrandt compared with, vi, 69; + Simonetta and, vi, 83; + _Spring_ of, vi, 78; + _Birth of Venus_ of, vi, 69; + Walter Pater on, vi, 65. + +"Bottled Hate," i, 240. + +Bouncers described, i, 218. + +Bow-legs, vi, 308. + +Boyd, Hugh Stuart, ii, 21. + +Boys, Elbert Hubbard's love for, vi, 102. + +Bradlaugh, Charles, Annie Besant and, ix, 266; + Gladstone and, ix, 268; + Henry Labouchere and, ix, 266; + Mark Marsden and, ix, 246; + J. S. Mill and, xiii, 171; + John Morley and, ix, 271; + biography of, ix, 243; + Paine and Ingersoll compared with, ix, 243; + law practise of, ix, 256; + on the clergy, xii, 154; + services of, ix, 243; + wife of, ix, 255. + +Brahms, Johannes, and the Schumanns, xiv, 337. + +Brain power described, i, 342. + +Brain versus Brawn, vi, 51. + +Bramante, Italian architect, iv, 26. + +Brann the Iconoclast, ix, 97. + +Brantwood, i, 88. + +Brashear, John, maker of telescopes, xii, 178. + +Breathing habit, the, viii, 159. + +Breeds in birds and animals, ix, 275. + +Breton, Jules, ix, 198. + +Bridge of Sighs, Venice, iv, 150; v, 200. + +Bright, John, Robert Owen and, ix, 226; + Richard Cobden and, ix, 149, 231; + Gladstone on, ix, 238; + on the Corn Laws, ix, 216; + Sir Robert Peel on, ix, 238; + on taxation, ix, 228. + +Bright, Dr. Richard, physician, ix, 224. + +Bright's Disease, iii, 123. + +Brisbane, Arthur, x, 338. + +British Museum, origin of, i, 124. + +Broadway, the village of, vi, 319. + +Brockway methods, viii, 72. + +Bronco-busting, viii, 328. + +Bronte, Charlotte, ii, 239; + father of, ii, 98; + mother of, ii, 99; + death of, ii, 99; + home of, ii, 107; + sisters of, ii, 108; + works of, ii, 112; + Thackeray and, i, 240; + referred to, v, 294. + +Bronze, casting of, vi, 274. + +Brooke, Lord, referred to, i, 303. + +Brooke, Stopford, quoted, v, 78. + +Brook Farm, viii, 402; x, 319; + influence of the, viii, 402; + Theodore Parker and, ix, 293. + +Brookfield and Alfred Tennyson, v, 76. + +Brooklyn, Washington at, iii, 24. + +Brooks, Phillips, preaching of, vii, 309. + +Brooks, Shirley, i, 236. + +Brotherhood, of Fine Minds, the, v, 304; + of Latter-Day Swine, i, 71; + of man, ix, 133; + of Saint Luke, Antwerp, iv, 173. + +Brougham, Lord, i, 108; ii, 83: + Byron and, v, 218. + +Brown, Dr. John, xi, 264. + +Brown, Ford Madox, ii, 125; v, 18; vi, 11; + his description of Elizabeth Eleanor Siddal, xiii, 261. + +Brown, John, vii, 409; + Theodore Parker and, ix, 300; + Major Pond and, vii, 360. + +Brown, Osawatomie, vi, 148. + +Browning, Elizabeth B., date of birth, ii, 17; + early years of, ii, 19; + mother of, ii, 19; + father of, ii, 20; + education of, ii, 21; + London home of, ii, 27; + friends of, ii, 30; + meeting of, with Robert Browning, ii, 35; +marriage of, ii, 37; + Italian home of, ii, 38; + favorite book of, ix, 376; + grave of, v, 64; + influence of, on William Morris and Burne-Jones, v, 12; + quoted, iv, 5. + +Browning, Robert, i, 96, 236; ii, 109; v, 97; + appearance of, v, 40; + his ancestry, v, 41; + grave of, v, 43; + parents of, v, 44; + life of, by Mrs. Sutherland Orr, v, 40; + habits of, v, 42; + love for Lizzie Flower, v, 48; + gipsy life of, v, 51; + his friendship for Fanny Haworth, v, 56; + his meeting with Elizabeth Barrett, ii, 35; v, 58; + his marriage, v, 61; + death of, v, 65; + homage rendered his memory, v, 66; + Elizabeth Barrett and, xiv, 125; + John Stuart Mill compared with, xiii, 170; + Rembrandt compared with, vi, 67; + Wordsworth compared with, i, 222; + on spiritual advisers, viii, 174; + quoted, iii, 41; v, 62; + love of society, v, 79. + +Brown-Sequard, Dr., i, 247. + +Bruno, Giordano, xii, 47; + Luther and, xii, 54; + Sir Philip Sidney and, xii, 51; + statue of, ix, 123. + +Bryant, William Cullen, iv, 51; v, 97; xi, 258. + +Bryce, James, on American institutions, iii, 75; + on Parnell, xiii, 204. + +Buck, Dudley, on Mozart, xiv, 298. + +Bucke, Dr., friend of Whitman, i, 166. + +Bucke, Richard Maurice, quoted, xiii, 61. + +Buckingham, Duke of, iv, 115. + +Buckingham, poet, contemporary of Addison, v, 249. + +Buckle, Henry Thomas, the historian, v, 196; + grave of, i, 231; + noted, iv, 42; + quoted, iii, 60; vii, 180; + referred to, v, 289. + +Buckley, Dr., opinion of, regarding Susan B. Anthony, i, 135; ii, 52. + +Buddha, quoted, xiii, 84. + +Buffalo Bill, i, 119; ii, 149. + +Buffalo Normal School, i, p xvii. + +Buffon, French naturalist, xii, 370. + +Builder's itch, x, 313. + +Bull Run, battle of, iii, 200. + +Bulwer-Lytton, and Disraeli, v, 333; + on Verdi, xiv, 274. + +Bunker Hill, battle of, iii, 140. + +Bunsen, Robert, German chemist, xii, 351. + +Bunyan, John, and Oliver Cromwell, ix, 331. + +Buonarroti, Michel Agnola, iv, 6. + +Burbank, Luther, and Andrew Carnegie, xi, 290. + +Burgoyne, British general, iii, 168. + +_Burial of Sir David Wilkie at Sea, The_, Turner's painting, i, 138. + +Burke, Edmund, ix, 164; xii, 179; + appearance of, vii, 160; + birthplace of, vii, 159; + at Bath, xii, 169; + _English Settlements in North America_, vii, 172; + Blackstone and, vii, 164; + Frances Burney and, vii, 161; + Charles Fox and, vii, 179; + William Gerard Hamilton and, vii, 174; + Warren Hastings and, vii, 161; + Samuel Johnson and, v, 162; vii, 165; + Hannah More and, vii, 161; + Thomas Paine and, ix, 173; + Reynolds and, iv, 305; vii, 160, 174; + Marquis of Rockingham and, vii, 177; + Richard Shackleton and, vii, 165; + Cicero compared with, vii, 174; + Goldsmith compared with, vii, 161; + Daniel Webster compared with, iii, 204; + influence of Bolingbroke on, vii, 168; + Macaulay on, vii, 173; + on the Hessians, xi, 149; + on the Irish, xi, 335; + on Malthus, ix, 11; + _On the Sublime_, vii, 172, 318; + _The Vindication of Natural Society_, vii, 168; + on William Pitt, vii, 186; + parentage of, vii, 159; + wife of, vii, 170; + quoted, iii, 48; + referred to, i, 280; v, 188. + +Burke, John, _Peerage_, iii, 8, 210; iv, 303. + +Burne-Jones, Edward, v, 12; + avatar of Giorgione, iv, 158; + avatar of Raphael, vi, 12; + Botticelli and, vi, 71; + influence of, on Morris, v, 15; + William Morris and, xiii, 254; + marriage of, ii, 125; + referred to, iii, 150. + +Burney, Frances, ii, 183; xii, 183; + Reynolds and, iv, 299; + Jane Austen compared with, ii, 247; + Edmund Burke and, vii, 161. + +Burns, James A., ix, 283. + +Burns, Robert, worth as a poet, v, 97; + love-affairs of, v, 102; + classification of his poems, v, 103; + his moral and religious nature, v, 105; + main facts in the life of, v, 115; + as a farmer, v, 26; + Aubrey Beardsley compared with, vi, 73. + +Burr, Aaron, iv, 193; vii, 191; + member of Washington's family, iii, 166; + character of, iii, 175; + parentage of, iii, 176; + attorney-general of N. Y. State, iii, 177; + vice-president, iii, 177; + quarrel of, with Alexander Hamilton, iii, 177; + duel of, with Hamilton, iii, 179; + arrest of, iii, 180; + death of, iii, 181; + U. S. Senator, iii, 177. + +Burr, Margaret, wife of Gainsborough, vi, 139. + +Burroughs, John, x, 249; xii, 273; + Elbert Hubbard and, xii, 376; + Rousseau and, ix, 394; + Prof. Youmans and, viii, 346; + on Henry Thoreau, viii, 423; + quoted, v, 108. + +Bushnell, Uncle Billy, i, p xxv; vii, 189. + +Business, as a profession, ix, 130; + success in, xi, 355. + +Businessman, definition of a, xi, 315. + +Butler, Ben, Wendell Phillips and, vii, 388. + +Butterbriefe, vii, 126. + +_Butterfly, The_, Wordsworth, i, 214. + +Byron, Lord George Gordon, ii, 184, 306; iv, 196; v, 97, 203; + birth of, v, 203; + the true Byron, v, 204; + father of, v, 206; + mother of, v, 206; viii, 57; + life of, at Harrow, v, 211; + love-affairs of, v, 212; + birth of his poetic genius, v, 215; + admission to the House of Lords, v, 220; + travels of, v, 221; + meeting of, with Thomas Moore, v, 224; + marriage of, v, 226; + death of, v, 231; + corsair life of, i, 179; + Coleridge and, v, 310; + Disraeli and, v, 324; + Giorgione and, iv, 165; + Shelley and, v, 229; + Southey and, v, 281; + Thorwaldsen and, vi, 116; + Aubrey Beardsley compared with, vi, 73; + Shakespeare compared with, v, 204; + John Galt's life of, vi, 129; + opinion of, on painting, i, 134; + quoted, vii, 67; xiii, 226; + referred to, v, 50; v, 183; + poem of, on Thomas Moore, i, 157. + +By, village of, ii, 146. + + +Cabbages and cauliflowers, vi, 67. + +Cæsar, iv, 193; + character of, vii, 49; + Cleopatra and, vii, 44; + funeral of, vii, 58; + Mark Antony and, vii, 54; + Mark Antony on, vii, 49; + referred to, iii, 119; v, 185, 201. + +Cæsar Augustus, nephew of Julius Cæsar, x, 125. + +Caine, Hall, ii, 129. + +Calamity, vii, 318. + +Calcutta, i, 233. + +Calhoun, John C., iii, 199. + +California, ii, 241; + a land of extremes, ix, 71; + Southern, ii, 111. + +Caligula, Roman emperor, ii, 195; viii, 49. + +Calvert, William, and the Wordsworths, i, 215. + +Calvinism, iii, 80. + +Calvin, John, i, 238; ii, 183; ix, 187, 197; + referred to, v, 123; + Servetus and, ix, 201; + wife of, ix, 210. + +Cambrai, Archbishop of, ii, 54. + +Camden, N. J., description of, i, 168. + +_Campaign, The_, Addison, v, 251. + +Canada, boundary-line of, iii, 247. + +Cane-rush, a college, viii, 245; + reference to, i, 192. + +Canned life, vi, 170. + +Canning, George, referred to, v, 188. + +Cannon, Joseph, on book-agents, viii, 349. + +Canova, Antonio, sculptor, vi, 107; + Thorwaldsen and, vi, 108. + +Canute, king of England, x, 148. + +Capitol at Washington, dome of, iv, 35. + +Caprera, home of Garibaldi, ix, 121. + +_Captain, My Captain_, Whitman, iv, 262. + +Carlile, Mrs. Richard, suffragist, ix, 249. + +Carlisle, Lord, and Byron, v, 220. + +Carlyle, Thomas, i, 56; ii, 127; iv, 253; + mother of, i, 69; + father of, i, 69; + education of, i, 70; + philosophy of, i, 71; + his domestic life, i, 74; + home of, in Chelsea, i, 77; + statue of, i, 77; + Emerson and, ii, 286, vi, 155; + Simonne Evrard and, vii, 226; + eulogy of Tennyson, v, 80; + eulogy of Daniel Webster, iii, 184; + Herbert Spencer and, xii, 340; + influence of, on John Tyndall, xii, 349; + _Life of Frederick_, viii, 312; + on Oliver Cromwell, ix, 305; + on Darwin, xii, 230; + on death, xi, 407; + on John Knox, ix, 213; + on J. S. Mill, xiii, 151; + on Lord Nelson, xiii, 429; + on respectability, xi, 362; + Macaulay and, v, 182; + Milburn and, vii, 227; + quoted, iii, 40, 231; v, 85; xiii, 49; + referred to, v, 162; + remark concerning George Eliot, xiv, 95; + Taine on, viii, 312; + Jeannie Welsh and, i, 75; + his "House of Lords," ii, 57. + +Carlyle Society, the, i, 79. + +Carman, Bliss, xiv, 49. + +Carnegie, Andrew, + beneficences of, xi, 282; + boyhood of, xi, 267; + governmental experience of, xi, 276; + James Anderson and, xi, 281; + the Bessemer steel process and, xi, 278; + Luther Burbank and, xi, 290; + +Elbert Hubbard and, xi, 284; + Bill Jones and, x, 161; + the Pittsburgh bankers and, xi, 322; + Thomas A. Scott and, xi, 273; + Booker T. Washington and, xi, 290; + Lincoln compared with, xi, 295; + quoted, xi, 65; xiii, 88; + as a telegraph-operator, xi, 273. + +Carnegie Hall, i, p xxxvii; xi, 282. + +Carnegie libraries, xi, 286. + +Carnot, president, death of, i, 202. + +Carpenter, Edward, quoted, v, 101; + Walt Whitman and, x, 46. + +Carrara quarries, the, iv, 26. + +Cartesian philosophy, the, viii, 226. + +Carthage, iii, 232. + +Carus, Dr. Paul, xiv, 114; + American exponent of Monism, xii, 260. + +Casabianca, xiii, 420. + +Cassiodorus, vii, 114. + +Caste, social, xi, 139. + +Castiglione, v, 258. + +Castle Garden, iii, 131; xi, 56. + +Catholic clergy, celibacy of, i, 153. + +Catholicism, ix, 279. + +Catholics, Protestant opinions regarding, vi, 13. + +_Cato_, Addison's tragedy of, v, 260. + +_Cato's Soliloquy_, Addison, v, 234. + +Cato, suicide of, ii, 164; v, 250. + +Cats, Manx, viii, 328. + +_Cat's Paw_, Landseer, iv, 321. + +Cauliflowers and cabbages, vi, 67. + +Cause and effect, viii, 270. + +Caveat emptor, xi, 11. + +Cazenovia creek, i, p xxiv. + +Cebes, disciple of Socrates, viii, 29. + +Celibacy of the Catholic clergy, i, 153. + +Cellini, Benvenuto, boyhood of, vi, 277; + Michelangelo and, vi, 281; + Tasso and, vi, 282; + Torrigiano and, vi, 281; + Vasari and, vi, 288; + life of, in Pisa, vi, 279; + personality of, vi, 273; + in prison, vi, 289; + The _Perseus_ of, vi, 291. + +Centennial Exposition, Philadelphia, i, 329. + +Central Music Hall, Chicago, i, p xxxvii. + +Cerebrum, fatty degeneration of the, vi, 20. + +Cervantes, i, 317; vi, 50. + +Chaillu, Paul du, xii, 382. + +_Chains of Slavery, The_, Marat, vii, 220. + +Chair, the Morris, v, 21. + +Chalmers, Hugh, i, p vi. + +Channel Island boats, i, 195. + +Channing, William Ellery, xiii, 238; + Thoreau and, viii, 397. + +Chapin, Dr. E. H., and Beecher, vii, 320; + on Starr King, vii, 316. + +Character, Cobden on, ix, 139; + Socrates on, viii, 27. + +Charcot, Dr., on adolescence, vii, 353; + quoted, xii, 23. + +Charity, v, 238; xi, 304. + +Charles Albert of Piedmont, ix, 118. + +Charles I, King of England, iv, 114; + execution of, ix, 332. + +Charles V, Emperor of Germany, vii, 144. + +Charles X, King of France, i, 191. + +Charles XII of Sweden, equestrian statue of, vi, 99. + +Charlestown, burning of, iii, 140. + +Charmides, disciple of Socrates, viii, 29. + +Charm of manner, xi, 317; xiii, 42. + +Charon, referred to, v, 97. + +Charterhouse School, i, 233. + +Chateaubriand, quoted, iv, 258. + +Chateauneuf, Abbe de, Voltaire and, viii, 278. + +Chatham, Lord, referred to, i, 151; + quoted, iii, 93; + Daniel Webster compared with, iii, 204. + +Chatterton, Thomas, v, 97. + +Chaucer, i, 110; v, 14. + +Chautauqua, i, p xxxviii. + +Chavannes, Puvis de, vi, 323. + +Chelsea, i, 61; i, 77. + +_Chemistry of a Sunbeam, The_, Youmans, viii, 347. + +Cheropho, disciple of Socrates, viii, 26. + +Chesterfield, letter of Johnson to, v, 144. + +Chiaroscuro, Rembrandt's ideas of, iv, 57. + +Chicago, as an art center, iv, 142. + +Chicago Convention, nomination of Lincoln at, iii, 304. + +Chicago Fair, the, iv, 60. + +Chicago fire, the, Fortuny's contribution to the sufferers of, iv, 218. + +_Childe Harold_, Byron, v, 200, 224; + _Contarini_ compared with, v, 332. + +Child, evolution of the, vi, 196; xii, 279. + +Childhood, impressions of, iv, 341. + +Child-labor, xi, 23. + +Child, Professor, and William Morris, v, 30. + +Children, diseases of, xi, 137; + education of, xi, 173; ix, 224; + God-given tenants, vi, 313; + Macaulay's love of, v, 193; + sorrows of, x, 157. + +Childs, George W., vi, 318; + Abbey and, vi, 309. + +_Child's History of England_, Dickens, i, 248. + +China, astronomers of, xii, 97; + Edward Carpenter on, x, 46; + future of, x, 43. + +Chivalry, v, 249. + +Choate, Rufus, on Beecher, vii, 359. + +_Choir Invisible, The_, George Eliot, i, 48. + +Chopin, Frederic, Aubrey Beardsley compared with, vi, 73; + Giorgione and, vi, 254; + mother of, xiv, 88; + Stephen Crane compared with, xiv, 81. + +_Christ at Emmaus_, Rembrandt, vi, 66. + +Christian astrology, xii, 97. + +Christian dogma, Ingersoll on, vii, 257. + +Christianity, ii, 195; + evolution in definition of, vi, 146; + freethought and, xii, 151; + paganism and, vi, 224; vii, 49; ix, 276; + primitive, ix, 19. + +Christian Science, ix, 19; x, 329, 336; + orthodox Christianity and, x, 372; + Transcendentalism and, viii, 404. + +Christian Scientists, characteristics of, x, 329. + +Christian Socialists, v, 22. + +Christ life, the, ii, 201. + +Chromos, v, 33. + +Chrysalis, the, v, 175. + +Church, divine authority of, i, 111; + Martin Luther on the, vii, 131; + a menace, ix, 182; + the mother of modern art, iv, 18; + State and, xiv, 231. + +Churches as trysting-places, xiii, 122. + +Churchill, Winston, vii, 21. + +Cicero, on Mark Antony, vii, 61; + referred to, v, 162, 185; + +Cigarette habit, the, iv, 108; + x, 204. + +Cimabue, Giovanni, Florentine painter, vi, 21. + +Cincinnatus, Roman patriot, xiii, 85. + +Circuit-rider, the, ix, 42. + +City slums, ix, 83. + +Civilization, ii, 193; + the badge of, xi, 296; + English, x, 134; xiii, 52; + the problem of, xii, 221; + problems of, xii, 155; + savagery and, iv, 263. + +Clairvoyant, the, viii, 174. + +_Clarissa Harlowe_, Richardson, iv, 302. + +Clarke, Mary Cowden, ix, 285. + +Clarkson, Thomas, and the Wordsworths, i, 215. + +Class-day poets, vi, 325. + +Classic art, xiv, 252. + +_Classification of Animals_, Huxley, xii, 327. + +Claudius, Roman emperor, viii, 49; + James I compared with, viii, 58. + +Clay, Henry, iii, 269; + ancestry of, iii, 209; + home of, iii, 212; + education of, iii, 218; + as a lawyer, iii, 219; + member of the Fayette County bar, iii, 220; + U. S. Senator, iii, 220; + speaker of the House, iii, 220; + as an agitator, iii, 221; + as an orator, iii, 222; + monument of, iii, 226. + +Clemens, Samuel L. (Mark Twain), i, 164; + H. H. Rogers and, x, 110; xi, 389. + +Clement VII, Pope, iv, 31. + +Cleopatra, death of, vii, 77; + Julius Cæsar and, vii, 44; + Mark Antony and, vii, 63. + +Clergymen, + the children of, v, 294; + orthodox, iii, 81. + +Clergy, Voltaire's contempt for, viii, 280. + +Cleveland, as an art center, iv, 142. + +Cleveland, Grover, xii, 238. + +Clinton, De Witt, iii, 239, 263; xiii, 185. + +Cobbett, William, and Thomas Paine, ix, 161, 167. + +Cobden, Richard, ii, 83; v, 30; + on America, ix, 142; + John Bright and, ix, 149, 231; + Disraeli's criticism of, ix, 140; + influence of, ix, 127; + John Morley on, ix, 140; ix, 153; + on boarding-schools, ix, 135; + on the moral power of England, ix, 126; + Lord Palmerston on, ix, 152; + Sir Robert Peel and, ix, 150; + political life of, ix, 146; + Arthur F. Sheldon and, ix, 138. + +Cobden-Sanderson, T. J., + partner of William Morris, v, 30; + wife of, ix, 234. + +Code duello, the, i, 276. + +Cohen, origin of name, x, 30. + +Coke, Sir Edward, ix, 313. + +Coleridge, Hartley, v, 274. + +Coleridge, Samuel Taylor, ii, 221; + his place as a philosopher, v, 289; + birth of, v, 294; + parents of, v, 294; + precocity of, v, 295; + education of, v, 297; + fame of, as a poet, v, 301; + home of, in the Lake District, v, 303; + marriage of, v, 302; + friendship of Dorothy Wordsworth for, v, 304; + his literary work, v, 307; + physical and mental breakdown of, v, 309; + death of, v, 310; + the creator of the higher criticism, v, 314; + _Aids to Reflection_, v, 313; + _The Ancient Mariner_, v, 305; + Byron and, v, 310; + Dr. Gillman and, v, 309; + Keats and, v, 310; + Harriet Martineau and, ii, 83; + Shelley and, v, 310; + Josiah Wedgwood and, v, 305; + Mary Wollstonecraft and, xiii, 102; + the Wordsworths and, i, 212, 216; + cited, ii, 220; + Dore's illustrations of the works of, iv, 338; + estimate of Jane Austen, ii, 254; + Mill on, v, 289; + Principal Shairp on, v, 314; + Mary Lamb and, ii, 220. + +Collecting and collectors, iv, 119. + +Colleges, in America, xii, 244; + the small college, x, 240; + education, worth of, iv, 128; + college training, xii, 241; + Thoreau on, viii, 397. + +Collins, William, on Dean Swift, i, 151; + referred to, iii, 37. + +Collyer, Rev. Robert, James Oliver and, xi, 79; + Philip D. Armour and, xi, 185. + +_Cologne--Evening_, Turner's painting, i, 135. + +Colonia Agrippina, viii, 67. + +Colonial "broadsides," ix, 74. + +Colosseum, Rome, i, 317. + +_Colosseum, The_, Corot, vi, 188. + +Columbus, Christopher, vi, 50; xii, 144. + +Comedy, v, 240. + +Come-outers, ii, 189; ix, 318. + +Comets, iv, 331. + +Commerce, Cobden on, ix, 128; + Emerson on, ix, 130. + +_Common Sense_, Thomas Paine, ix, 157. + +Communists, classes of, xi, 42. + +Companionship, xiv, 110; + spiritual, v, 227. + +Compasses, proportional, xii, 64. + +_Compensation_, Emerson's essay on, xii, 261. + +Compensation, law of, ii, 238; iv, 226; vii, 349; xi, 149; xiv, 41. + +Competition, xiii, 247; + co-operation and, v, 23. + +Complacency, i, 237. + +_Compromise_, Morley, vii, 17. + +Comte, Auguste, ii, 86; + marriage of, viii, 250; + insanity of, viii, 255; + teachings of, ii, 86; + Clothilde de Vaux and, viii, 264; + Benjamin Franklin and, viii, 246; + Harriet Martineau and, viii, 257; + John Stuart Mill and, viii, 257; + Napoleon and, viii, 242; + Saint Simon and, viii, 247, 277; + Alexander von Humboldt and, viii, 254. + +_Comus_, Milton, v, 137. + +Condorcet, Marquis de, viii, 241. + +Confessional, the, iv, 339; + need of, v, 86. + +_Confessions_ of St. Augustine, vi, 273. + +_Confessions_, Rousseau, i, 55; ix, 376. + +Confidence, v, 238. + +Confucius, Emerson compared with, x, 51; + Socrates compared with, x, 50, 60; + contemporaries of, x, 44; + influence of, x, 43; + mother of, x, 59; + Lao-tsze and, x, 63. + +Congregationalism, ix, 279. + +Congregational singing, vii, 338. + +Congregational societies, ix, 297. + +Congreve on Addison, v, 252; + Voltaire and, viii, 295. + +_Coningsby_, Disraeli, v, 341. + +_Conjugal Love_, Swedenborg, viii, 191. + +Conkling, Roscoe, as an orator, vii, 22. + +Conklin, James C., friend of Lincoln, iii, 288. + +Connecticut policy, the, v, 173. + +Connecticut, Washington on, iii, 27. + +_Connestabile Madonna_, Raphael, vi, 27. + +Conotancarius, Indian name of Washington, iii, 17. + +Consanguinity, v, 295. + +Conscience, the artistic, iv, 133. + +Constable, the English painter, iv, 318; + influence of, on Corot, vi, 201. + +Constant, Benjamin, writer and politician, ii, 178. + +Constantine the Great, xi, 131; + composite religion of, ix, 279. + +_Contarini Fleming_, Disraeli, v, 324. + +_Contes Drolatiques_, Dore's illustrations of, iv, 338. + +Convent life, advantages of, vi, 227. + +_Conversations_ of Meissonier, iv, 118, 140. + +_Conversion of St. Paul_, Michelangelo, iv, 34. + +Conway, Rev. Moncure D., ix, 243; + life of Thomas Paine by, xi, 100. + +Cook, Captain, ix, 164; xi, 214. + +Cook's tourists, i, 100; v, 284. + +Co-operation, ix, 225; + competition and, v, 23. + +Co-operative stores, xi, 47. + +Cooper, Peter, America's first businessman, xi, 233; + as a glue-manufacturer, xi, 244; + as an inventor, xi, 245; + boyhood of, xi, 237; + marriage of, xi, 242; + public services of, xi, 253; + Benjamin Franklin compared with, xi, 234; + Cyrus W. Field and, xi, 235; + Matthew Vassar and, xi, 242; + R. G. Ingersoll and, xi, 259. + +Cooper Union, the, xi, 255; + Faneuil Hall compared with, xi, 258. + +Copernicus, Nicholas, parentage of, xii, 101; + epitaph of, xii, 120; + at Frauenburg, xii, 111; + Columbus and, xii, 107; + +King Sigismund of Poland and, xii, 112; + Novarra and, xii, 104; + Pythagoras compared with, x, 92; + the teachings of, xii, 49. + +Copley, the Boston artist, iv, 304. + +Copperheads, definition of, iii, 287. + +Coquetry, flirtation and coyness, differentiated, xiii, 235. + +Corday, Charlotte, i, 75; + assassination of Marat by, vii, 227. + +_Coriolanus_, Shakespeare, i, 317. + +Corn Laws, John Bright on the, ix, 216. + +Cornwall, Barry, v, 55. + +Cornwallis, General, Washington's friendship for, iii, 27; + monument of, i, 314; + quoted, iii, 242. + +Corot, Camille, iv, 339; + early efforts of, vi, 187; + compared with other painters of the Barbizon School, vi, 217; + good-nature of, vi, 198; + friend of Millet, iv, 281; + landscapes of, vi, 137; + life of, at Barbizon, vi, 212; + parents of, vi, 193; + poetical character of, vi, 204; + style of, vi, 214; + Constable, the English painter, and, vi, 201; + Claude Lorraine and, vi, 201; + Achille Michallon and, vi, 198; + Jean Francois Millet and, vi, 213; + George Moore and, vi, 205; + Turner compared with, vi, 189; + Walt Whitman compared with, vi, 190; + letter to Stevens Graham, vi, 187, 205; + at the siege of Paris, vi, 190; + tribute to his mother, vi, 198. + +Corporal punishment, v, 75. + +Correggio, iv, 99; + Leonardo and, vi, 233; + John Ruskin and, vi, 222; + place of, among artists, vi, 244; + "putti" of, vi, 240; + _The Day_, vi, 222; + Ludwig Tieck on, vi, 220. + +Correggio, village of, vi, 236. + +Correlation of forces, law of, xii, 272. + +Cortelyou, George B., xi, 181. + +Corwin, Tom, on Mexico, xi, 149. + +Cosmic consciousness, vii, 292. + +Cosmic urge, the, x, 304. + +_Cosmos_, Humboldt, xii, 159. + +_Cotter's Saturday Night_, Burns, i, 69; v, 104. + +Cotton, Rev. John, ix, 294; ix, 338. + +Country, advantages of, ii, 239; + liberty of the, iii, 280; + life in the, xi, 171. + +_Country Doctor, The_, Balzac, xiii, 276. + +Courage, v, 174; vi, 25. + +Courtesy compared with genius, ii, 49. + +_Courtier_, Castiglione, v, 258. + +Covenant, of grace, ix, 346; + of works, ix, 346. + +Covetousness, v, 238. + +Cowden-Clarke, Mary, ii, 233. + +Cowley's _Elegy on Sir Anthony Van Dyck_, iv, 172. + +Craik, Dr., Washington's acquaintance with, iii, 26. + +Crane, Stephen, ii, 253; xiv, 80; + Aubrey Beardsley compared with, vi, 73; + Frederic Chopin compared with, xiv, 81; + Chancellor Symms and, v, 300. + +Cranks, v, 111. + +Crapsey, Dr. Algernon S., on truth, xi, 319. + +Crassus and Pompey, vii, 50. + +Crawford, Captain Jack, x, 249. + +Creation, Christian view of, xii, 98. + +Cremation, i, 230. + +"Cretinous wretch," i, 95. + +Crimean war, Dore's illustrations of, iv, 338. + +_Crisis, The_, Winston Churchill, vii, 21. + +_Crisis, The_, Thomas Paine, ix, 159. + +Criticism, Johnson on, v, 147. + +_Critique of Pure Reason_, Kant, viii, 169. + +Crito and Socrates, viii, 28, 35, 37. + +Crivelli, Lucrezia, Leonardo's painting of, vi, 54. + +Cromwell, Oliver, i, 81; + at the execution of Sir Walter Raleigh, ix, 309; + Thomas Carlyle on, ix, 305; + Paul Jones compared with, ix, 331; + mother of, ix, 317; + Parliamentary experiences of, ix, 313; + parents of, ix, 305; + referred to, i, 303; + rule of, ix, 332; + Shakespeare and, ix, 307. + +Cromwell, Richard, ix, 334. + +Crookes tube, viii, 359. + +Crosby, Ernest, viii, 53. + +_Crossing of the Bar_, Tennyson, v, 90. + +Crotona, Italy, home of the Pythagorean School, x, 84. + +_Crucifixion of St. Peter_, Michelangelo, iv, 34. + +_Crucifixion, The_, Rubens, iv, 102. + +Cryptograms, vi, 65. + +Culture, vii, 314; ix, 191; + the pursuit of, viii, 104; + religion of, ix, 188, 192. + +Cunningham, Allan, on Gainsborough, vi, 131. + +Curie, Madame, Herbert Spencer and, viii, 359. + +Curtis, George William, ii, 39, 286; v, 254; vii, 409; + as an orator, vii, 314; + Brook Farm and, viii, 402; + +Lincoln and, i, 165; + Lowell on, viii, 87. + +Custom, tyranny of, v, 205. + +Cynicism, i, 240. + + +Dalton, Richard, and Reynolds, iv, 306. + +Damascus, iii, 41. + +Damocles, the sword of, v, 184. + +Damrosch, Walter, xi, 282; + on Handel, xiv, 253; + and Wagnerian opera, xiv, 26. + +Dana, Charles A., v, 254; + and Brook Farm, viii, 402. + +Dancing, v, 236. + +Daniels, George H., i, xxx; + James Oliver and, xi, 82; + Rev. Thomas R. Slicer compared with, xi, 83. + +Dante, i, 113, 317; ii, 61; iv, 23, 120; + referred to, v, 83; + on Aristotle, viii, 109; + Archdeacon Farrar on, xiii, 138; + Galileo on, xii, 60; + Longfellow on, xiii, 110; + Dore's illustrations of the works of, iv, 338; + father of modern literature, xiii, 139; + his description of Beatrice, xiii, 120; + influence of, on Milton, xiii, 137; + meeting of, with Beatrice, xiii, 127; + Hamlet compared with, xiii, 126; + Walt Whitman compared with, i, 170. + +Danton, ii, 265; + Marat and, vii, 224; + Thomas Paine and, ix, 172. + +Dartmouth College case, iii, 202. + +Dart, the almanac-maker, Franklin on, i, 150. + +Darwin, Charles, Benjamin Disraeli and, vi, 341; + Asa Gray and, xii, 198; + Professor Henslow and, xii, 206; + Alfred Russel Wallace and, xii, 223, 372; + Emerson compared with, xii, 203; + Huxley compared with, xii, 313; + Huxley on, xii, 198; + Swedenborg compared with, viii, 179; + quoted, ii, 97; iv, 46; + referred to, v, 174, 289; xi, 370; xiii, 78; + on Sir Isaac Newton, xii, 34; + voyage in the _Beagle_, xii, 210; + wife of, xii, 216. + +Darwin, Dr. Erasmus, on the study of medicine, xii, 203. + +Daubigny, Charles Francois, French landscape painter, iv, 129, 281. + +Daughters of the Revolution, xi, 146. + +Daumier, friend of Meissonier, iv, 129. + +Davenant, Sir William, and Leonardo compared, vi, 48. + +_David Copperfield_, Dickens, i, 251. + +David, Jacques Louis, French historical painter, iv, 229. + +_David_, Michelangelo, iv, 23, 102. + +Davidson, John, his dedication of a book, vi, 331. + +Davis, David, judge, nominator of Lincoln, iii, 288. + +Davis, Jefferson, i, 112; iii, 293. + +Davitt, Michael, xiii, 185. + +Davy, Sir Humphry, vi, 149; + Michael Faraday and, xii, 352; + the Wordsworths and, i, 215. + +_Dawn_, Michelangelo, vi, 32. + +_Day, The_, masterpiece of Correggio, vi, 222. + +Dead Sea, the, iii, 40. + +Death, Carlyle on, v, 85; + Johnson's dread of, v, 167; + Whitman on, i, 175. + +Debating societies, iii, 188. + +Debs, Eugene, x, 117. + +Debtors' Prison, the, i, 253. + +Decimal monetary system, iii, 75. + +Declaration of Independence, Jefferson's part in, iii, 75. + +_De Clementia_, Seneca, ix, 201. + +Dedications, vi, 331. + +_Defense of Guinevere, The_, William Morris, v, 13. + +_Defense of Idlers, A_, Stevenson, xiii, 16. + +_Defensio Secunda_, Milton, v, 128. + +Definition, religion by, ix, 188. + +Degradation and woman, vi, 74. + +De Keyser, rival of Rembrandt, iv, 68. + +Delacroix, Ferdinand, French painter, iv, 230. + +_De l'Allemagne_, Madame de Stael, ii, 179. + +Delaroche, friend of Millet, iv, 271; + Meissonier and, iv, 136. + +Delftware, xiii, 52. + +Delices, home of Voltaire, viii, 314. + +Delilah, i, 75. + +Delium, the battle of, viii, 31. + +Delsarte, Seneca compared with, viii, 56; + quoted, iii, 121. + +Democracy, Shakespeare's limitations regarding, i, 179. + +Demosthenes, i, 248, 306; iii, 188; v, 162. + +Denominations in religion, origin of, ix, 19. + +Denslow's dandies, iv, 67. + +Dentists, v, 207; vi, 70. + +_Departure of the Pilgrims, The_, Robert Weir, vi, 343. + +Depew, Chauncey, on Scotch humor, xiii, 11; + quoted, xiv, 238. + +De Quincey, life at Dove Cottage, i, 212; + referred to, iii, 130. + +Descartes' _Meditations_, viii, 226. + +_Descent From the Cross_, Rubens, iv, 102. + +Deschaumes, friend of Meissonier, iv, 129. + +_Deserted Village_, Goldsmith, ii, 232; iii, 256; + selections from, i, 283. + +Desire, suppression of, xii, 89. + +De Stael, Madame, father of, ii, 163; + mother of, ii, 165; + appearance of, ii, 168; + charm of, ii, 169; + marriage of, ii, 171; + literary efforts of, ii, 173; + religion of, ii, 176; + exile of, ii, 181; + death of, ii, 182; + Swiss home of, ii, 183; + conflicts of, with Napoleon, ii, 180; + referred to, viii, 216. + +De Tocqueville, recipe for success, x, 319. + +Development, arrested, v, 72. + +Devotion, v, 238. + +_Devotional Exercises_, Harriet Martineau, ii, 79. + +DeWet, Christian, Boer leader, ix, 107. + +Dewey, John, x, 249. + +_Dial, The_, Thoreau's contributions to, viii, 421; + Theodore Parker's contributions to, ix, 293. + +_Dialogue, The_, Galileo, xii, 79. + +_Diana Bathing_, Rembrandt, iv, 68. + +_Diary_ of John Adams, iii, 81. + +_Diary_ of John Quincy Adams, iii, 210. + +Diaz, friend of Millet, iv, 281. + +Dickens, Charles, i, 57, 236, 248, ii, 119; v, 97; + birthplace of, i, 196; + education of, i, 248; + early life of, i, 249; + as a playwright, i, 249; + popularity of, i, 249; + American tour of, i, 250; + the London of, i, 251; + characters of, i, 267; + Robert Browning and, v, 55; + his idea of betterment, xi, 15; + Thackeray's estimate of, i, 228; + Voltaire compared with, viii, 283; + on the boarding-school, ix, 135; + on Oliver Cromwell, ix, 317; + on Preraphaelitism, xiii, 252. + +Diderot, quoted, ii, 174; + on Erasmus, x, 152; + on Rousseau, ix, 386. + +_Dido Building Carthage_, painting, i, 129. + +Diet of Worms, Luther at the, vii, 143. + +Dignity, xiv, 304. + +Dilettante Society, the, iv, 302. + +Dilettante, Whistler on the, vi, 353. + +Diminishing returns, law of, x, 308. + +Diminutives, use of, iv, 5. + +Diodati, friend of Milton, v, 127. + +Diogenes, viii, 19; + Alexander the Great and, viii, 96; + influence of, viii, 204. + +_Diotalevi Madonna_, Perugino, vi, 27. + +Diplomacy, women and, v, 114. + +_Dipsy Chanty_, Kipling's, ii, 75. + +Disagreeable girl, the, described, xiii, 113. + +Discipline, Thomas Arnold on, x, 231; + the parental idea of, vi, 160. + +Discontent, xiv, 77. + +Discord, uses of, vi, 329. + +Disestablishment, i, 114. + +_Dispute, The_, Raphael, vi, 32. + +Disraeli, Benjamin, xii, 199; + ancestry of, v, 322; + education of, v, 324; + personality of, v, 325; + literary efforts of, v, 327; + political life of, v, 331; + marriage of, v, 338; + Chancellor of the Exchequer, v, 340; + Prime Minister, v, 340; + _Coningsby_, v, 341; + _Contarini Fleming_, v, 324; + _Endymion_, v, 342; + _Lothair_, v, 342; + _Sybil_, v, 341; + _Tancred_, v, 341; + _Vivian Gray_, v, 324; + attitude toward Free Trade, v, 340; + Agassiz compared with, v, 338; + Mrs. Austen and, v, 327; + Lady Blessington and, v, 333; + Bulwer-Lytton and, v, 333; + Lord Byron and, v, 324; + Froude on, v, 326; + Mrs. Wyndham Lewis and, v, 333; + Macaulay compared with, v, 197; + Mephisto compared with, v, 320; + Thomas Moore and, v, 333; + Lady Morgan and, v, 333; + Napoleon compared with, v, 321; + O'Connell and, v, 336; + Count d'Orsay and, v, 333; + Pitt and, v, 331; + Voltaire compared with, viii, 295; + N. P. Willis on, v, 329; + Mrs. Willyums and, v, 344; + on Cobden, ix, 140; + on Charles Darwin, v, 341; + on democracy, xi, 255; + on the Established Church, xii, 155; + on initiative, xiv, 152; + on Dr. Jowett, viii, 351; + on love, xiii, 158; + quoted, iv, 160; v, 41; xiii, 408. + +Disraeli, Isaac, v, 322. + +Dissection, iv, 59. + +_Divine Comedy, The_, Dante, xiii, 134. + +Divine passion, the, ii, 36; iv, 242. + +Divine right of kings, ii, 83; v, 291. + +Divinity, idea of, vi, 49. + +Divinity of business, xi, 14. + +Division of labor, iii, 99. + +Divorce, i, 111; + Milton on, v, 130; + women and, viii, 133; + Voltaire on, viii, 290. + +Dixon, photographer of animals, ii, 125. + +_Dr. Jekyl and Mr. Hyde_, Stevenson, xiii, 27. + +Doctors, v, 203; + Kant on, viii, 162. + +_Dodo_, Edward F. Benson, i, 148. + +Dogmatism, vi, 348; x, 292. + +Dog-star, influence of, v, 103. + +_Doll's House_, Ibsen, xiii, 112. + +Don Juan, referred to, iii, 176; + Byron compared with, v, 221. + +Donnelly, Ignatius, vi, 65. + +Donniges, Helene von, xiii, 363. + +Donnybrook Fair, ix, 252; + spirit of, xii, 337. + +Dore Gallery in London, the, iv, 344. + +Dore, Gustave, early life of, iv, 332; + "the child illustrator," iv, 336; + life in Paris, iv, 338; + love for his mother, iv, 339; + ability as a musician, iv, 340; + decorated with the Cross of the Legion of Honor, iv, 340; + characteristics of his art, iv, 341; + his visit to England, iv, 344; + presented to Queen Victoria, iv, 345; + death of, iv, 346. + +Dorset, poet, contemporary of Addison, v, 249. + +Douglas, Fred, vii, 409. + +Draco, laws of, ii, 20. + +Drake, Edwin L., xi, 370. + +Drake, English admiral, iv, 81. + +Draper, J. W., historian, v, 94. + +_Dream of Fair Women, A_, Tennyson, v, 78. + +_Dream of John Ball, A_, William Morris, v, 23. + +_Droll Stories_, Balzac, xiii, 300. + +Drummond, Henry, referred to, v, 290. + +_Drum-Taps_, Whitman, i, 175. + +Drunkard's home, the, xiv, 234. + +Dryden, Addison and, v, 246; + Shakespeare and, i, 124; + his opinion of Shakespeare, i, 134. + +Duality of the human mind, i, 113. + +Duane, James, New York's first Continental Mayor, iii, 238. + +Dumas, Alexandre, iv, 249; + friend of Meissonier, iv, 126; + a negro, x, 205; + on Garibaldi, ix, 115. + +_Dunciad_, Pope, i, 179; vi, 329. + +Dunkards, the, ii, 189. + +Duplicity, evils of, vii, 371. + +Durer, Albrecht, xii, 119; vi, 259; + Martin Luther and, vii, 139; + Moses compared with, x, 37; + on Erasmus, x, 157. + +Duse, Eleanor, xiv, 127. + +Dutch, industry of, iv, 42. + +Dyer, Mary, execution of, ix, 365; + Governor Endicott and, ix, 363; + Anne Hutchinson and, ix, 359. + +Dynamic force, iv, 193. + + +Earth, early notions regarding the, xii, 92. + +East Aurora, home of Vice-Pres. Fillmore in, iii, 270; + racetracks of, xi, 291; + village of, i, p xxiv; ii, p ix. + +East India Company, the, v, 189. + +Eastlake, Sir Charles, the artist, grave of, i, 231. + +East, religion of the, ii, 18. + +_Ecce Labora_, motto of St. Benedict, x, 318. + +Eccentricities of genius, i, 97. + +Ecclesiastes, Book of, compared with Meissonier's _Conversations_, iv, 141. + +Economics, v, 94; + religion and, ix, 192. + +Economy, blessings of, iv, 289. + +_Economy of the Universe, The_, Swedenborg, viii, 194. + +Ecstasy, x, 208; + an essential of genius, iv, 253. + +Eddy, Mary Baker, characteristics of, x, 336; + founder of Christian Science, x, 329; + marriages of, x, 333; + Julius Cæsar compared with, x, 360; + Hypatia compared with, x, 280; + Jesus compared with, x, 361; + Shakespeare compared with, x, 338; + Herbert Spencer and, viii, 189; + Swedenborg and, x, 355; + Swedenborg compared with, viii, 190. + +Eden, Garden of, ii, 111; iii, 282. + +Edgeworth, Miss, Jane Austen compared with, ii, 245. + +Edison, Thomas A., ii, 238; xi, 196; xii, 21; + prophecy of, regarding 20th century, i, 320; + mother of, i, 321; + birthplace of, i, 323; + early life of, i, 324; + first invention of, i, 325; + success of, i, 328; + some inventions of, i, 329; + appearance of, i, 330; + humor of, i, 337; + position of, in history, i, 341; + age of, i, 345; + Leonardo compared with, vi, 41; + on science, xi, 386; + quoted, vi, 41. + +Editors, managing, characterized, vi, 315. + +Educated man, the, xii, 127. + +Educated men, the five greatest, i, 341. + +Education, v, 11; vii, 314; viii, 203; + of children, ix, 224; + definition of, i, 341; + formula of, x, 202; + getting an, vii, 285; + Hegel on, vii, 322; + Victor Hugo on, xi, 203; + Charles Lamb on, ii, 214; + object of, x, 200; + science of, viii, 100; + Herbert Spencer on, viii, 324; xi, 171; + John Tyndall on, xii, 346. + +Edwards, Rev. Jonathan, iii, 176; + influence of, vii, 237; + theology of, viii, 179. + +Egotism, v, 242; vi, 25. + +Egotism in literature, vi, 273. + +Egotist, the, vi, 49. + +Egyptian civilization, x, 17. + +Egypt, the cradle of mystery and miracle, x, 75; + in the time of the Pharaohs, x, 17. + +_Eighteen Hundred Seven_, Meissonier, iv, 142. + +Elba, Napoleon's exile in, ii, 181. + +_Elective Affinities_, Goethe, xiii, 228. + +Electricity, Edison regarding future of, i, 320; + Spencer's discoveries in, viii, 359. + +Electric pen, invention of, i, 329. + +_Elegy on Sir Anthony Van Dyck_, Cowley, iv, 172. + +_Elegy, The_, Gray, v, 126. + +Elemental conditions, v, 88. + +_Elementary Physiology_, Huxley, xii, 327. + +Elgin marbles, iv, 318; vi, 13; vii, 13. + +Eliot, George, ii, 239; v, 49; + early life of, i, 50; + birthplace of, i, 52; + acquaintance of, with Herbert Spencer, i, 56; + marriage, i, 57; + appearance of, i, 63; + home of, i, 63; + grave of, i, 64; + estimate of Jane Austen, ii, 254; + on Botticelli, vi, 69; + favorite book of, ix, 376; + on the art life of Florence, vi, 90. + +Elizabeth, Queen of England, iv, 81; + visit at Kenilworth, i, 304. + +Elks, Order of, x, 77. + +Ellis, Charles M., and Theodore Parker, ix, 297. + +Ellis, F. S., and William Morris, v, 29. + +Ellsworth, Oliver, chief justice, iii, 248. + +Elocution, H. W. Beecher on, vi, 187; viii, 54. + +Elzevirs, the, publishers, iv, 55, 65. + +Emancipated men, xiv, 246. + +Emancipation of women, ii, 70. + +Embankment, the London, i, 77. + +Emerald Isle, the, ii, 95. + +Emerson, Ralph Waldo, and the Brook Farm, viii, 402; + and Concord, viii, 405; + Bronson Alcott and, xi, 392; + Carlyle and, ii, 286; vi, 155; + Carlyle's letter to, iii, 184; + Darwin compared with, xii, 203; + _Essay on Compensation_, xii, 261; + Confucius compared with, x, 51; + favorite book of, ix, 376; + Hypatia compared with, x, 280; + influence of, on John Tyndall, xii, 349; + as a lecturer, v, 26; + Mazzini compared with, ix, 94; William Morris' estimate of, v, 32; + on astronomy, xii, 116; + on beauty, xiii, 211; + on commerce, ix, 130; + on eloquence, ix, 104; + on knowledge, vii, 322; + on Nature, x, 306; + on originality, xii, 407; + on Theodore Parker, ix, 301; + on Wendell Phillips, vii, 413; + on place and power, vi, 168; + on plain living, xiii, 251; + on Plato, viii, 31; + on slavery, vii, 393; + on the soul, viii, 403; + on Swedenborg, viii, 177; + on Thoreau, viii, 408; + on truth, xiv, 333; + Robert Owen and, xii, 349; + Theodore Parker compared with, ix, 279, 292; + Theodore Parker's lecture on, ix, 274; + Wendell Phillips on, xiii, 171; + quoted, i, 242, 267, 341; ii, 76, 285; iii, 108; iv, 7, 128, 259; + v, 12, 79, 98, 158, 248; vi, 65, 95; vii, 309; viii, 305; + ix, 61; x, 339; xi, 14; xiii, 89; referred to, i, p vi; + i, 55, 90, 223; iv, 253; v, 294; + Seneca compared with, viii, 56; + Shelley compared with, ii, 287; + Socrates and, viii, 16; + Thoreau and, viii, 397; + George Francis Train on, vii, 325. + +_Emile_, Rousseau, vii, 207; ix, 371; xiii, 85. + +Emilian Highway, the, vi, 226. + +Emmett, Robert, Southey to, v, 264. + +Empire State Express, i, p xxx. + +Endless punishment as a doctrine, viii, 357. + +_Endymion_, Disraeli, v, 342. + +Enemies, the uses of, xii, 18. + +Energy, example of, i, 339. + +Energy, universal, v, 123. + +England, colonies of, x, 131; + freedom in, vi, 146; + freedom of speech in, ix, 175; + Greece compared with, vii, 35; + the heart of, i, 308; + a nation of shop-keepers, ii, 207; + the people of, x, 130; + rural, ii, 240; + settlement of, by the Engles and Saxons, x, 132; + of Shakespeare, i, 301; + Spain and, in the 16th century, iv, 81. + +_English Bards and Scotch Reviewers_, Byron, v, 218; vi, 329. + +_English Idylls_, Tennyson, v, 81. + +_English Literature_, Taine, xiii, 171. + +_English Note-Book_, Voltaire, viii, 297. + +_English Settlements in North America_, Burke, vii, 172. + +_English Traits_, Emerson, viii, 297. + +Enlightenment, age of, viii, 271. + +_Enquiry Into the Present State of Polite_ _Learning in Europe_, + Goldsmith's first book, i, 293. + +Entail, law of, v, 70. + +Enthusiasm, vii, 319; x, 242. + +Environment, ii, 189; iii, 56; xiii, 215; + force of, iv, 332; + influence of, xi, 335. + +Epictetus, viii, 119; + compared with Walt Whitman, i, 170. + +Epigram, definition of, x, 52. + +Epitaphs, i, 158; iv, 86; v, 159. + +Epochs in life, three great, ix, 66. + +Epworth League, referred to, ii, 137. + +Epworth parsonage, birthplace of John Wesley, ix, 16. + +Equanimity, x, 58; xiii, 84. + +Erasmus, i, 248; x, 117; xiv, 40; + an authority on books and printing, x, 175; + the Bishop of Cambray and, x, 161; + Froben, the publisher, and, x, 173; + Melanchthon and, x, 172; + Sir Thomas More and, x, 170; + Lord Mountjoy and, x, 169; + Luther compared with, x, 152; + Diderot on, x, 152; + Albrecht Durer on, x, 157; + _In Praise of Folly_, x, 177; + intellectual pivot of the Renaissance, x, 150; + on preaching, x, 150; + quoted, vi, 46; + reference to, i, 124; v, 123; + travels of, x, 161. + +Erfurt, university of, vii, 119. + +Esoteric and exoteric, vii, 133. + +Esoterics, v, 96. + +_Essay on Education_, Herbert Spencer, viii, 324. + +_Essay on Human Understanding_, Locke, xiii, 85. + +_Essay on Mind_, E. B. Browning, ii, 29. + +_Essay on the Sublime_, Burke, vii, 318. + +_Essays of Elia_, Charles Lamb, ii, 214; v, 297. + +Etching, iv, 55, 315. + +_Etching and Dry Points_, Whistler, vi, 351. + +Etiquette, books on, v, 239. + +Etruria, home of Wedgwood pottery, xiii, 75. + +Euclid of Megara, disciple of Socrates, viii, 29. + +Eugenics of Plato, x, 118. + +Eugenie, Empress, and Rosa Bonheur, ii, 159. + +Euripides, referred to, v, 185. + +Eusebius on Aristotle, viii, 109. + +Eve, guilt of, iv, 83. + +Everett, Edward, xi, 258. + +Evolution, doctrine of, i, 135; v, 290; vi, 196; viii, 341; xii, 215. + +_Excursion, The_, Wordsworth, i, 219. + +Executive, an, defined, xi, 361. + +Exile, advantages of, viii, 60; xiv, 21. + +Exodus, the Israelitish, x, 38. + +Expense-account, working the, vi, 314. + +Expression, v, 235; vi, 58; + need of, v, 215. + + +_Fable for Critics_, Lowell, i, 179. + +Faddism, xii, 131. + +Fagging in English schools, x, 230. + +Fairy-tales, uses of, viii, 269. + +Faith, v, 238; + Wordsworth on, i, 210. + +_Fall of Wagner, The_, Nietzsche, xiv, 38. + +Falmouth, Lord, quoted, vi, 13. + +Falstaff compared with Johnson, v, 168. + +_Falstaff_, Verdi, xiv, 295. + +Fanaticism, ix, 182. + +Faneuil Hall, and Cooper Union compared, xi, 258; + Wendell Phillips' speech in, vii, 414. + +Faraday, Michael, and Sir Humphry Davy, xii, 352; + John Tyndall and, xii, 352; + John Tyndall on, xii, 334. + +Farrar, Canon, on Claudius and James I, viii, 58; + on Darwin, xii, 234. + +Fashionable society, vi, 170. + +Fate, ii, 89, 163; + masters of, ii, 17. + +Father of lies, the, i, 291. + +Faulkner, Charles Joseph, designer, v, 20. + +_Faust_, Goethe, v, 249. + +Faustus and Disraeli compared, v, 320. + +Favoritism, iii, 256. + +Fay, Amy, biographer of Liszt, xiv, 207. + +Fear, v, 173; xii, 89. + +Federal Constitution, adoption of, iii, 245. + +Fellowship, William Morris on, vi, 332. + +Fenelon, ii, 49; + Madame Guyon and, xiii, 350; + Thomas Jefferson compared with, xiii, 353; + on justice, xiv, 77. + +Ferguson, Charles, on the simple life, x, 108. + +Ferney, home of Voltaire, viii, 315. + +Feudalism, x, 320. + +F. F. V., iii, 212. + +Field, Cyrus W., xi, 235. + +Field, Eugene, xi, 80; + Francis Wilson and, v, 256. + +Fielding's _Amelia_, iv, 302. + +Field, Kate, ii, 39. + +Field, Marshall, xi, 294. + +Fields, James T., i, 251; ii, 39. + +Fifteenth century, household decorations of the, v, 18. + +Fighting-man, the eternal, vi, 164. + +Fillmore, Vice-President, iii, 270. + +Finck, Henry, on passionate love, xiv, 313. + +Fiske, John, Louis Agassiz and, xii, 407; + discoveries of, xii, 401; + Henry Drummond compared with, xii, 408; + early career of, xii, 397; + Huxley and, xii, 323; + Huxley compared with, xii, 408; + Huxley on, xii, 414; + John Morley compared with, xii, 412; + on astuteness, viii, 250; + on Darwinism, xii, 405; + on Huxley, xii, 313; + on truth, xii, 412; + on the uses of religion, xii, 413; + scientific work of, xii, 407; + _Through Nature to God_, xii, 396; + _Outlines of Cosmic Philosophy_, xii, 406. + +Fiske, Minnie Maddern, i, p xxvii. + +Fisk Jubilee Singers, i, 113. + +Fitzgerald, Lord Edward, and Thomas Paine, ix, 175. + +Fitzgerald's _Omar Khayyam_, v, 149. + +Flanders, battle-ground of Europe, iv, 82. + +Flanders, dog of, ii, 59, 66. + +_Flagellant, The_, Southey's contributions to, v, 279. + +Flattery, v, 216. + +Flaubert, Gustave, on marriage, xiv, 92. + +Flaxman and Thorwaldsen, vi, 110; + Landseer and, iv, 319. + +Fleischer, Rabbi, ix, 283. + +Flint, Austin, i, 247. + +Flirtation, coquetry and coyness, differentiated, xiii, 235. + +Floorwalker, rise of the, xi, 345. + +Florence, wonders of, iv, 56. + +Florida and Sweden contrasted, viii, 182. + +Florida cracker, the, ii, 112. + +Flowers, transplanted weeds, vi, 234; + John Wesley's love of, ix, 49. + +_Flying Dutchman, The_, Wagner, xiv, 22. + +Fontainebleau, ii, 57; iv, 278. + +Fools of Shakespeare, i, 239. + +Forestry, x, 248. + +Forgiveness, the joy of, vi, 221. + +Forrest, Edwin, actor, xi, 94. + +_Fors Clavigera_, Ruskin, i, 96. + +Forster, John, on Oliver Cromwell, ix, 321; + life of Dean Swift by, i, 143. + +Fortuny, Mariano, early life of, iv, 202; + education of, iv, 208; + life of, in Rome, iv, 213; + experience of, in Algeria, iv, 213; + compared with Meissonier, iv, 218; + leader of modern Spanish school of painting, iv, 222; + pictures by, in America, iv, 218. + +_Forum, The_, Corot, vi, 188. + +Forum, the Roman, v, 201. + +Fourier, Francois, French socialist, xii, 344. + +Fourierism, ix, 225; viii, 412. + +Four-o'clock, the, i, p xxiii. + +Fowler, Professor O. S., x, 274. + +Fox, Charles, ix, 164; + on the Hessians, xi, 149; + referred to, v, 188. + +Fox, George, as a leader, ix, 217. + +Fox, Richard, and Edmund Burke, vii, 179. + +Francesca, Piero Della, Italian painter, vi, 31. + +France, the king of, and Elizabeth Fry, ii, 188; + married women in, ii, 173; + senility of, iii, 232; + villages in, ii, 58. + +_Frankenstein_, Mary W. Shelley, ii, 305. + +Frank, Henry, ix, 184, 283. + +Franklin, Benjamin, birthplace of, iii, 33; + early literary efforts of, iii, 36; + in New York, iii, 38; + in Philadelphia, iii, 38; + meeting of, with Deborah Read, iii, 39; + marriage of, iii, 43; + public services of, iii, 48; + foremost American, iii, 50; + writings of, iii, 50; + autobiography of, xiii, 313; + Comte and, viii, 246; + Peter Cooper compared with, xi, 234; + Peter Cooper's ideal, xi, 257; + founder of the first public library in America, ix, 226; + John Jay compared with, iii, 250; + on Catholicism, x, 368; + on Harvard university, xi, 96; + on love, viii, 290; + Thomas Paine and, ix, 157, 164, 167; + peace commissioner, iii, 252; + prayer of, iii, 42; + prophecy of, regarding Dart, the almanac-maker, i, 150; + Ary Scheffer's admiration for, iv, 235; + _Poor Richard's Almanac_, i, 150; + referred to, i, 342; vi, 47; xi, 94; xii, 57, 179. + +Franklin stove, the, iii, 47. + +Frankness, v, 174. + +Frederick, Elector of Saxony, vii, 143. + +Frederick the Great, i, 81; + Voltaire and, viii, 309; + on Voltaire, ix, 387. + +Freedom, ix, 85; xiii, 85; + happiness compared with, ix, 56; + Mary Wollstonecraft on, xiii, 104; + of speech and action in England, vi, 146. + +Freeman, Edward, on King Alfred, x, 124. + +Freethought, Byron and, v, 205; + Christianity and, xii, 151. + +Free Trade, i, 114; + Disraeli's attitude toward, v, 340. + +Fremont, John C., vii, 354. + +_French Revolution, The_, Carlyle, i, 80. + +French Revolution, cause of, ix, 372. + +"Friday Afternoon, A," iii, 185. + +Friendship, v, 175, 272; ix, 18; xiv, 312; + the desire for, v, 85; + Emerson on, ii, 286; + ideal, v, 88; + Michelangelo and Vittoria Colonna, iv, 36; + a religion of, ix, 217; + striking instances of, i, 132; + wine of, ii, 21. + +Friends, Society of, ix, 217. + +Frobisher, English sea-fighter, iv, 81. + +Froebel, Friedrich, debt of, to Rousseau, ix, 371; + Herr Gruner and, x, 254; + the Von Holzhausen family and, x, 257; + influence of, viii, 204; + parents of, x, 247; + Pestalozzi and, x, 252; + philosophy of, ix, 136; + referred to, v, 211. + +Froude, James Anthony, on biography, vii, 347; + on Benjamin Disraeli, v, 326. + +Fry, Elizabeth, ancestry of, ii, 198; + religious nature of, ii, 200; + marriage of, ii, 202; + children of, ii, 202; + prison experience of, ii, 206; + continental experiences of, ii, 210; + friend of humanity, ii, 212; + message of, ix, 221; + quoted, vii, 28. + +Fugitive Slave Law, ix, 297. + +Fuller, Chief Justice, on damage cases, x, 144. + +Fuller, Margaret, and Brook Farm, viii, 402; + quoted, ix, 94. + +Fulton, Robert, xi, 21, 196, 248. + +Fulvia, wife of Mark Antony, vii, 67. + +_Fundamenta Botanica_, Linnæus, xii, 300. + +Furniture, William Morris, v, 21; + of the 15th century, v, 18. + +Furnivall, Dr., v, 40. + + +Gage, General, quoted, iii, 94. + +Gainsborough hat, the, vi, 144. + +Gainsborough, Thomas, xii, 179; + Margaret Burr and, vi, 138; + early life of, vi, 132; + Garrick and, vi, 142; + independence of, vi, 147; + landscapes of, vi, 137; + his love of country life, vi, 136; + on memory, vi, 140; + Reynolds compared with, iv, 287; + Sir Joshua Reynolds and, vi, 150; + Philip Thicknesse's life of, vi, 129; + Benjamin West and, vi, 150; + Wiltshire and, vi, 142. + +Galileo, iv, 85; + Castelli on, xii, 83; + Giordano Bruno and, xii, 56; + inventions of, xii, 64; + Leonardo compared with, xii, 56; + John Milton and, xii, 82; + "the modern Archimedes," xii, 59; + Sir Isaac Newton compared with, xii, 37; + +Pope Urban VIII and, xii, 78. + +Gallio, proconsul of Achaia, viii, 46; + St. Paul and, ix, 189. + +Galton, Sir Francis, quoted, xii, 305. + +G. A. R., iii, 258. + +Garden of Eden, ii, 111. + +Garibaldi, Joseph, ix, 93; + Julius Cæsar compared with, ix, 104; + Mazzini and, ix, 94, 101; + Savonarola compared with, ix, 124; + in South America, ix, 102. + +_Garibaldi the Patriot_, Alexandre Dumas, ix, 115. + +Garnett and Juliet, iii, p xi. + +Garrick, David, v, 155; xii, 179: xiv, 260; + on Boswell, viii, 26; + his criticism of Joshua Reynolds, iv, 301; + Gainsborough and, vi, 142; + Johnson's epitaph on, v, 159. + +Garrison, William Lloyd, iii, 259; vi, 148; vii, 221, 409; + Lyman Beecher and, vii, 395; + Henry George and, ix, 59; + Theodore Parker and, ix, 299. + +Gates, General of U. S. Army, iii, 168. + +Gautier, Theophile, i, 192; + Dore's illustrations of the works of, iv, 338; + quoted, xiii, 307. + +Gaynor, Judge, on Whistler, vi, 333. + +Genealogy, Icelandic, vi, 97. + +Geneva in the 18th century, ix, 385. + +Genius, i, 97; ii, p ix; + compared with courtesy, ii, 49; + creative, vii, 19; + definition of, iv, 329; + distinguishing work of, xii, 103; + essentially feminine, vi, 250; + formula for a, v, 12; + of the genus, viii, 250; + inspiration and, i, 134; + interesting example of, ii, 115; + madness and, vi, 286; + men of, i, 75; + Herbert Spencer on, vii, 316; + the stepping-stones of, xii, 191; + talent versus, vi, 56. + +_Gentle Art of Making Enemies, The_, Whistler, vi, 330, 351. + +Gentleman, Addison the best type of, v, 239; + Thomas Arnold's ideal of, x, 239; + the true, xii, 184. + +Geognosy, xii, 139. + +_Geographical Distribution of Animals, The_, Wallace, xii, 389. + +George, Henry, xi, 228; xiii, 93; + early life of, ix, 59; + life of, in California, ix, 62; + lecture of, before the University of California, ix, 71; + John Stuart Mill and, ix, 74; + philosophy of, ix, 57; popularity of, in England, ix, 79; + _Progress and Poverty_, ix, 73; + quoted, xiii, 186; + Ricardo compared with, ix, 80; + Professor Swinton and, ix, 76; + E. L. Youmans and, ix, 78; + John Russell Young and, ix, 78. + +George Junior Republic, the, x, 241. + +George III and William Pitt, vii, 200. + +Germanicus, Roman general, viii, 49. + +Germans, virtues of the, xi, 205. + +Germany, America's debt to, xii, 241. + +_Germ, The_, chipmunk magazine, ii, 123. + +_Gertha's Lovers_, William Morris, v, 15. + +Gettysburg, iii, 296; + speech of Lincoln at, iii, 278. + +Gettysburg Cyclorama, iv, 344. + +Ghetto, the, xi, 128; + Wolfgang Goethe on, xi, 134; + Moses Mendelssohn on, viii, 223. + +Ghirlandajo, the painter, iv, 28; vi, 21. + +Giannini's Indians, iv, 67. + +Gibbon, Edward, ix, 164; xii, 179; + love-affair of, ii, 165; + on the diplomacy of women, viii, 68; + on Judaism, xi, 131; + on Roman law, viii, 139; + on Roman religion, viii, 79; + on university education, ix, 21. + +Gibson girl, the, iv, 67; xiii, 112. + +Gilman, Charlotte Perkins, and Mary Wollstonecraft compared, xiii, 92. + +Giorgione, iv, 158; + Bellini and, vi, 258; + Shelley and Chopin compared with, vi, 254; + referred to, v, 323. + +Gipsy life, v, 51. + +Giralda of Seville, i, 317. + +Girard college, Philadelphia, iii, 202; xi, 122. + +Girardin, pupil of Rousseau, ii, 183. + +Girard, Stephen, x, 365; xi, 94; + boyhood of, xi, 101; + marriage of, xi, 113; + will of, iii, 201; + bank of, xi, 120; + Benjamin Franklin compared with, xi, 96; + at the island of Martinique, xi, 110; + Thomas Jefferson and, xi, 96; + and Maryland, xi, 321; + Thomas Paine and, xi, 97; + Walt Whitman compared with, xi, 99. + +Gladstone, William E., education of, i, 108; + appearance of, i, 109; + marriage of, i, 110; + influence of, i, 110; + home of, i, 119; + Charles Bradlaugh and, ix, 268; + Huxley and, xii, 199; + Huxley on, xii, 318; + Macaulay compared with, v, 197; + on John Bright, ix, 238; + on Benjamin Disraeli, v, 336; + on evolution, xii, 230; + on Handel, xiv, 253; + on Irish Home Rule, xiii, 204; + on Dr. Jowett, viii, 351; + on opportunity, x, 225; + on Josiah Wedgwood, xiii, 60; + Parnell and, xiii, 184, 198; + his reply to Ingersoll, x, 363; + referred to, iii, 136; + Herbert Spencer and, xii, 230. + +Glassmaking, art of, iv, 155; vi, 252. + +_Gleaners_, Millet, iv, 281. + +_Glory_, Dore's statue of, iv, 345. + +Glucose industry, the, xii, 238. + +Glynne, Sir Stephen, i, 110. + +_God Is Everywhere_, Madame Guyon, ii, 42. + +Godiva, Lady, i, 51. + +Gods in the chrysalis, v, 175. + +God, the masterpiece of, vi, 58. + +Godwin, William, ii, 291; + Robert Ingersoll compared with, xiii, 87; + _Political Justice_, xiii, 85; + Robert Southey and, xiii, 103. + +Goethe, Wolfgang, i, 63; ii, 184; + Lord Byron compared with, v, 230; + Cellini and, vi, 274; + and electricity, iii, 47; + on the Ghetto, xi, 134; + the Von Humboldts and, xii, 125; + influence of, on Thackeray, i, 233; + on marriage, ix, 383; + Mendelssohn and, xiv, 153; + Mephisto of, v, 320; + Napoleon and, xi, 151; + meeting with Napoleon, i, 165; + on Platonic love, xiii, 229; + referred to, v, 249; + Mayer Rothschild and, xi, 134, 145; + Schopenhauer and, viii, 371; + Christine Vulpius and, vi, 111. + +Goldsmith, art of the, vi, 274. + +Goldsmith, Oliver, father of, i, 281; + early life of, i, 281; + home of, i, 283; + London life of, i, 291; + acquaintance of, with Samuel Richardson, i, 291; + death of, i, 297; + simplicity of, i, 298; + Botticelli compared with, vi, 70; + Burke compared with, vii, 161; + _Deserted Village_, iii, 256; + on Boswell, viii, 26; + on Dr. Johnson, vii, 167; + on Richard Brinsley Sheridan, xii, 171; + quoted, v, 147; + referred to, i, 259, 306; ii, 232; iii, 12; v, 294; xii, 179; + Reynolds and, iv, 305, 306. + +Golgotha, ii, 53, 84. + +Gomez, carrying the message to, v, 195. + +Gondoliers, superstitions of, iv, 148; + Venetian, vi, 257. + +Good-cheer, v, 174. + +_Good-Natured Man, The_, Goldsmith, i, 272, 295. + +Gosse, Edmund, on biography, vii, 346; + on Stevenson, xiii, 42. + +Government loans, xi, 163. + +Graham, Stevens, Corot's letter to, vi, 205. + +Grammar, function of, viii, 328. + +Grasmere, i, 88, 211. + +Grattan, John, Quaker preacher, ix, 226. + +Gravitation, the law of, xii, 31. + +Gravity, spiritual, v, 241. + +Gray, Dr. Asa, xii, 231; + Louis Agassiz and, xii, 408; + Charles Darwin to, xii, 198, 232. + +Gray, Thomas, xiv, 51; + _Elegy_, iv, 302; v, 126. + +Great Awakening, the, ix, 41. + +Greatness, defined, ix, 369; + the germ of, vi, 175. + +Greece, the decline of, vii, 37; + education of women in, xii, 173; + England compared with, vii, 35; + gods of ancient, iv, 18; vii, 17; + golden age of, x, 71; + Rome and Judea compared with, x, 36; + in the time of Pericles, vii, 27. + +Greed, xii, 89. + +Greek art, rise of, vii, 12. + +Greek culture, influence of, vi, 14. + +_Greek Heroes_, Kingsley, i, 248. + +Greek-letter societies, x, 77. + +Greeley, Horace, vii, 409; xiii, 183; + on farming, xi, 387; + at Girard College, xi, 123; + influence of, vi, 155; + in prison, vi, 170; + on Sam Staples, viii, 403; + quoted, i, 200. + +Green Mountain Boys, the, xi, 308. + +Greenough, Horatio, sculptor, iii, 5. + +Gretna Green, i, 67; ii, 38. + +Grief, expression of, xiii, 268. + +Grimm, Baron, on Rousseau, ix, 386. + +Grind, the college, v, 151; viii, 183. + +Gross, Samuel Eberly, vi, 275. + +Grub Street, referred to, i, 292; + the wrangles of, viii, 249. + +Guam, isle of, i, p xxv. + +Guernsey, island of, i, 195. + +Guiccioli, Countess, and Lord Byron, v, 211, 230. + +Guilds, i, p xviii. + +_Gulliver's Travels_, referred to, i, 160; vi, 329. + +Guyon, Madame, appearance of, ii, 43; + autobiography of, xiii, 312, 315, 329, 351; + marriage of, ii, 45; + meeting of Fenelon with, ii, 50; + philosophy of, ii, 51; + home of, ii, 58; + portrait of, ii, 64. + +Gynecocracy, Spartan, vii, 32. + +_Gypsy Queen_, Rembrandt, iv, 73. + + +Haeckel, Ernst, characteristics of, xii, 246; + Charles Darwin and, xii, 252; + Goethe and, xii, 255; + Huxley compared with, xii, 248; + on monogamy, x, 305; + _The Natural History of Creation_, xii, 249; + Major Pond and, xii, 242; + _The Riddle of the Universe_, xii, 249; + Herbert Spencer compared with, xii, 257; + at the World's Freethought Convention, ix, 123. + +Hagiology, x, 362. + +Hale, Edward Everett, on O. W. Holmes, vii, 327; + on Mill's _Autobiography_, xiii, 162; + preaching of, vii, 309. + +Hale, Sir Matthew, Chief Justice of England, x, 366. + +Hallam, Arthur, v, 77. + +Hall, Stanley, x, 249; + on incentive, xii, 59. + +Hallucination, ix, 182. + +Hals, Frans, Dutch painter, iv, 68; vi, 70. + +Haman, story of, ii, 210. + +Hamerton, Philip Gilbert, vi, 50; + criticism of _The Last Judgment_, iv, 33; + quoted, i, 131, 168; iv, 116, 135. + +Hamilton, Alexander, birthplace of, iii, 156; + early life of, iii, 157; + literary skill of, iii, 157; + education of, iii, 158; + as an orator, iii, 161; + lieutenant-colonel, iii, 167; + assistant to Washington, iii, 167; + his most important mission, iii, 168; + marriage of, iii, 169; + quarrel of, with Washington, iii, 169; + secretary of the treasury, iii, 171; + Aaron Burr and, iii, 175; + death of, iii, 180; + John Jay compared with, iii, 250; + likened to Napoleon, iii, 173; + quoted, iii, 252; + referred to, iii, 235, 242; iv, 193; vii, 191; xiv, 40. + +Hamilton, Walter, on Rossetti, xiii, 272. + +Hamilton, Sir William, on Aristotle, viii, 109; + on Chinese astronomy, xii, 97. + +Hamilton, William Gerard, and Edmund Burke, vii, 174. + +Hamlet and Dante compared, xiii, 125. + +_Hamlet_, Shakespeare, i, 317; + quotation from, iv, 85. + +Hamlin Stock Farm, i, p xvii. + +Hammersmith, works of William Morris at, v, 27. + +Hampden, John, ix, 307. + +Hampton Institute, x, 193. + +Hancock, John, ancestry of, iii, 102; + early life of, iii, 108; + tour of Europe, iii, 108; + part of, in Boston Massacre, iii, 114; + suit against, iii, 115; + as an orator, iii, 115; + delegate to second congress, iii, 117; + signature of, iii, 120; + as governor of Massachusetts, iii, 121; + as treasurer of Harvard college, iii, 123; + widow of, iii, 123; + monument of, iii, 124; + grave of, iii, 124; + social position of, iii, 81. + +Handel, George Frederick, xiv, 253; + Linnæus and, xii, 300; + Walter Damrosch on, xiv, 253; + Dean Swift on, xiv, 271; + Rev. H. R. Haweis on, xiv, 250. + +Hanks, Nancy, Lincoln's love for, vii, 349. + +Happiness, xi, 137; + Aristotle on, viii, 82. + +Hare-soup, viii, 329. + +Harley, Lord, friend of Richard Steele, v, 257. + +Harmony, vi, 21; + as a life principle, x, 372. + +Harmonyites, the, xi, 42. + +Harrison, Benjamin, vii, 13, 191. + +Harrison, Frederic, xiii, 92; + Comte and, viii, 266. + +Harum, David, xii, 239. + +Hastings, Warren, ii, 244; xii, 180; + Edmund Burke and, vii, 161. + +Hate, v, 173; + Herbert Spencer on, viii, 358. + +Hat, the Gainsborough, vi, 144. + +Hawarden, i, 105. + +Hawkins, Sir John, v, 254; + _Life of Johnson_, v, 148. + +Hawthorne, Nathaniel, _Blithedale Romance_, viii, 402; + and the Brook Farm, viii, 402; + as custom-house inspector, v, 26; + on Shakespeare, i, 312; + on Thompson, the artist, viii, 190. + +Hayden, Dr. Seymour, vi, 338. + +Haydn, Joseph, Franz Liszt and, xiv, 188. + +Hay-harvest, the, v, 95. + +Hay, John, quoted, v, 149. + +Hayne, Robert, logic of, iii, 83; + speech of, iii, 198. + +Hazlitt, William, ii, 232. + +_Healing Christ_, Rembrandt, iv, 66. + +Health, v, 173; + potential power, vi, 169. + +Hearn, Lafcadio, on Japanese art, vi, 347. + +Heaven, early notions of, xii, 92; + a going home, ii, 22; + Jefferson on, iii, 54; + a locality, iii, 281; + Milton on, i, 179; + Montesquieu on, viii, 130. + +Hegel, George, German philosopher, on Aristotle, viii, 109; + on education, vii, 322. + +Heine, Heinrich, i, 147; xii, 352; + on the kingly office, x, 109; + +Mendelssohn and, xiv, 174; + on musicians, xiv, 165; + on Paganini, xiv, 54. + +Helen of Troy, vi, 61. + +Hell, Dante on, i, 179; + early notions of, xii, 92; + Johnson's fear of, v, 167; + a place, iii, 281; + a separation, ii, 22. + +Hendricks, Thomas A., vii, 13. + +_Henriade_, Voltaire, viii, 296. + +Henry, Patrick, parents of, vii, 279; + boyhood of, vii, 280; + as a merchant, vii, 282; + admitted to the bar, vii, 284; + his first great speech, vii, 287; + Governor of Virginia, vii, 204; + his remark regarding the Alleghany Mountains, xi, 223; + Samuel Adams and, iii, 91; + John Jay and, iii, 251; + Thomas Jefferson and, iii, 61; vii, 283. + +Henry VIII, king of England, iv, 188. + +Herbert, Victor, on Paganini, viii, 173. + +Hercules, iv, 102, 334. + +Herder, Johann, on Kant, viii, 169. + +Heredity, ii, 115; xiv, 140; + law of, vii, 185; viii, 57. + +Heresy and treason, ix, 24. + +Heretics, theological, x, 358. + +Hermann the magician, i, 163. + +_Hernani_, Victor Hugo, i, 189. + +Herod, i, 238. + +Herodias, i, 75. + +Herschel, Caroline, xii, 173. + +Herschel, Sir John, xii, 193. + +Herschel, William, xii, 167; + Sir William Watson and, xii, 182. + +Herschels, the, ii, 115. + +_Herve Riel_, Browning, v, 65. + +Hervey, James, colleague of the Wesleys, ix, 27. + +Hessians, the, in America, xi, 146. + +Hewlett, Maurice, on the death of Simonetta, vi, 87. + +Higginson, Thomas Wentworth, and Theodore Parker, ix, 299. + +Higher criticism, v, 314. + +Hill, James J., xi, 196, 315; + boyhood of, xi, 401; + appearance of, xi, 405; + Barbizon collection of, xi, 428; + his interest in agriculture, xi, 425; + Norman Kittson and, xi, 415; + railroad experience of, xi, 413; + Donald Smith and, xi, 422. + +Hipparchus, Greek astronomer, xii, 99. + +Hirschberg, Rabbi, on Darwinism, xii, 228. + +Hirsch, Rabbi, vii, 310. + +Historian, Macaulay on the office of, v, 172. + +History, five leading men of, i, 341; + literature and, xiii, 83. + +_History of Civilization_, Buckle, ix, 64. + +_History of England_, Macaulay, v, 196. + +_History of Virginia_, John Burke, iii, 58. + +Hogarth, bookplates of, iv, 123; + Governor Oglethorpe and, ix, 28; + the school of, vi, 79. + +Holbein, Hans, iv, 189; + bookplates of, iv, 123. + +Holland, canals of, iv, 43; + the home of freedom, viii, 209; + in the 17th century, iv, 69; + place of, in art, xiv, 223; + the name of Van Dyck in, iv, 173; + windmills of, iv, 42. + +Holmes, Oliver Wendell, ix, 285; + Emerson and, viii, 408; + Dr. Hale on, vii, 327; + on satiety, x, 309; + quoted, iv, 254. + +_Holy Family, The_, Van Dyck, iv, 184. + +Homer, i, 113, 317; ii, 21, 76; v, 185; + Gladstone on, i, 102. + +Home rule, Gladstone on, xiii, 204. + +Honesty as a business asset, ix, 132. + +Hoodlumism, i, p xvi. + +Hood, Thomas, + Dore's illustrations of the works of, iv, 338; + quoted, ii, 231. + +Hook-and-Eye Baptists, v, 236. + +Hooker, Sir Joseph, xii, 372. + +Hope, Anthony, iv, 178. + +Horace and Mæcenas, i, 179. + +Horne, Richard H., ii, 30. + +_Horse Fair, The_, Rosa Bonheur, ii, 158. + +Horseless carriage, the, xii, 21. + +Horse-sense, iii, 261. + +Horseshoes and junk, xi, 288. + +Horses, John Wesley's love of, ix, 40, 43. + +Hortense, Queen of Holland, ii, 281. + +_Hours of Idleness_, Byron, v, 218. + +Household decorations of the 15th century, v, 18. + +_House of Life, The_, Rossetti, xiii, 267. + +House of Lords, Carlyle's imaginary, ii, 57. + +Houssaye, Arsene, vi, 46. + +Howard, John, philanthropist, ii, 210. + +Howe, E. W., _Story of a Country Town_, x, 247. + +Howe, Gen., experience of Washington with, iii, 26. + +Howells, William Dean, on rhetoric, vi, 187. + +Hubbard, Alice, ii, p xi. + +Hubbard, Bert, Little Journeys Camp, iii, p vii. + +HUBBARD, ELBERT, his dream of game of "I-spy" in Kenilworth Castle, i, 52; + his experience with the butler at No. 4, Cheyne Walk, + home of Mrs. Cross, i, 61; + he witnesses a Gretna Green wedding, i, 67; + calls on Thomas Carlyle's brother in Shiawassee County, Mich., i, 70; + in the haunted house, i, 81; + interview with Ruskin, i, 92; + meets Gladstone and his wife, i, 105; + visits at Hawarden, i, 118; + visits the room in Chelsea where Turner spent his last days, i, 138; + his visit to Saint Patrick's Cathedral and the grave of Swift, i, 157; + his first and only interview with Whitman in Camden, i, 170; + his voyage from Southampton to Saint Peter Port, i, 195; + attends funeral of President Carnot, i, 202; + acquaintanceship with "Bouncers," i, 218; + visits the Lake Country, i, 218; + his interview with the gravedigger of Kensal Green Cemetery, i, 230; + his tour of Dickens' London, i, 251; + his life in an Irish cottage, i, 278; + visits the site of the Globe Theater, i, 314; + his interview with Thomas Edison, i, 331; + as a teacher, ii, p ix; + his memorial, ii, p xi; + his call at the home of the Barretts, ii, 27; + his bicycle journey from Paris to Montargis, ii, 56; + visits Cardigan Hall, ii, 100; + his experience with Yorkshire humor, ii, 105; + visits the home of the Brontes, ii, 107; + meets William Michael Rossetti, ii, 124; + his acquaintance with White Pigeon, ii, 140; + visits the home of Rosa Bonheur, ii, 147; + his description of his visit to the Chateau de Necker, ii, 103; + his argument regarding Dr. Joseph Parker, ii, 237; + courtesy of Mrs. Humphries of Overton, ii, 241; + visits the grave of Jane Austen, ii, 255; + visits the home of John Hancock, iii, 104; + eats dinner in the Adams cottage, iii, 148; + his description of a "Friday afternoon," iii, 185; + story of the English and Irish immigrants, iii, 209; + visit to Ashland, home of Henry Clay, iii, 215; + the spelling-class in the little red school-house, iii, 255; + childhood of, iii, 278; + boyhood days in Illinois, iii, 280; + his description of his participation in a pioneer funeral, iii, 283; + birth of, in Bloomington, Ill., iii, 287; + he sits in the lap of Judge Davis, nominator of Lincoln, iii, 288; + recital of events attending the death of Lincoln, iii, 300; + Copperhead experiences of, iii, 292, 301; + he visits the grave of Rubens, iv, 92; + his dislike of olives, iv, 108; + his experience in Cadiz, Spain, iv, 108; + his adventure with the little girl collector, iv, 123; + his experience in Saint Mark's Square, Venice, iv, 147; + his adventures with Enrico, the Venetian gondolier, iv, 149; + criticism of John Ruskin's literary work, iv, 166; + admiration of, for Titian's _Assumption_, iv, 168; + story regarding portrait artist in Albany, iv, 183; + his description of a Queenstown embarkation, iv, 274; + his visit to the village of Auburn, Ireland, iv, 286; + his conversation with the little girl drawing pussy cats, iv, 314; + visit to the Kelmscott Press, v, 28; + William Morris and, v, 32; + W. H. Seward and, v, 71; + experiences of, in an Ayrshire hay-field, v, 96; + his adventures with cranks, v, 111; + he visits the home of Macaulay, v, 177; + traveling experiences in Scotland, v, 265; + his adventures with White Pigeon at Grasmere, v, 269; + he visits the birthplace of Raphael, vi, 19; + he meets White Pigeon at East Aurora, vi, 39; + his sojourn in the art-gallery of Luxembourg, vi, 75; + his love for boys, vi, 102; + Augustus St. Gaudens and, vi, 117; + the Harvard "right tackle" and, vi, 174; + the grocery-store genius and, vi, 197; + his adventure with the market woman of Parma, vi, 237; + Robert Ingersoll and, vii, 255; + his experience with Boston preachers, vii, 309; + George William Curtis and, vii, 315; + his encounter with mob law, vii, 389; + Wendell Phillips and, vii, 410; + his recital of the taming of a sculptor, vii, 24; + Rev. Theodore Parker and, ix, 389; + Andrew Carnegie and, xi, 284; + his horseshoe adventure, xi, 288; + at the birthplace of H. H. Rogers, xi, 365; + H. H. Rogers and, xi, 392; + Mark Twain and, xi, 392; + J. J. Hill and, xi, 425; + his adventure with the Irish lumbermen, xii, 336; + lumbermen, xii, 336; + he meets the son of Alfred Russel Wallace, xii, 375; + John Burroughs and, xii, 376; + he loses the Mozart manuscript on a railroad-train, xiv, 299. + +Hubbard's Law, xi, 390. + +Hudson, Hendrik, viii, 45. + +Hughes, Arthur, painter, v, 20. + +Hughes, Thomas, _Tom Brown at Rugby_, x, 229. + +Hugo, Victor, parents of, i, 185; + marriage of, i, 188; + character of, i, 193; + his love of light, i, 200; + tomb of, i, 205; + wife of, v, 133; + childhood impressions of, iv, 341; + on the death of Balzac, xiii, 308; + Dore's illustrations of the works of, iv, 338; + on education, xi, 203; + on falsehood, vii, 371; + influence of, on Giuseppe Verdi, xiv, 292; + opinion of, regarding Rosa Bonheur, ii, 134; + on police officials, vi, 100; + quoted, ii, 80; + referred to, i, 306; ii, 183; iv, 230; v, 83; + on Shakespeare, i, 316; + as a stylist, ix, 388; + on the Unknown, xii, 89; + on Voltaire, viii, 320; + on Rousseau, viii, 241. + +Huguenots, described, ii, 49; + in America, ii, 77; + banishment of, from France, iii, 231; + Puritans compared with, iii, 232; + in England, ii, 77; + virtues of, iii, 231. + +_Human Comedy, The_, Balzac, xiii, 301. + +Humanity, Schopenhauer on, viii, 362. + +Human mind, duality of, i, 113. + +Humboldt, Alexander von, i, 341; + on agriculture, xii, 140; + Bonpland and, xii, 146; + Auguste Comte and, viii, 254; + Ingersoll on, xii, 160; + Thomas Jefferson and, xii, 147; + lectures of, xii, 158; + religious views of, xii, 151; + _Subterranean Vegetation_, xii, 139; + John Tyndall and, xii, 351. + +Hume, David, ii, 296; iii, 37; ix, 164; xii, 179. + +Humility, v, 243. + +Humor, i, 237; ii, 229; v, 70; + commonsense and, xii, 329; + Jefferson's sense of, iii, 73; + melancholy and, v, 156. + +_Hunchback of Notre Dame_, Hugo, i, 193. + +Hunt, Holman, ii, 123; v, 18; + quoted, xiii, 253. + +Hunt, Leigh, i, 250; + Robert Browning and, v, 55; + cited, ii, 220; + grave of, i, 231; + the Shelleys and, ii, 307. + +Hutchinson, Anne, ix, 294; + death of, ix, 362; + Mary Dyer and, ix, 359; + her arrival in Boston, ix, 343; + mother of New England Transcendentalism, ix, 356; + Sir Henry Vane and, ix, 358. + +Hutton, _Literary Landmarks_, ii, 118. + +Huxley, Thomas H., i, 56; + early life of, xii, 307; + the wife of, xii, 311; + Charles Darwin and, xii, 198; + Darwin compared with, xii, 313; + George Eliot and, xii, 329; + John Fiske and, xii, 313, 323; + on John Fiske, xii, 414; + Gladstone and, xii, 199; + on Gladstone, xii, 318; + Haeckel compared with, xii, 248; + Sir Joseph Hooker and, xii, 321; + Ingersoll compared with, xii, 319; + John Stuart Mill compared with, xii, 311; + Rev. Dr. Parker and, xii, 322; + Spencer and, viii, 345; + Toole the comedian and, xii, 322; + experience of, with the University of Toronto, xii, 326; + as a writer, xii, 327; + Canon Wilberforce and, xii, 226. + +Hyacinths, white, vi, 235. + +Hyde Park, London, i, 62. + +Hymettus, honey of, v, 97. + +Hypatia, Mrs. Eddy compared with, x, 280; + Emerson compared with, x, 280; + her estimate of Plotinus, x, 282; + on Neo-Platonism, x, 270; + on superstition, x, 275. + +_Hypatia_, Charles Kingsley, x, 283. + +Hypnotism, x, 274, 352. + +Hypocrisy, vii, 268. + + +Ibsen, Henrik, xiii, 112; + quoted, xii, 182. + +Iceland, i, p xxv. + +Ideal life, Morris on the, vi, 16. + +Ideal man, the, v, 198. + +_Idylls of the King_, Tennyson, v, 13. + +Ignorance and wisdom, Starr King on, vii, 308. + +Illegitimacy, xiv, 39; + Marcus Aurelius on, viii, 133. + +Illinois, farmers' wives in, ii, 222; + pioneer days in, iii, 280. + +Illumination of books, i, p xxv. + +_Illustrations of Political Economy_, Harriet Martineau, ii, 83. + +Illustrator and artist, difference between, iv, 329. + +_Il Penseroso_, Milton, v, 126, 137. + +_Il Pensiero_, Michelangelo, iv, 32. + +_Il Trovatore_, Verdi, xiv, 292. + +Imagination, iv, 332; v, 105, 240. + +Immortality, i, 247; x, 11; + power and, vi, 57. + +Incandescent lamp, invention of, i, 329. + +Incompatibility, iv, 254; v, 129; vii, 68. + +Inconsistency, examples of, x, 366. + +Independence, vi, 332. + +Independence, Declaration of, iii, 75. + +Indians, Canada's treatment of, xi, 404; + North American, in London, ix, 28; + Washington's mission among, iii, 17. + +Indian, the American, xii, 141; + as an orator, iii, 189. + +Indifference, vi, 325. + +Individuality, xiv, 43. + +Indulgences, vii, 123. + +Infant phenomenon, the, v, 122. + +_Inferno_, Dante, iv, 340. + +Infidelity, vi, 13; x, 342. + +Influence of women, i, 75. + +Ingalls, John J., quoted, vii, 177. + +Ingersoll, Ebon, brother of Robert Ingersoll, vii, 249; + death of, vii, 235. + +Ingersoll, Robert G., xii, 251; + birthplace of, vii, 242; + parents of, vii, 237; + wife of, vii, 259; + his great achievement, vii, 268; + mental evolution of, vii, 257; + H. W. Beecher and, vii, 357; + Peter Cooper and, xi, 259; + the dictum of, viii, 173; + Gladstone's reply to, x, 363; + William Godwin compared with, xiii, 87; + the Governor of Delaware and, ix, 261; + Elbert Hubbard and, vii, 255; + on Alexander von Humboldt, xii, 160; + Huxley compared with, xii, 319; + on love, vii, 232; + lecture on the mistakes of Moses, x, 15; + opinions regarding, vii, 253; + compared with Paine and Bradlaugh, ix, 243; + quoted, iii, 288; + on Shakespeare, xii, 319. + +Initiative, xii, 242. + +_In Memoriam_, Tennyson, v, 82, 88. + +Innocent III, Pope, referred to, i, 151. + +_In Patience_, Christina Rossetti, ii, 114. + +_In Praise of Folly_, Erasmus, x, 177. + +Inquisition, the Spanish, vi, 171. + +Insanity, defined, i, 163; viii, 255; + originality and, viii, 197. + +Inspiration, vi, 155. + +Instrumental music, v, 236. + +Insurance, a species of gambling, viii, 300. + +Intellect and beauty, x, 277. + +_Intellectual Life, The_, Hamerton, vi, 50. + +Intellectual tyranny, x, 348. + +Introspection, vii, 118. + +_Invocation_, Tennyson, v, 89. + +Iowa, farmers' wives in, ii, 222. + +Ireland, American travelers in, i, 155; + beauty of, i, 274; + Edmund Burke on, vii, 178; + Parnell on, xiii, 174; + Lord Dufferin on, xiii, 175; + Gladstone on, xiii, 176; + Henry George on, xiii, 190; + Home Rule in, xiii, 199; + the Irish and, xi, 335; + lawlessness in, i, 277; + women of, i, 275. + +Irish Church, the, i, 114. + +Irish immigration, xiii, 179. + +Iron, the consumption of, xi, 296. + +Ironsides, Cromwell's regiment, ix, 320. + +_Irreparableness_, E. B. Browning, ii, 16. + +Irrigation and religion, ix, 278. + +Irving, Henry, ii, 237; + at Harvard University, xiv, 177; + Seneca compared with, viii, 56; + on success, viii, 345. + +Irving, Washington, iv, 218; vi, 316; + John J. Astor and, xi, 221; + on the Jews, viii, 207; + quoted, i, 293. + +"Isaac Bickerstaff," pseudonym of Dean Swift, i, 149. + +Isaiah, the Prophet, i, 317. + +Israelites, or Children of Israel, ii, 140; x, 21. + +Italian Renaissance, the, xiii, 210. + +Italy, senility of, iii, 232. + +Itineracy, Wesley on the, ix, 48. + + +Jacks and Jennies, xi, 20. + +Jackson, Andrew, iii, 190, 210, 221. + +Jacqueminot roses, ii, 241. + +James I, iv, 189; + Claudius compared with, viii, 58. + +James, Henry, on Edwin Abbey, vi, 311; + on Verdi, xiv, 291; + on Tyndall, xii, 358. + +Jameson, Mrs., quoted, iv, 159. + +_Jane Eyre_, Charlotte Bronte, i, 240; ii, 94, 108. + +Jansen, Cornelius, painter, v, 122. + +Japanese art, vi, 349. + +Jay, John, home of, at Rye, N. Y., iii, 233; + legal training of, iii, 236; + Samuel Adams regarding, iii, 240; + governor of N. Y., iii, 247; + his religious nature, iii, 249; + genius of, iii, 250; + referred to, ii, 77; iii, 89; + typical Huguenot, iii, 232. + +Jealousy, artistic, vi, 176, 275; + Gainsborough's freedom from, vi, 150. + +Jefferson, Thomas, education of, iii, 55; + appearance of, iii, 55; + friends of, iii, 58; + Patrick Henry and, iii, 61; + as a lawyer, iii, 63; + member of Virginia + legislature, iii, 65; + marriage of, iii, 68; + governor of Virginia, iii, 70; + member of Colonial Congress, iii, 70; + daughter of, iii, 71; + home of, at Monticello, iii, 70; + death of wife of, iii, 71; + opposition of, to Hamilton, iii, 72; + mission to France, iii, 72; + humor of, iii, 73; + President of U. S., iii, 75; + achievements of, iii, 75, 177; + Thomas Arnold compared with, x, 241; + John J. Astor and, xi, 221; + Fenelon compared with, xiii, 353; + Stephen Girard and, xi, 96; + Patrick Henry and, vii, 283; + on Patrick Henry, vii, 293; + Alexander von Humboldt and, xii, 147; + John Jay compared with, iii, 250; + James Madison and, iii, 54; + Thomas Paine and, ix, 160, 170; + quoted, xi, 380; + Socrates compared with, xi, 97. + +Jeffrey, Francis, Lord, v, 181. + +Jeffrey, the tribe of, v, 78. + +Jersey, island of, i, 195. + +Jerusalem, referred to, ii, 140. + +Jesuits, referred to, iv, 89. + +Jesus of Nazareth, influence of, viii, 204; + Thoreau on the character of, vii, 316. + +_Jewish Bride_, Rembrandt, iv, 73. + +Jews, the, xi, 127; + Alexander the Great on the, viii, 95; + in England, ii, 77; + expulsion of, from Spain, viii, 207; + Washington Irving on, viii, 207; + legal disabilities of, v, 187; + orthodox, viii, 221; + Thomas Paine on the, ix, 165; + rational, viii, 221. + +Jiu jitsu, v, 319. + +Joan of Arc, iii, 28; iv, 241. + +Job, i, 247; + the Book of, x, 30; + humor of, i, 238. + +Johnsonese, v, 146. + +Johnson, Samuel, i, 259; iv, 178; vi, 148; xiv, 260; + letter of, to Chesterfield, v, 144; + physical characteristics of, v, 145; + his literary style, v, 147; + biography of, by Boswell, v, 148; + superstitions of, v, 153; + marriage of, v, 154; + his meeting with David Garrick, v, 155; + his gruffness, v, 162; + charity of, v, 165; + influence of, v, 170; + biography of Dean Swift, i, 143; + dictionary of, v, 43; + on Burke, vii, 165; + life of, by Hawkins, v, 148; + William Pitt and, vii, 192; + quoted, i, 282; iii, 12; v, 239; xiii, 291; + Reynolds and, iv, 306; + his opinion of Shakespeare, i, 134; + on Richard Brinsley Sheridan, xii, 171; + visit of, to Goldsmith, i, 294; + Mary Wollstonecraft and, xiii, 90. + +John the Baptist, xiii, 84; + Salome and, vi, 76. + +Joint stock company, xi, 24. + +Jones, Paul, and Oliver Cromwell compared, ix, 331; + quoted, viii, 399. + +Jones, Samuel M., of Toledo, i, 321. + +Josephine, Empress of the French, birthplace of, ii, 259; + marriage of, to Vicomte Alexander Beauharnais, ii, 261; + children of, ii, 262; + imprisonment of, ii, 265; + meeting of, with Napoleon, ii, 267; + marriage of, ii, 275; + created empress, ii, 279; + divorced, ii, 280; + death of, ii, 281; + tomb of, ii, 281. + +Josh Billings Almanac, reference to, i, 130. + +_Joshua_, Handel, xiv, 269. + +_Journal to Stella_, Dean Swift, i, 148. + +_Journey Through Italy, A_, Taine, vi, 38. + +Jowett, Rev. Dr., of Baliol, quoted, ii, 296; xi, 85; + Herbert Spencer and, viii, 350. + +Joy, vii, 84. + +Judaism, v, 319; ix, 279; + Christianity and, Gibbon on, xi, 131. + +Judas Iscariot, ii, 181. + +Judea, Rome and Greece compared, x, 36. + +Juliet and Garnett, iii, p x. + +Julius Cæsar, Mary Baker Eddy compared with, x, 360; + Edison compared with, i, 330; + Garibaldi compared with, ix, 104; + Lincoln compared with, viii, 72; + Seneca compared with, viii, 72. + +_Julius Cæsar_, Shakespeare, i, 317. + +Julius, Michelangelo's statue of, iv, 28. + +Julius II, Pope, iv, 25; vi, 17. + +Juno, ii, 43. + +Junto Club, the, iii, 45. + +Justinian code, the, x, 324. + +Juvenal, i, 317. + +_Juvenilia_, Byron, v, 215. + + +Kabojolism, viii, 278. + +Kant, Immanuel, xii, 371; + parents of, viii, 156; + Aristotle compared with, viii, 154; + _Critique of Pure Reason_, viii, 169; + the greatness of, xii, 242; + Herder on, viii, 169; + Plato compared with, viii, 154; + philosophy of, viii, 152; + referred to, v, 306; + Professor Royce on, viii, 154; + Schopenhauer on, viii, 170; + stubbornness of, viii, 166; + father of modern Transcendentalists, viii, 403. + +Katabolism, viii, 358. + +Kauffman, Angelica, artist, iv, 305. + +Keats, John, iv, 159; v, 50, 97; + Aubrey Beardsley compared with, vi, 73; + Coleridge and, v, 310. + +Keeley Institute, i, 278. + +Keeners, Irish, i, 229. + +Keller, Helen, ii, 76; + H. H. Rogers and, xi, 389. + +Kelmscott House, v, 21. + +Kelmscott Press, the, v, 28. + +Kemble's "Coons," iv, 67. + +Kenilworth Castle, i, 51, 303. + +Kensington Gardens, i, 62. + +Kenyon, John, ii, 23; + Robert Browning and, v, 58. + +Keppel, Commander, friend of Joshua Reynolds, iv, 295. + +Keswick pencils, viii, 400. + +Kilkenny, cats of, i, 223. + +Kindergarten, the, vi, 194; xii, 128; + purpose of the, x, 246; + the first, x, 259. + +King Alfred, Freeman on, x, 124; + Napoleon compared with, x, 137; + reforms of, x, 140. + +_King Lear_, Shakespeare, i, 317; ii, 251. + +Kings, divine right of, ii, 83. + +King's evil, the, v, 153. + +Kingsley, Charles, i, 248; + on friendship, ix, 17; + _Hypatia_, x, 283; + quoted, v, 85. + +King, Starr, Dr. Bartol on, vii, 313; + Joshua Bates on, vii, 317; + in California, vii, 336; + Rev. E. H. Chapin on, vii, 316; + death of, vii, 341; + Dr. Leonard on, vii, 313; + Lincoln and, vii, 341; + memorials to, vii, 311, 313; + parents of, vii, 317; + Theodore Parker on, vii, 320; + personality of, vii, 315; + _Substance and Show_, vii, 328. + +Kinship, xiv, 240. + +Kipling, Rudyard, ii, 125, 253; + his estimate of woman, vi, 74; + quoted, ix, 292; x, 174; xii, 182; + on R. L. Stevenson, xiii, 40. + +Kittson, Norman, xi, 415. + +Knitting-machines, ii, 70. + +Knock-knees, vi, 308. + +Knott, Proctor, quoted, i, 248. + +Knowledge, v, 239; vii, 314; + learning, wisdom and, x, 74; + wisdom and, vii, 217. + +Knowles, Sheridan, i, 250. + +Knox, John, ix, 187; + Carlyle's estimate of, ix, 213; + Queen Elizabeth and, ix, 211; + +Martin Luther compared with, ix, 205; + Mary, Queen of Scots, and, ix, 210; + referred to, v, 266. + +Konigsberg, home of Immanuel Kant, viii, 160. + +Krupp, Herr, iv, 28. + + +Laban, iii, 35, 62. + +Labor, dignity of, vi, 117; + division of, iii, 99. + +Labor exchange, the, xi, 47. + +Labouchere, Henry, and Charles Bradlaugh, ix, 266; + quoted, xii, 57. + +_Labourge Nivernais_, Rosa Bonheur, ii, 158. + +La Bruyere, Jean, de, v, 258. + +_Lachesis Laponica_, Linnæus, xii, 292. + +_Lady of Shalott, The_, Tennyson, v, 78. + +La Farge, John, lecture on art, vi, 244. + +Lafayette, Marquis de, ii, 183; iii, 15; + Thomas Paine and, ix, 176; + quoted, iv, 235. + +_La Gioconda_, Leonardo, vi, 59. + +Lagrange, Margaret, ix, 283. + +Lake District of England, v, 282. + +Lake Poets, the, ii, 227; v, 285. + +_Lalla Rookh_, Moore, i, 156. + +_L'Allegro_, Milton, v, 126, 137. + +Lamb, Charles, ii, 215; + as a bookkeeper, v, 26; + his estimate of Jane Austen, ii, 254; + S. T. Coleridge and, v, 295; + his love of books, iv, 140; + quoted, iv, 197; + referred to, v, 56, 279. + +Lamb, Mary, + education of, ii, 219; + meeting of, with Samuel Taylor Coleridge, ii, 221; + tragedy of, ii, 222; + literary work of, ii, 230; + friends of, ii, 229; + death of, ii, 234; + referred to, v, 56. + +Lamennais, the Abbe, on Liszt, xiv, 205. + +Lamp-chimneys, the making of, xi, 372. + +Land-laws, English and American, compared, vii, 188. + +Landlordism, ix, 88. + +Landor, Walter Savage, ii, 28; viii, 20; xii, 305; + Robert Browning and, v, 55. + +Landscape, as an art term, iv, 91. + +Landscape painting, the art of, vi, 136. + +Landscapist's day, Corot's description of a, vi, 206. + +Landseer, parents of, iv, 311; + brothers of, iv, 312; + birthplace of, iv, 313; + education of, iv, 314; + genius of, iv, 315; + popularity of, iv, 320; + friends of, iv, 321; + friendship of Queen Victoria for, iv, 324; + influence of, iv, 326; + genius of, iv, 329. + +Lang, Andrew, ii, 17; ix, 395. + +Langenthal, Henry, and Froebel, x, 258. + +Language, a form of expression, iv, 159. + +Lao-tsze and Confucius, x, 63. + +Lassalle, Ferdinand, xiii, 367. + +_Last Judgment, The_, Michelangelo, iv, 33. + +_Last Supper, The_, Leonardo, v, 229; vi, 54. + +Latin, knowledge of, iv, 288. + +_La Traviata_, Verdi, xiv, 292. + +Laud, William, Archbishop of Canterbury, ix, 315, 328, 337. + +Laurence, the artist, Turner's treatment of, i, 135. + +Laurens, Henry, ii, 77. + +Lautner, Max, vi, 65. + +Law, of altruistic injury, the, xi, 390; + of antithesis, the, i, 164; + of attraction or gravitation, xii, 272; + Col. Bumble's opinion of, ix, 88; + as a business, vii, 404; + of compensation, ii, 238; iv, 226; vii, 349; xi, 149; xiv, 41; + of the correlation of forces, xii, 272; + of diminishing returns, x, 308; + of entail, v, 70; + of heredity, vii, 185; + of natural selection, v, 95; + of pivotal points, x, 308; + profession of, iii, 99; + of reversion to type, ii, 192. + +_Law of Civilization and Decay, The_, Brooks Adams, xii, 89. + +Lawsuits, county, vii, 245. + +Law-wolf, ix, 311. + +Lawyers, class B, vi, 174; + Kant on, viii, 163; + Philadelphia, vi, 306. + +Lear compared with Milton, v, 140. + +Learning, knowledge and wisdom, x, 74. + +Lease, Mrs., of Kansas, v, 145. + +_Leaves of Grass_, Whitman, i, 172, 179, 181; iv, 259; xiii, 18. + +Lecky, the historian, quoted, xi, 204; + on Methodism, ix, 49. + +_Lectures on English Humorists_, Thackeray, i, 239. + +_Lecture on Homer_, Gladstone, i, 102. + +_Lectures to Young Men_, Beecher, vii, 357. + +Lee, Ann, founder American Society of Shakers, x, 318. + +Lee, Richard Henry, iii, 67, 89. + +Le Gallienne, Richard, i, p xxvii; v, 246; + quoted, xiii, 220; + referred to, v, 218. + +Legion of Honor, Cross of, ii, 159. + +Legitimate perquisites, v, 44. + +Leibnitz, Gottfried Wilhelm, Baron von, xii, 21; + referred to, v, 306. + +Leicester, Earl of, iv, 25. + +Leighton, Frederick, friend of the Brownings, v, 64. + +Leipzig, university of, vii, 134. + +Leonard, Dr. Charles H., on Starr King, vii, 313. + +Leonardo da Vinci, i, 122; i, 341; iv, 6, 59, 90, 99; v, 230; xiv, 40; + appearance of, vi, 50; + birth of, vi, 46; + mother of, vi, 46; + Aristotle compared with, viii, 91; + Bandello and, vi, 50; + Cesare Borgia and, vi, 43; + Correggio and, vi, 233; + Sir William Davenant compared with, vi, 48; + Edison compared with, vi, 41; + Hamerton on, vi, 50; + _Last Supper_ of, vi, 54; + Michelangelo and, vi, 28. + +Leo X, Pope, iv, 31; vi, 31; + quoted, vi, 13. + +_Les Huguenots_, Meyerbeer, characterized, xiv, 126. + +Leslie, Charles R., American artist, iv, 321. + +_Les Miserables_, Hugo, i, 187. + +_Letters of a Self-Made Merchant to His Son_, Lorimer, xi, 183. + +Letters of indulgence, vii, 126. + +Lettre de cachet, the, xiii, 349; ix, 378. + +Levi, origin of name, x, 30. + +Lewes, George Henry, i, 57; v, 148; + Augustine Birrell on, viii, 339; + Comte and, viii, 261; + Herbert Spencer and, viii, 337; + Thackeray on, viii, 337. + +Lewis, Alfred Henry, i, p xxvii; ix, 311; x, 344. + +Lewis and Clark Expedition, the, xi, 220. + +Lewis, Fielding, iii, 15. + +Lewis, Lawrence, iii, 15. + +Leyden, Lucas van, vi, 78. + +_L'Historie de Romanticisme_, Gautier, i, 192. + +Liberal denominations, the, ix, 184. + +Liberal thought, obligations of, xiii, 87. + +_Liberator, The_, William Lloyd Garrison and, vii, 394. + +Liberty, Patrick Henry on, vii, 276. + +Licentiousness, vii, 73. + +Life, canned, vi, 170; + forms of, vi, 228; + the game of, v, 158; + Robert Ingersoll on, vii, 235; + the larger, viii, 204; + a privilege, vii, 118; + the privileges of, vi, 151. + +Life-insurance, value of, viii, 300. + +_Life of Charles XII_, Voltaire, viii, 297. + +_Life of Frederick_, Carlyle, viii, 312. + +_Life of Jesus_, Strauss, i, 55. + +_Life of Johnson_, Hawkins, v, 148. + +_Life of Washington_, Weems, iii, 7; v, 41; vii, 199. + +_Life's Uses_, Harriet Martineau, ii, 68. + +Ligereaux, Saint Andre de, xi, 390. + +Light and shade, Rembrandt's experiments in, iv, 61. + +Lily Dale, i, 321. + +Lincoln, Abraham, boyhood of, vi, 102; + face of, iv, 52; + speech of, at Gettysburg, iii, 278; + home of, at Springfield, Ill., iii, 287; + acquaintances of, iii, 288; + stories of, iii, 288; + Ingersoll's speech on, iii, 291; + assassination of, iii, 300; + the country of, iii, 303; + early home of, iii, 303; + as clerk in country store, iii, 303; + law office of, iii, 303; + debates with Douglas, iii, 304; + nomination of, iii, 271, 304; + election of, iii, 273, 304; + home ties of, iii, 305; + example of, iii, 305; + Beecher compared with, vii, 348; + Beecher on the death of, vii, 379; + contrasted with John Brown and Marat, vii, 214; + Julius Cæsar compared with, viii, 72; + attitude of California toward, vii, 339; + his call for volunteers, xiii, 84; + Simon Cameron, secretary of war, and, xi, 276; + Andrew Carnegie compared with, xi, 295; + Winston Churchill on, vii, 21; + his Cooper Union speech, xi, 258; + George W. Curtis and, i, 165; + Douglas and, xiii, 187; + Emancipation Proclamation of, ix, 56; + General Grant and, xii, 313; + humor of, i, 239; + Ingersoll on, ix, 331; + on the American juror, x, 366; + Starr King and, vii, 341; + and the law of diminishing returns, x, 309; + love of, for memory of his mother, vii, 349; + love of, for Seward, iii, 274; + to the portrait-painter, xiii, 118; + quoted, iv, 128; xi, 276; vii, 286; + referred to, i, 248; ii, 238; iii, 174; v, 201; vi, 320; xi, 370; + xiii, 85; xiv, 40; + on responsibility, xi, 287; + reference to the Sangamon steamboat, xii, 318; + visit of, to W. H. Seward, iii, 272; + Southern feeling and, x, 111; + on stepmother-love, xii, 398; + Washington and, iii, 29; + Henry Watterson on, vii, 393; + Walt Whitman and, i, 164. + +Lincolnshire, the woods of, v, 75. + +Lindsey, Judge Ben, i, p xxvii; ix, 283; + Thomas Arnold compared with, x, 241; + and the Juvenile Court, ix, 349; + quoted, ix, 87. + +Linnæus, boyhood of, xii, 278; + George Frederick Handel and, xii, 300; +at the University of Upsala, xii, 285. + +Lion-hunters, iv, 253. + +_Lion of Lucerne, The_, Thorwaldsen, vi, 123. + +Lippi, Fra Lippo, vi, 51. + +Liszt, Franz, and the Countess d'Agoult, xiv, 194; + Amy Fay's biography of, xiv, 207; + Joseph Haydn and, xiv, 188; + inspirer of musicians, xiv, 187; + Plato compared with, viii, 87; + George Sand and, xiv, 194; + remark concerning George Sand, xiv, 95; + Richard Wagner and, xiv, 30. + +Literary conscience, the, x, 363. + +Literary eczema, i, 292. + +_Literary Landmarks_, Hutton, ii, 118. + +Literary stinkpots, v, 218. + +Literature, a confession, xiii, 313; + a byproduct, v, 26; + history and, xiii, 83. + +Litigation, a luxury, vii, 293. + +Little Journeys Camp, iii, p ix. + +Little red schoolhouse, the, iii, 255. + +Littre, pupil of Auguste Comte, viii, 265. + +_Lives of the Poets_, Johnson, v, 147. + +Livingston, David, vi, 347. + +Lloyd, Charles, and the Wordsworths, i, 215. + +Local option, iii, 129. + +Lodge, Cabot, iii, 23. + +_Logic_, J. S. Mill, xiii, 160. + +_Lohengrin_, Wagner, xiv, 32. + +Lombroso, Prof., referred to, i, 164. + +_London_, Baedeker, ii, 118. + +London, compared with New York, ii, 118; + monuments of, i, 313. + +Longfellow on Dante, xiii, 110; + Emerson and, viii, 408. + +Long, John D., vi, 333; vii, 191. + +Long Parliament, the, ix, 318. + +Lord Palmerston and Richard Cobden, ix, 152. + +Lorenzo, the Magnificent, iv, 13; + Savonarola and, vii, 97; + Pericles compared with, iv, 13. + +Lorimer, George Horace, xi, 183. + +Lorraine, Claude, iv, 162; + influence of, on Corot, vi, 201; + influence of, on Turner, i, 126. + +_Lost Arts, The_, Wendell Phillips, vii, 328. + +_Lothair_, Disraeli, v, 342. + +Lot referred to, i, 306. + +_Lot_, Rembrandt, iv, 63. + +_Lotus-Eaters, The_, Tennyson, v, 78. + +Louis XIV, "The Grand," iv, 95. + +Louis XV, i, 203. + +Louis XVIII and Victor Hugo, i, 188. + +Louisiana Purchase, the, iii, 76. + +Love, iv, 178; v, 238, 346; xiv, 312; + Marcus Aurelius on, viii, 138; + of brother and sister, ii, 215; + Robert Burns and, v, 93; + the great enlightener, ii, 78; + eternal, v, 90; + Benjamin Franklin on, viii, 290; + idealization of, v, 86; + Robert Ingersoll on, vii, 232; + laws of, xi, 137; + memory of, vi, 21; + one-sided, xiii, 117; + a pain, ii, 32; + religion and, xiv, 206; + romantic, ii, 189; xiii, 211; + the great teacher, vi, 311; + value of, ii, 87; + woman's, exemplified, ii, 170; + Emerson's essay on, ii, 287. + +Lovejoy, Rev. E. O., death of, vii, 405. + +Lovelace on prison-life, vi, 170. + +Love-letters, great, vii, 81. + +Lovell, Robert, and Southey, v, 301. + +_Love's Lovers_, Dante Gabriel Rossetti, xiii, 246. + +Lowell, James Russell, Emerson and, viii, 408; + _The Fable for Critics_, i, 179; + on Plato, viii, 87; + quoted, i, 276; iii, 102; xiv, 80; v, 254; + referred to, i, 231; v, 39, 294; + on truth, x, 112. + +Loyalty, xiv, 228. + +Loyola, referred to, vi, 50. + +Lubke, Wilhelm, on Raphael, vi, 10. + +Luck, exemplified, xi, 288. + +Lumpkin, Tony, vi, 315. + +Lunacy, defined, iii, 266. + +_Lusitania_, Cunard Liner, ii, p x. + +Luther, Martin, + Giordano Bruno and, xii, 54; + character of, vii, 117; + "Catherine the Nun" and, vii, 156; + at the Diet of Worms, vii, 143; + Albrecht Durer and, vii, 139; + John Eck and, vii, 134; + at Eisenach, vi, 212; + Erasmus compared with, x, 152; + excommunication of, vii, 137; + Henry VIII of England and, vii, 155; + humor of, i, 238; + insanity of, viii, 255; + John Knox compared with, ix, 205; + as an orator, vii, 120; + quarrel of, with the Church, vii, 116; + referred to, iii, 35; v, 183; vi, 50; ix, 187, 194, 210; + spiritual experiences of, viii, 181; + John Tetzel and, vii, 123; + and the 95 Theses, vii, 122, 129; + in the Castle of Wartburg, vii, 153; + at the University of Wittenberg, vii, 117. + +Lyceum, the, iii, 188; + the New England, vii, 325. + +_Lycidas_, Milton, v, 137. + +Lyell, Sir Charles, xii, 372; + Darwin and, xii, 223. + +Lyman, Theodore, mayor of Boston, vii, 390. + +Lyon, Emma, Lady Hamilton, xiii, 408. + + +Macaulay, Thomas B., iv, 193; + appearance of, v, 176; + father of, v, 177; + mother of, v, 178; + boyishness of, v, 178; + his love of frolic, v, 179; + college life of, v, 181; + literary style of, v, 182; + his law practise, v, 184; + political life of, v, 186; + as an orator, v, 187; + fame of, v, 189; + commissioner of Board of Control, v, 189; + legal adviser of the Supreme Council of India, v, 192; + Secretary of War, v, 195; + Lord Rector of the University of Glasgow, v, 196; + elevation to the peerage, v, 197; + estimate of Jane Austen, ii, 254; + on Edmund Burke, vii, 173; + quoted, v, 238; vii, 180; vii, 199; + Rubens compared with, v, 176. + +Macbeth, Lady, i, 75. + +McCarthy, Justin, on J. S. Mill, xiii, 160; + on Parnell, xiii, 199. + +McCormick, Cyrus H., ix, 285; xi, 196. + +McCormick reaper, the, xi, 328. + +McGuffy's Third Reader, ix, 317. + +Machiavelli's use of women, vi, 81. + +Mackaye, Steele, quoted, viii, 168. + +Mackay, Mrs. J. W., experience of, with Meissonier, iv, 136. + +McKinley, William, President, vi, 336; + death of, viii, 291. + +MacLaren, Ian, xiii, 24; + on Scotch penuriousness, xi, 264. + +MacMonnies, Frederick William, xiv, 29. + +Macready and Robert Browning, v, 55; + quoted, i, 250. + +McSorley, Rev. Hugh, and Bradlaugh, ix, 262. + +Madame Tussaud's Wax-works, iv, 344. + +Madison and Jefferson, iii, 54. + +Madrid, court life at, iv, 104; + Royal Gallery at, iv, 109. + +Mæcenas, Horace and, i, 179; + referred to, iv, 291; + Saint-Simon compared with, viii, 247. + +Maeterlinck, quoted, vii, 245. + +Mahomet, quoted, iv, 86. + +_Maid of Athens_, Byron, v, 222. + +Mail, proposing marriage by, v, 226. + +Maintenon, Madame de, ii, 54. + +_Maker of Lenses, The_, Zangwill, viii, 217. + +_Makers of Venice, The_, Mrs. Oliphant, vi, 248. + +_Malay Archipelago, The_, Wallace, xii, 366, 382. + +Mallory, referred to, v, 14. + +Malthus and Edmund Burke, ix, 11. + +Managing editors, characterized, vi, 315. + +Mandeville, Sir John, xii, 144. + +_Manfred_, Byron, v, 230. + +Mangasarian, M. M., 283. + +Man, the ideal, iv, 6; + an invocation to, v, 201; + a land animal, ix, 82; + Nature and, viii, 394. + +Mankind, saviors of, ii, 197. + +_Manners and Fashion_, Herbert Spencer, viii, 342. + +_Manners_, Casa, v, 259. + +Manning, Cardinal, i, 108; + on evolution, xii, 227. + +Mansfield, Richard, xii, 169. + +_Man's Place in Nature_, Huxley, xii, 327. + +Manual labor, xii, 341. + +Manual training, vi, 194. + +_Man Who Laughs, The_, Hugo, i, 200. + +_Man With the Hoe, The_, Millet, iv, 262. + +Marat, Jean Paul, appearance of, vii, 210; + assassination of, by Charlotte Corday, vii, 227; + character of, vii, 220; + Danton and, vii, 224; + education of, vii, 210; + Benjamin Franklin and, vii, 214, 219; + life of, in Paris, vii, 222; + medical diploma of, vii, 215; + Mirabeau and, vii, 223; + Thomas Paine and, vii, 220; ix, 178; + Robespierre and, vii, 224; + wife of, vii, 226. + +Marat, Simonne Evrard, to the convention, vii, 207. + +Marconi, Guglielmo, xii, 21. + +Marco Polo, xii, 144. + +Marcus Aurelius, ii, 195; + boyhood of, viii, 113; + Canon Farrar on, viii, 124; + on love, viii, 138; + _Meditations_ of, viii, 140; + Ouida regarding, viii, 130; + Renan on, viii, 131. + +_Marguerite_, Ary Scheffer's painting, iv, 246. + +_Mariana_, Tennyson, v, 78. + +Marie Antoinette, Queen of France, ii, 176, 264; + quoted, xiii, 92. + +Marie Louise, wife of Napoleon, ii, 281. + +_Marion Delorme_, Victor Hugo, i, 190. + +Market-places, French, iv, 124. + +Marlborough, Duchess of, and William Pitt, vii, 193. + +Marriage, iv, 135; + Goethe on, ix, 383; + a mousetrap, ii, 190; + philosophy and, viii, 251; + Roman laws regarding, viii, 133; + Bernard Shaw on, ix, 44; + Swedenborg on, viii, 191; + divorce and, viii, 134; + Voltaire on, viii, 290. + +Marsden, Mark, and Charles Bradlaugh, ix, 246. + +Marshall, John, Chief Justice, on the Book of Nature, ix, 387. + +Marshall, Peter Paul, landscape-gardener, v, 20. + +Marston Moor, battle of, ix, 322. + +Martignac, M. de, and Victor Hugo, i, 190. + +Martineau, Elizabeth, ii, 72. + +Martineau, Harriet, ii, 109, 163, 190; xiv, 89; + childhood of, ii, 71; + love-affair of, ii, 78; + religion of, ii, 79; + influence of, ii, 83; + as a writer, ii, 85; + home of, i, 218; + Auguste Comte and, viii, 257. + +Martineau, Doctor James, theologian, ii, 71; viii, 258. + +Martyn, Carlos, on Beecher, vii, 395. + +Martyr and persecutor, ii, 195. + +Martyrdom, compensations of, vi, 171. + +Marx, Karl, xii, 256; xiii, 362. + +Mary, Queen of Scots, i, 261; + John Knox and, ix, 210. + +Masaccio, frescos of, vi, 28. + +Mason and Dixon's Line, iv, 124. + +Massachusetts, delegates of, to Philadelphia Convention, iii, 90. + +Massachusetts Institute of Technology, x, 204. + +"Massachusetts Jemmy," i, 251. + +Massachusetts Metaphysical College, x, 334. + +Massillon on preachers and preaching, viii, 168. + +Masterpiece of God, the, vi, 58. + +Mathematics, limits of, viii, 173. + +Mather, Cotton, i, 112, 237; iii, 101; viii, 23. + +Mather, Increase, ix, 338. + +Mathews, Charles, the actor, i, 231. + +Mayas, the, vi, 15. + +_Mayflower_, sailing of the, iv, 189. + +_May Queen, The_, Tennyson, v, 78. + +Mazzini, i, 56; + Emerson compared with, ix, 94; + Garibaldi and, ix, 94, 101; + friend of the Rossettis, ii, 122. + +Mecklenburg Declaration of Independence, ix, 287. + +Medici, Catherine de, iv, 31. + +Medici family, expulsion of, from Florence, iv, 32. + +Medici, Giuliano, Michelangelo's statue of, iv, 32. + +Medici, Lorenzo de, Michelangelo's statue of, iv, 31. + +Medici, Marie de, iv, 97; + Rubens' pictures of, iv, 176. + +Medicine, profession of, iii, 99; + the science of, xii, 265. + +_Meditations_, Descartes, viii, 226. + +_Meditations_, Marcus Aurelius, i, 248; viii, 140. + +Mediums, spiritual, viii, 174. + +Meissonier, Jean Louis Ernest, French painter, iv, 124; + mother of, iv, 125; + his passion for collecting, iv, 126; + love for his mother, iv, 127; vii, 350; + early efforts in painting, iv, 129; + marriage of, iv, 131; + his artistic conscience, iv, 133; + domestic affairs of, iv, 135; + his experience with Mrs. J. W. Mackay, iv, 136; + his "vindication," iv, 139; + his extravagance, iv, 139; + _Conversations_ of, iv, 140; + his masterpiece, iv, 142; + death of, iv, 141; + Fortuny compared with, iv, 218; + friend of Millet, iv, 282; + genius of, iv, 329; + other self of, v, 106; + pictures by, owned in America, iv, 142; + quoted, iv, 218, 330. + +Melancholy, v, 268; + humor and, v, 156. + +Melania, the Nun of Tagaste, vi, 62. + +Melchizedek, the order of, ix, 70. + +Memoirs of Benvenuto Cellini, vi, 273. + +_Memories_, Max Muller, vi, 40. + +Mendelssohn, Felix, ix, 285; + boyhood of, xiv, 164; + Mozart compared with, ix, 163; + Queen Victoria and, xiv, 181; + Thorwaldsen and, vi, 116. + +Mendelssohn, Moses, on the Ghetto, viii, 223. + +Men, grown-up children, vii, 350. + +Mengs, Raphael, on Velasquez, vi, 158. + +Mennonite, the, ii, 189. + +Mennonites, the, Napoleon and, viii, 212; + Spinoza and, viii, 211. + +Men of genius, i, 75. + +Mentation, art of, viii, 355. + +Mephisto, iii, 233; + Disraeli compared with, v, 320. + +Mephistopheles, referred to, v, 132. + +Merchandising, old-time methods of, ix, 131. + +Merchant, age of the, xi, 306. + +_Merchant of Venice, The_, Shakespeare, i, 317. + +Meredith, George, ii, 127. + +_Merlin_, Tennyson, v, 68. + +_Message to Garcia_, how written, i, p xxix. + +Messalina, Valeria, wife of Claudius, viii, 62. + +_Messiah_, Handel, xiv, 269. + +Messianic instinct, the, v, 109. + +Metaphysics, x, 344; + Kant on, viii, 148. + +_Metaphysics of Love_, Schopenhauer, viii, 382. + +Metaphysics, science and theology distinguished from, viii, 267. + +Methodism, ix, 279; + Lecky on, ix, 49; + Moravianism and, ix, 32. + +Methodists, ii, 227; + origin of name, ix, 25. + +Michallon, Achille, companion of Corot, vi, 198. + +Michelangelo, i, 131; iv, 90; xii, 84; + age of, iv, 6; ix, 94; + birth of, iv, 7; + influence of, upon Leonardo, iv, 7; + appearance of, iv, 7; + manner of living, iv, 7; + compared with Leonardo, iv, 8; + his figures of women, iv, 9; + beginning of his artistic work, iv, 9; + his parents, iv, 10; + his apprenticeship, iv, 13; + his patron, Lorenzo, iv, 13; + life of, in Florence, iv, 15; + arrival in Bologna, iv, 16; + life of, in Rome, iv, 18; + his work in Florence, iv, 22; + the Sistine Chapel, iv, 28; + the Church of San Lorenzo, iv, 31; + chief architect of Saint Peter's, iv, 34; + death of, iv, 35; + sonnets of, iv, 36; + America's tribute to, iv, 35; + Sebastian Bach compared with, xiv, 137; + Cellini and, vi, 281; + Landseer compared with, iv, 326; + Leonardo and, vi, 28; + other self of, v, 106; + rivalry between Raphael and, iv, 31; + on Raphael, vi, 36; + compared with Titian, iv, 146; + compared with Walt Whitman, i, 170. + +Michel, Emile, on Rembrandt, iv, 40. + +Microscopic portrayal, vi, 203. + +Middendorf, William, and Froebel, x, 258. + +Middle Ages, the, x, 127; + art and life in the, v, 18; + monks of the, ii, 189. + +Middle class, the, x, 225. + +_Midsummer Night's Dream_, Shakespeare, i, 304. + +_Mignon_, Ary Scheffer's painting, iv, 246. + +Milan Academy of Art, founding of, vi, 55. + +Milburn, the blind preacher, iii, 40; v, 85. + +Millais' friendship for Thackeray, i, 236. + +Miller, Hugh, geologist, xii, 265. + +Miller, Joaquin, referred to, i, 195; xiii, 22. + +Millet, Francois, his influence on art, iv, 269; + nature of, iv, 261; + ancestry of, iv, 263; + Parisian experience of, iv, 267; + poverty of, iv, 272; + marriage of, iv, 273; + student in the atelier of Delaroche, iv, 274; + second marriage of, iv, 275; + devotion of, to wife and children, iv, 276; + home of, in Barbizon, iv, 278; + friends of, iv, 279; + recognition of, iv, 280; + vogue of, iv, 282; + _The Angelus_, vi, 215; + Corot and, vi, 213; + Dore compared with, iv, 346; + influence of, viii, 205; + style of, vi, 214; + Wagner compared with, iv, 259; + Whitman compared with, iv, 259. + +Millionaires, v, 311; xi, 389; + limitations of, xi, 226; + machine-made, v, 81. + +Mill, John Stuart, i, 95; xiii, 85; + _Autobiography_, xiii, 153; + Bradlaugh and, xiii, 171; + Robert Browning compared with, xiii, 170; + Thomas Carlyle on, xiii, 151; + on Coleridge, v, 289; + as a member of the House of Commons, xiii, 171; + Auguste Comte and, viii, 257; + Henry George and, ix, 74; + Huxley compared with, xii, 311; + _Logic_, xiii, 160; + Justin McCarthy on, xiii, 160; + Macaulay on, v, 185; + John Morley on, xiii, 160; + _On Liberty_, xiii, 142; + quoted, vii, 217; + Bishop Spalding on, xiii, 162. + +_Mill on the Floss, The_, Eliot, i, 53; v, 148. + +Mills, B. Fay, ix, 184, 283. + +Mills hotels, the, xi, 327. + +Milnes, Monckton, and Robert Browning, v, 55; + Alfred Tennyson and, v, 76. + +Milton, Sir Christopher, quoted, v, 120. + +Milton, John, ii, 76; + home of, in Bread Street, London, v, 119; + father of, v, 119; + youth of, v, 121; + education of, v, 122; + life of, at Cambridge, v, 123; + his ascetic nature, v, 124; + life of, at Horton, v, 126; + influence of mother on, v, 126; + his marital experiences, v, 128; + his tractate on divorce, v, 130; + travels of, v, 136; + his political pamphlets, v, 137; + his surpassing genius, v, 139; + Lord Byron compared with, v, 230; + influence of Dante on, xiii, 137; + Dore's illustrations of the works of, iv, 338; + Galileo and, xii, 82; + Heaven and, i, 179; + Macaulay on, v, 181; + referred to, v, 83; + Satan of, v, 320; + as a secretary, v, 26; + and ship-money, ix, 316. + +Mind, the supremacy of, viii, 161. + +Mineptah, the great Pharaoh, x, 17. + +Minerva, ii, 43. + +Ministers, sons of, iii, 102. + +Mintage of wisdom, i, p xii. + +Mirabeau, Marat and, vii, 223; + Thomas Paine and, ix, 178; + quoted, ix, 387; + Madame de Stael compared with, ii, 183. + +Mission furniture, i, p xxv. + +Missions of California, x, 163. + +Missouri River, referred to, i, 123. + +Mitford, Mary Russell, ii, 26; v, 59; + life of Dean Swift by, i, 143. + +Mobocrats, vii, 407. + +_Modern Painters_, Ruskin, i, 89; v, 246; vi, 329. + +Modesty, definition of, x, 16. + +Mohammedans, expulsion of, from Spain, viii, 207. + +Mohammed, the religion of, ix, 375. + +Mommsen, Theodor, historian, xi, 291. + +Monahan, Michael, iii, p xii. + +_Mona Lisa, The_, vi, 41; + Walter Pater on, vi, 58. + +Monasteries, age of the, xi, 306; + as mendicant institutions, vii, 113. + +Monastic impulse, the, vii, 87, 111; x, 166, 119, 304. + +Monasticism, x, 302; + forms of, vii, 111. + +Monastic life, vii, 86. + +_Money-changers_, Rembrandt, iv, 64. + +Mongoose, story of the imaginary, ix, 300. + +Monism, xii, 256. + +Monogamy, Ernst Haeckel on, x, 305. + +Monroe, James, and Thomas Paine, ix, 160. + +_Monstrous Regiment of Women, The_, John Knox, ix, 210. + +Montague, Charles, Lord Halifax, quoted, v, 244. + +Montaigne, quoted, v, 151; + referred to, iii, 35. + +Montebello, home of Empress Josephine in, ii, 275. + +Monte Cassino, Benedictine monastery, x, 315. + +Montesquieu on heaven, viii, 130. + +Monticello, home of Jefferson, iii, 69. + +_Moonlight Sonata_, Beethoven, xiv, 277. + +Moore, George, and Corot, vi, 205. + +Moore, Thomas, i, 155, 280; + birthplace of, i, 156; + Lord Byron and, v, 224; + Disraeli and, v, 333; + Dore's illustrations of the works of, iv, 338. + +Moqui Indians, the, viii, 46. + +Morality, v, 226; + defined, x, 318; + Schopenhauer on, viii, 377; + Herbert Spencer on, ix, 191. + +Moravians, John Wesley and the, ix, 31. + +More, Hannah, Edmund Burke and, vii, 161; + Macaulay and, v, 181; + friend of Reynolds, iv, 305. + +More, Sir Thomas, i, 124; x, 117. + +Morgan, J. Pierpont, vi, 72; vii, 193; + Patrick Sheedy and, vi, 145. + +Morley, John, xii, 412; + Charles Bradlaugh and, ix, 271; + on Lord Byron, v, 215; + on Richard Cobden, ix, 140, 153; + on J. S. Mill, xiii, 160; + quoted, vi, 275; + on Servetus, ix, 202. + +Mormon, the, ii, 189. + +_Morning_, Michelangelo, iv, 32. + +_Morning_, Thorwaldsen, vi, 123. + +Morris chair, the, v, 21. + +Morris, Gouverneur, iii, 239. + +Morris, Nelson, and Philip D. Armour, xi, 189. + +Morris, Robert, iii, 171; xi, 94. + +Morris, Roger, Colonel, iii, 19; + estate of, xi, 217. + +Morris, William, parents of, v, 11; + education of, v, 12; + early experience of, in architecture, v, 15; + marriage of, v, 16: + the Preraphaelite Brotherhood, v, 18; + socialism of, v, 23; + shops of, at Hammersmith, v, 27; + appearance of, v, 27; + meeting of Elbert Hubbard with, v, 29, 32; + associates of, v, 29; + influence of, v, 25, 33; viii, 205; + American art and literature and, v, 32; + criticisms of, v, 23; + F. S. Ellis and, v, 29; + on Emerson, v, 32; + executive ability of, v, 20; + on fellowship, vi, 332; + on the Icelandic sagas, vi, 97; + on the ideal life, vi, 16; + influence of Burne-Jones on, v, 15; + Moses compared with, x, 37; + James Oliver compared with, xi, 74; + Robert Owen compared with, xii, 343; + philosophy of, xiii, 252; + on Preraphaelitism, vi, 11; + quoted, v, 23; + referred to, i, pp xvii, xxi; ii, 123, 125; v, 97; x, 117; + Ruskin compared with, xiii, 253; + versatility of, v, 34; + Wagner compared with, xiv, 24; + Emery Walker and, v, 29; + on Walt Whitman, v, 32; + Professor Zueblin on, xi, 356. + +Morse, Samuel, inventor, xi, 68. + +_Morte d' Arthur_, Mallory, v, 14. + +Mosaic, art of, iv, 153. + +Mosaicist, art of the, iv 155. + +Moses, i, 306; + parentage of, x, 22; + life of, in the Egyptian court, x, 25; + Aristotle compared with, x, 13; + death of, x, 40; + Albrecht Durer compared with, x, 37; + the laws of, x, 11, 32; + William Morris compared with, x, 37; + wit and humor of, i, 238; + the world's first great teacher, x, 11. + +_Moses_, Michelangelo's statue of, iv, 27; + Rembrandt's, iv, 63. + +_Mother and Child_, Giotto, vi, 17. + +Motherhood, holiness of, vi, 249; + teaching and, vi, 249; + Whistler's tribute to, vi, 337. + +Mother-love, v, 127; + Darwin on, iv, 46. + +Mothers-in-law, xiv, 11. + +Motive power, vi, 250. + +Mountain-climbing, xii, 355. + +Mount Vernon, home of Washington, iii, 11. + +Moxon, Edward, publisher, ii, 233; + Robert Browning and, v, 46. + +Mozart, Wolfgang, Dudley Buck on, xiv, 295; + Marie Antoinette and, xiv, 305; + marriage of, xiv, 326; + Mendelssohn compared with, xiv, 163; + Rembrandt compared with, xiv, 316; + the Empress Maria Theresa and, xiv, 305. + +Muldoon, William, x, 249; + Pythagoras compared with, x, 72. + +Mullah Bah, Turkish wrestler, vii, 217. + +Muller, Johannes, zoologist, xii, 253. + +Muller, Max, _A Story of German Love_, viii, 192; + _Memories_, vi, 40. + +Mulready, artist, iv, 318; + grave of, i, 231; + Sydney Smith and, iv, 321. + +Munchausen, referred to, v, 221. + +Munich, galleries of, iv, 57. + +Munro, Doctor, patron of Turner, i, 127. + +Murano, glassworkers of, vi, 252. + +Murillo, Fortuny compared with, iv, 208; + pictures by, in England, iv, 189; + Velasquez and, vi, 183. + +Murray, Adirondack, ix, 358. + +Murray, Lindley, grammarian, iii, 238. + +Muscular Christianity, ii, 196. + +Museum of Fine Arts, Boston, iii, 103. + +Music, v, 236; xiv, 353; + Confucius on, x, 62; + Heine on, xiv, 332; + modern, xiv, 223; + power of, xiv, 119; + a secondary sex manifestation, xiv, 193. + +Musicians, a third sex, xiv, 165. + +_Music Study in Germany_, Amy Fay, xiv, 207. + +Musset, Alfred de, xiv, 94. + +Mutual Admiration Society, vi, 331; viii, 240; xii, 305. + +_My Private Life_, Voltaire, viii, 312. + +Mythology, gods of, iii, 5; + Thorwaldsen's love for, vi, 97. + + +_Nabucodonosor_, Verdi, xiv, 290. + +Napoleon Bonaparte, iv, 82, 128, 185, 193; v, 201; + Abbott's life of, vi, 129; + King Alfred compared with, x, 137; + Balzac and, xiii, 279; + visits Rosa Bonheur, ii, 159; + boyhood of, vi, 102; + Lord Byron and, v, 220; + Disraeli compared with, v, 321; + Edison compared with, i, 330; + Wolfgang Goethe and, i, 165; xi, 151; + at the grave of Rousseau, viii, 242; + Alexander Hamilton and, iii, 173; + the Jews and, xi, 152; + Pope Julius compared with, iv, 26; + Meissonier's admiration for, iv, 142; + the Mennonites and, viii, 212; + Marshal Ney and, viii, 242; + quoted, ii, 183; iv, 95; vii, 17; + on Rousseau, ix, 387; + Madame de Stael and, ii, 180. + +Napoleon II, son of Napoleon I, ii, 281. + +Napoleon III, emperor of France, ii, 279. + +_Natural History of Creation, The_, Haeckel, xii, 249. + +Natural religion, vi, 165. + +Natural selection, v, 47; + law of, v, 95. + +_Nature of Gothic, The_, Ruskin, v, 13. + +Nature, and man, ix, 394; + Michelangelo's fidelity to, iv, 24; + a symbol of spirit, xiv, 79; + Emerson on, x, 306. + +_Nearer My God to Thee_, Adams, v, 48. + +Negro, education of the, x, 200. + +Negroes, souls of, iii, 101. + +Nelson, Horatio, boyhood of, xiii, 401; + character of, xiii, 405; + death of, ii, 69; xiii, 426; + Carlyle on, xiii, 429; + story of, ii, 123. + +Neo-Platonism, Hypatia on, x, 270; + New Thought compared with, x, 283. + +Nepotism, vii, 102. + +Nero, Roman Emperor, viii, 49; xii, 39; + Alcibiades compared with, viii, 71. + +Nervous prostration, viii, 254. + +Network, Johnson's definition of, v, 146. + +Neville, Richard, kingmaker, i, 302. + +Nevis, island of, iii, 153. + +New England Lyceum, the, vii, 325. + +New Harmony, Indiana, ix, 226; xii, 347; + community life at, xi, 43. + +_New Heloise_, Rousseau, ix, 393. + +New Jersey, mosquitoes of, iii, 23. + +New Lanark, social betterment in, xi, 32. + +Newman, John Henry, Cardinal, x, 362; + Servetus compared with, ix, 202. + +New Orleans, battle of, iii, 221. + +_New Paths_, Schumann, xiv, 344. + +New Rochelle, Huguenot settlement, iii, 234. + +_News From Nowhere_, William Morris, v, 23. + +New Thought, viii, 17; + Neo-Platonism compared with, x, 283; + origin of, x, 280; + secondhand thought and, x, 284. + +Newton, Sir Isaac, the mathematician, i, 341; v, 134; xii, 84, 195, 409; + and the Bible, xii, 38; + boyhood of, xii, 12; + discovery of the law of gravitation, xii, 31; + fame of, xii, 40; + Galileo compared with, xii, 37; + insanity of, viii, 255; + inventor of the spectrum, xii, 34; + Laplace on, xii, 44; + Leonardo compared with, vi, 43; + Milton compared with, xii, 28; + Samuel Pepys and, xii, 42; + John Ray and, xii, 277; + Herbert Spencer on, x, 366; xii, 13; + Mary Story and, xii, 23; + on the transmutation of metals, xii, 36; + Turner and, i, 131; + Voltaire on, x, 366; + Voltaire's sketch of, xii, 30. + +New woman, the, ii, 53. + +New York compared with London, ii, 118. + +New Zealand, i, p xxv. + +Niagara Falls, i, p xxv; + Stratford compared with, i, 309; + referred to by Goldsmith, i, 296. + +Nicholas V, Pope, quoted, vi, 31. + +Nicolay and Hay, life of Lincoln, ii, 303. + +Nietzsche, Friedrich, and Wagner, xiv, 35. + +Niggerheads, i, p xxii. + +Nightingale, Florence, ii, 83. + +_Night_, Michelangelo, iv, 32. + +_Night_, Thorwaldsen, vi, 122. + +_Nightwatch_, Rembrandt, iv, 74. + +_Nocturne_, Whistler, vi, 345. + +_Non-conformist, The_, Spencer's contributions to, viii, 332. + +Non-resistance, ii, 191. + +Nordau, Max, i, 163; vi, 286. + +Norsemen, home of, x, 127. + +North, Christopher, v, 266; xi, 264. + +Northcote, artist, iv, 318. + +North Pole, ii, 65. + +North Temperate Zone, the, v, 282. + +Northumberland, Earl of, i, 297. + +Northwest Territory, cession of, iii, 75. + +Nostalgia, v, 86; vi, 301; xiv, 79. + +_Notes and Comments_, Spencer, viii, 336. + +_Not so Bad as We Seem_, Bulwer-Lytton, i, 250. + +Novalis on Spinoza, viii, 233. + +Novelist, art of the, i, 266; iii, 189. + +Noy, Attorney-General, domdaniel of attorneys, ix, 315. + +Noyes, John Humphrey, x, 117; xi, 167. + +Nunneries, vii, 112. + +Nurse, the trained, viii, 12. + + +O'Connell and Disraeli, v, 336. + +O'Connor, T. P., xiii, 177. + +Octavia, wife of Mark Antony, vii, 70. + +Octavius Cæsar, vii, 61. + +_Oedipe_, Voltaire, viii, 287. + +Officialism in America, vi, 146. + +Oglethorpe, James, and the Wesleys, ix, 27. + +Oil-painting, introduction of, vi, 259. + +Old maids, Charles Lamb on, ii, 214. + +_Old Oaken Bucket, The_, i, 223. + +_Old Temeraire, The_, Turner's painting of, i, 137. + +Olivarez and Richelieu, vi, 167, 180. + +Oliver chilled plow, the, xi, 65. + +Oliver, James, boyhood of, xi, 53; + Rev. Robert Collyer and, xi, 79; + George H. Daniels and, xi, 82; + William Morris compared with, xi, 74; + religion of, xi, 66, 84; + Daniel Webster compared with, xi, 78; + wife of, xi, 61, 88. + +Olympian games, i, 279. + +Olympus, iv, 18. + +Omar Khayyam, v, 149; + quoted, xiii, 97. + +Oneida Community, the, ii, 189; x, 118; xi, 42, 167. + +One-price system, the, ix, 131. + +_On Liberty_, John Stuart Mill, i, 95; xiii, 142. + +_On the Sublime_, Burke, i, 229; vii, 172. + +_On the Wings of Song_, Mendelssohn, xiv, 183. + +_Open Boat, The_, Crane, xiv, 80. + +_Opium Eater, The_, De Quincey, i, 217. + +Optics, the law of, viii, 167. + +Orange, Prince of, iv, 82. + +Orang-utan, the, xii, 382. + +Orator, qualifications of the, vii, 21. + +Oratory, iii, 190, 204; v, 188; + Addison on, v, 253; + the child of democracy, vii, 92; + indiscretion set to music, vii, 345; + laws of, viii, 98; + politics and, vii, 209. + +Organ-music, xiv, 137. + +Orient, influence of, on Venetian art, iv, 167. + +Originality, xii, 242, 407; + insanity and, viii, 197. + +Orme, Gen., friend of Lincoln, iii, 288. + +Orr, Mrs. Sutherland, v, 40. + +Orthodoxy, decline of, x, 370. + +Osborne, Thomas, ix, 283. + +Osbourne, Lloyd, on R. L. Stevenson, xiii, 27. + +Oshkosh, Wis., i, 88. + +Ossian, iii, 69, 234; + Johnson on, v, 163. + +Ossoli, Margaret Fuller, ix, 115. + +Ostracism, social, vi, 172; xiv, 21. + +Oswego, mentioned by Goldsmith, i, 296. + +_Otello_, Verdi, xiv, 295. + +Othello, ii, 96. + +_Othello_, Shakespeare, i, 317. + +Other self, the, iv, 133; v, 107. + +Otis, Harrison Gray, iii, 122. + +Ouida, i, 75; + regarding Marcus Aurelius, viii, 130; + quoted, viii, 250. + +_Our Village_, Mitford, ii, 28. + +_Outlines of Cosmic Philosophy_, Fiske, xii, 406. + +_Overland Monthly_, Henry George's contributions to, ix, 69. + +Ovid, referred to, iv, 288. + +Owen, Robert, in America, xi, 41; + Jeremy Bentham and, xi, 34; + John Bright and, ix, 226; + democratic optimist, xi, 12; + Emerson and, xii, 349; + as a mill superintendent, xi, 16; + William Morris compared with, xii, 343; + George Peabody and, xi, 320; + Sir Robert Peel and, xi, 35; + times of, xi, 13; + John Tyndall and, ix, 225; xii, 344; + Josiah Wedgwood and, ix, 225; + work of, xii, 343. + +Oxford University, in the 18th century, ix, 21, 33; + founding of, x, 14. + + +Packer, Rev. J. G., and Charles Bradlaugh, ix, 248. + +Packing-house industry, the, xi, 178. + +Paderewski and the Czar of Russia, xii, 101. + +Paganini, Niccolo, as a violinist, xiv, 52; +described by Heinrich Heine, xiv, 54; + musical scores of, viii, 173. + +Paganism, vi, 13; + Christianity and, vi, 224; vii, 49; ix, 276. + +Pain, v, 238; + Tennyson's conquest of, v, 89. + +Paine, Thomas, Hosea Ballou compared with, ix, 184; + Benjamin Franklin and, ix, 157; + the genius of, ix, 163; + imprisonment of, ix, 179; + influence of, on Henry George, ix, 66; + Ingersoll and Bradlaugh compared with, ix, 243; + literary style of, ix, 169; + military service of, ix, 168; + Doctor Priestly and, ix, 174; + quoted, vii, 238; ix, 390; + referred to, xi, 94; xii, 179; xiii, 83; + spiritual children of, ix, 184; + George Washington on, xiii, 84. + Painting, Byron's knowledge of, i, 134; + a form of expression, iv, 159; + Scott's ignorance of, i, 132; + Scriptural, iv, 58. + +Pairing, the practise of, v, 95. + +Palissy, Bernard, French potter, v, 134. + +Palmerston and Macaulay compared, v, 197. + +Panoramic pictures, iv, 215. + +Pantheism, x, 342; + Unitarianism and, ix, 295. + +Pantheon, the, i, 202; + history of, i, 206. + +Pantisocracy, v, 280. + +Paolina Chapel, Michelangelo's decoration of, iv, 34. + +_Paracelsus_, Browning, v, 44, 55. + +_Paradise Lost_, Milton, v, 137; + copyright of, v, 246. + +Parasitism, ix, 88. + +Parents, children and, xii, 56; + the woes of, vi, 197. + +Paris, ii, 56; + society in, during Revolution, ii, 177; + prisons of, Elizabeth Fry on, ii, 188. + +Parker, Dr. Joseph, ii, 194, 237; ix, 281; + Dore and, iv, 344; + Huxley and, xii, 322; + as an orator, vii, 22. + +Parker, Theodore, vii, 251; + and the Brook Farm Community, ix, 293; + John Brown and, ix, 300; + Emerson compared with, ix, 279, 292; + William Lloyd Garrison and, ix, 299; + Colonel Higginson and, ix, 299; + Elbert Hubbard and, ix, 389; + lecture on Emerson, ix, 274; + on Thomas Paine, ix, 158; + Thomas Paine compared with, ix, 184; + as a preacher, ix, 281; + quoted, xi, 53; + on Starr King, vii, 320; + wife of, ix, 290. + +Parkhurst, Rev. Dr., v, 281. + +Parma, Italy, the market at, vi, 237. + +Parnell, Charles Stewart, James Bryce on, xiii, 204; + speech of, in Buffalo, xiii, 186; + Gladstone and, xiii, 184, 198; + Justin McCarthy on, xiii, 199; + mother of, xiii, 179. + +_Parsifal_, Wagner, xiv, 19. + +Parsons, Alfred, vi, 314. + +Partridge, the almanac-maker, i, 148. + +Passion, ii, 170; + the divine, ii, 36. + +Passiveness, v, 99. + +Pasteur, Louis, French chemist, i, 247. + +Paternity, Schopenhauer on, viii, 363. + +Pater, Walter, iv, 22; + on Botticelli, vi, 65; + on the _Mona Lisa_, vi, 58. + +Patience, v, 238. + +Patrick, St, ii, 95. + +Patriotism, ix, 313; + art and, vi, 321; + Samuel Johnson on, vii, 196. + +Patronymics, iv, 41. + +Patti, Adelina, quoted, iii, 197. + +_Pauline_, Browning, v, 50. + +Paul the Hermit, vii, 112. + +Paul III, Pope, iv, 33. + +Peabody, George, Joshua Bates and, xi, 328; + beneficences of, xi, 326; + boyhood of, xi, 308; + James Buchanan and, xi, 329; + in England, xi, 320; + W. E. Gladstone and, xi, 331; + the Maryland bond issue and, xi, 321; + military experience of, xi, 316; + Robert Owen and, xi, 320; + the world's first philanthropist, xi, 303; + Elisha Riggs and, xi, 316; + Queen Victoria and, xi, 330; + in Washington, xi, 312. + +Peary, Admiral, ii, 65. + +Pedagogics, science of, viii, 100. + +Peel, Sir Robert, ii, 83; xi, 35; + on John Bright, ix, 238; + Richard Cobden and, ix, 150; + Elizabeth Fry and, ii, 210; + Macaulay compared with, v, 197. + +Peg Woffington, ix, 359; + friend of Reynolds, iv, 305. + +Pennel, Joseph, vi, 314. + +Penni, Gianfrancesco, pupil of Raphael, vi, 33. + +Penn, William, ii, 197; + founder of Philadelphia, xi, 93; + the Quaker colonies and, ix, 219. + +Pentecost, Hugh, on the power of will, xiv, 56. + +Pepys, Samuel, iii, 7; iv, 8; + diary of, vi, 273; + Sir Isaac Newton and, xii, 42; +quoted, iv, 198; xiv, 260; + style of, v, 150; + Vasari compared with, vi, 19. + +Percherons, the, breed of horses, ii, 57. + +_Peregrine Pickle_, Smollett, iv, 302. + +Pericles, i, 306; + age of, i, 345; vii, 13, 15; + builder of Athens, i, 341; + Roscoe Conkling compared with, vii, 23; + contemporaries of, vii, 15, 18; + letter of, to Aspasia, vii, 10; + Lorenzo compared with, iv, 13; + Plutarch on, vii, 16; + power of, iii, 93; + quoted, vii, 38. + +Periodicity, v, 183. + +Peripatetic School, the, viii, 105. + +Perquisites, legitimate, v, 44. + +Persecution, ii, 194; + religious, Tolstoy on, ix, 181; + uses of, ix, 132. + +Personal charm, ix, 103. + +Personality, iv, 193; v, 183; vi, 61; vii, 314; + of the true artist, vi, 178. + +Perugino, iv, 28; vi, 21; + Raphael and, vi, 24. + +Pessimism, philosophy of, viii, 363. + +Pestalozzi, and Froebel, x, 252; + Jean Jacques Rousseau and, x, 252. + +_Peter Pan_, James Barrie, xiii, 11. + +Petrarch, Boccaccio and, xiii, 232; + James Colonna and, xiii, 220; + the founder of humanism, xiii, 241; + place in literature, xiii, 209. + +Petroleum, composition of, xi, 385. + +_Phaedo_, Plato, ii, 195. + +Phalanstery, the, iii, p xi; viii, 412. + +Pharaoh, ii, 56. + +Pharisee ism, ii, 196. + +Pharsalia, battle of, vii, 57. + +Phidias, sculptor, reference to, i, 122; vii, 26. + +Philadelphia lawyers, vi, 306. + +Philanthropic spirit, the, xi, 327. + +Philip II, King of Spain, policy of, iv, 81, 93; + Spain under the rule of, vi, 171. + +Philip III of Spain, court of, vi, 172. + +Philip IV, paintings of, by Velasquez, vi, 173. + +Philippe, King of France, ii, 83. + +Philippics of Cicero, the, vii, 56. + +_Philistine, The_, founding of, i, p xx. + +Philistinism, ii, 227, 237. + +Phillips, Wendell, abolitionist, character of, vii, 386; + Ben Butler and, vii, 388; + William Lloyd Garrison and, vii, 394; + Ann Terry Greene, vii, 398; + his Faneuil Hall speech, vii, 406; + advice to oratorical aspirants, ix, 257; + Emerson on, vii, 413; + on Emerson, xiii, 171; + Elbert Hubbard and, vii, 410; + _The Lost Arts_, vii, 328; + quoted, vi, 273; + referred to, iii, 271; vi, 41, 148; vii, 252, 287; xi, 258; + Charles Sumner and, vii, 399. + +_Philosophical Dictionary, The_, Voltaire, i, 205; viii, 274; xi, 106. + +Philosophy, definition of, viii, 201; + of the future, viii, 104; + marriage and, viii, 251; + of pessimism, viii, 363. + +Photography, ii, 130. + +Phrenology, i, 160. + +Physicians, liberality of, iii, 81. + +Piacenza, Donna Giovanni, abbess of San Paola Convent, Parma, vi, 230. + +Piccadilly, i, 57; + bus-drivers of, vi, 257. + +_Pieta_, Michelangelo, iv, 19. + +Pigot, John, and Byron, v, 214. + +"Pig Poetry," i, 71. + +_Pilgrims' Chorus_, Wagner, iv, 262; v, 267. + +Pilsen, the Prince of, xiii, 315. + +Pinkerton Guards, iii, 114. + +Pinturicchio, companion of Raphael, vi, 26. + +"Pious Wax-works," i, 135. + +_Pippa Passes_, Browning, v, 56; + quotation from, iii, 264. + +Pitti Gallery, the, iv, 101; vi, 27. + +Pitt, William, Earl of Chatham, vii, 185; ix, 164; + Burke on, vii, 186; + Disraeli and, v, 331; + extravagance of, vii, 204; + George III and, vii, 200; + Madame de Stael and, vii, 202; + Daniel Webster compared with, iii, 204; + Wilberforce and, vii, 204. + +Pity for the dead, v, 87. + +Pius IV, Pope, iv, 35. + +Pius V, Pope, iv, 35. + +Pius IX, Pope, ix, 93; + on Darwinism, xii, 228. + +Pivotal Points, law of, x, 308. + +Plagues of Egypt, x, 36. + +Plain living and high thinking, ii, 285. + +Plantins, of Antwerp, iv, 55. + +Plato, i, 343; ii, 195; v, 131; xii, 99; + appearance of, x, 103; + Aristotle and, viii, 88; x, 114; + Dionysius, Tyrant of Syracuse, and, x, 108; + Emerson on, viii, 31; + eugenics of, x, 118; + influence of, x, 120; + garden school of, viii, 87; + Kant compared with, viii, 154; + Franz Liszt compared with, viii, 87; + Lowell on, viii, 87; + philosophy of, x, 105; + pupils of, xii, 267; + Pythagoras and, x, 119; + quoted, viii, 33; + _The Republic_, x, 98, 117; viii, 221; + Shakespeare compared with, x, 116; + Socrates and, viii, 11, 29; x, 102; + on the soul, viii, 403; + Turner and, i, 131; + writings of, x, 116. + +Platonic love, v, 100. + +Pleasure, v, 238. + +Pliny, the naturalist, xii, 269; + quoted, xiii, 97. + +Plotinus, founder of Neo-Platonism, x, 281. + +Plutarch, i, p v; 114, 267; + Vasari compared with, vi, 19. + +_Plutarch's Lives_, referred to, iii, 34. + +Plymouth Rock, xi, 56. + +Poe, Edgar Allan, v, 97; ix, 285; xi, 94; xiv, 51; + _Annabel Lee_, xiii, 256. + +_Poems, Chiefly Lyrical_, Tennyson, v, 78. + +_Poems on the Life and Death of Laura_, Petrarch, xiii, 243. + +Poetry, the bill and coo of sex, v, 93; + science versus, x, 114; + Wordsworth's conception of, i, 223. + +Poets' Corner, Westminster Abbey, x, 43. + +Poets, potential, v, 93. + +Poise, v, 239. + +Poland, history of, xii, 101; xiv, 85. + +_Political Justice_, William Godwin, ii, 295; xiii, 85. + +Politics and oratory, vii, 209. + +Poliziano, poet and scholar, iv, 16. + +Pompeiian mosaic work, iv, 155. + +Pompey and Crassus, vii, 50. + +Pond, Major, i, p xxxvii; + John Brown and, vii, 360; + Henry Ward Beecher and, vii, 360; + personality of, vii, 360; + as manager for Elbert Hubbard, vii, 360; + on Matthew Arnold, x, 220. + +_Poor Richard's Almanac_, Franklin, i, 150; iii, 47. + +Pope, Alexander, iii, 60; xiv, 261; + on mankind, xi, 314; + characterization of Lord Halifax, v, 250; + Joshua Reynolds and, iv, 292; + Voltaire and, viii, 295. + +Pope Innocent III, referred to, i, 151. + +_Popular Science Monthly_, Youmans, viii, 347; xii, 231. + +Portland, Duke of, and Thomas Paine, ix, 175. + +Portrait-painting in England, iv, 188. + +Portsea, island of, i, 196. + +Pose, vi, 190, 335. + +Positive Philosophy, the, viii, 253; + essence of the, viii, 266. + +Positivism, ii, 86; + a religion, viii, 270. + +Postage-stamps, collecting, iv, 121. + +_Potiphar's Wife_, Rembrandt, iv, 69; + Van Leyden, vi, 78. + +"Poverty party," ii, 177. + +Powderly, Terence V., on labor, x, 27. + +Power, ix, 39; + immortality and, vi, 57; + source of, iv, 122. + +Powers, Levi M., ix, 283. + +Prayer, v, 174; xii, 95; + an emotional exercise, ii, 80. + +Preaching, Erasmus on, x, 150. + +Precedent, vi, 191. + +Precocity, v, 121. + +_Prelude, The_, Wordsworth, i, 214. + +Preraphaelite Brotherhood, the, v, 18; vi, 11; xiii, 251. + +Preraphaelites, the, ii, 125; + Whistler on the, v, 17. + +Pretense, v, 238. + +Pretyman, tutor of William Pitt, vii, 198. + +Priestly class, the, v, 203; xii, 221. + +Priestly, Dr., and Thomas Paine, ix, 174. + +Priest, position of, in society, iii, 99. + +Primitive Christianity, ii, 196; ix, 19; xi, 132. + +Primogeniture, law of, xiii, 88. + +_Primrose Sphinx, The_, Zangwill, v, 319. + +Princeton, Washington at, iii, 24. + +_Principia_, Newton, xii, 42; + Swedenborg, viii, 192. + +_Principles of Psychology_, Herbert Spencer, viii, 342. + +Printing, the art of, xiv, 225; + invention of, vi, 260. + +Printing-press, invention of the toggle-joint, iii, 47. + +Prisons and prisoners, vi, 170. + +Prizefighting, ix, 97. + +Probationary marriage, v, 131. + +Professions, the learned, iii, 99. + +_Progress and Poverty_, Henry George, ix, 73; + quotation from, xiii, 186. + +_Progress of Man_, Lincoln's lecture on, iii, 288. + +Prohibition, vii, 127. + +_Prometheus Bound_, E. B. Browning, ii, 28. + +Prometheus, Edison on, i, 338. + +Property, divine right of, ix, 87. + +Prophetic voice, the, i, 181. + +Proscription, advantages of, vii, 405. + +Protestantism, vii, 116; ix, 279. + +Providence, planning and luck, xii, 238. + +Psychic mixability, xi, 317. + +Ptolemaic theory, the, xii, 49. + +Ptolemy, the astronomer, xii, 99. + +Public-school system, American, vi, 251. + +Punishment, v, 235. + +Puritanism, v, 238; ix, 313. + +Puritans, compared with Huguenots, iii, 232; + in America, the, ix, 339; + of America, ii, 77; + persecution of, v, 139. + +Putnam, George H., i, p xx. + +"Putti" of Correggio, vi, 240. + +Pye, poet laureate, v, 276. + +Pygmalion, love of, iv, 182. + +Pyle, Howard, vi, 314. + +Pythagoras, Copernicus compared with, x, 92; + epigrams of, x, 90; + initiation of, x, 81; + the mother of, x, 79; + Muldoon compared with, x, 72; + Plato and, x, 119; + a teacher of teachers, x, 73; + teachings of, x, 87; + Thales and, xii, 98. + + +Quaker, the, ii, 189, 227. + +Quakerism, ii, 197. + +Quakers, in America, ii, 77; + origin of the word, ix, 219. + +Queen Anne touch, the, v, 153. + +_Queen Mab_, Shelley, ii, 303. + +Queenstown, Ireland, i, 274. + +Queensware, xii, 204. + +Queenswood, co-operative village, xi, 48. + +_Quest of the Golden Girl_, Le Gallienne, iii, 138; v, 218. + +"Quietism," philosophy of Madame Guyon, ii, 51; xiii, 349. + +Quincy Historical Society, iii, 134. + +Quinquennium Neronis, the, viii, 70. + +Quintilian on Roman marriages, viii, 136. + +Quintus Fabius, ix, 106. + +_Quo Vadis_, Sienkiewicz, iv, 108. + + +_Rab and His Friends_, John Brown, v, 266. + +_Rabbi Ben Ezra_, Browning, v, 38. + +Rabbit's foot, as an object of veneration, iv, 124. + +_Rabelais_, Dore's illustrations of, iv, 338. + +Rabelais, quoted, vi, 137. + +Radium, distinguishing feature of, viii, 359. + +Railroad management, xi, 421. + +Raleigh, Sir Walter, i, 261; iv, 81, 108, 190; + on English table-manners, xiii, 73; + James I and, viii, 58; + execution of, ix, 309. + +Ramee, Louise de la, on woman, vi, 74. + +Rameses II, iv, 26; x, 31. + +Raphael, iv, 90; + _Ansidei_ of, vi, 29; + Bartolomeo and, vi, 23; + birthplace of, vi, 19; + _Connestabile Madonna_, vi, 27; + favorite of Leo X, iv, 31; + genius of, vi, 12; + Henry VIII's offer to, iv, 188; + Leo X on, vi, 13; + love-tragedy of, vi, 34; + Michelangelo and, rivalry between, iv, 31; + Perugino and, vi, 24; + Pinturicchio and, vi, 26; + Reynolds compared with, iv, 303; + _Sposalizio_, vi, 27; + Titian compared with, iv, 146. + +Rapp, George, founder of the Harmonyites, xi, 42. + +_Rasselas_, Johnson, v, 162. + +Rational religion, x, 372. + +Ray, John, botanist, xii, 275; + Francis Willoughby and, xii, 276. + +Realist, the, definition of, i, 132. + +Recamier, Madame, ii, 167. + +Reciprocity, xi, 71. + +Reconciliation, the joy of, vi, 221. + +_Red Badge of Courage, The_, Crane, xiv, 80. + +Red Jacket, Indian, viii, 45. + +Red River Valley, the, xi, 419. + +Reed, Thomas Brackett, xii, 124, 199; + Seneca compared with, viii, 56; + quoted, v, 289; vii, 18. + +Reedy, William Marion, x, 344. + +_Reflections_, Madame de Stael, ii, 163. + +Reformation, the, ix, 187. + +Reformers, v, 311. + +Refrigerator-cars, manufacture of, xi, 192. + +Relatives, the tyranny of, ix, 137. + +Relaxation, vii, 287. + +Religion, defined, viii, 113; + economics and, ix, 192; + John Fiske on, xii, 413; + of humanity, x, 317; + irrigation and, ix, 278; + of Jesus, ii, 196; + the Jewish, viii, 220; + love and, xiv, 206; + of music, v, 124; + natural, vi, 165; + five phases of, ix, 188; + purity of, ii, 195; + Renan on, ii, 78; + the sex life and, ii, 201; + Shakespeare on, x, 350; + spirituality and, iv, 236; + Dean Swift and, i, 152; + Turner's views on, i, 139. + +Religious denominations, origin of, ix, 19. + +Rembrandt, iv, 123; v, 107; vi, 65; + Emile Michel on, iv, 40; + parents of, iv, 41; + home of, in Leyden, iv, 41; + early training of, iv, 44; + pupil of Jacob van Swanenburch, iv, 47; + his first picture, iv, 50; + influence of mother on, iv, 52; + pupil of Pieter Lastman, iv, 56; + friendship of, with Engelbrechtsz, iv, 58; + his pupil, Lucas van Leyden, iv, 58; + studio of, iv, 61; + his experiments in light and shade, iv, 61; + friendship for Jan Lievens, iv, 64; + friendship for Gerard Dou, iv, 65; + friendship for Joris van Vliet, iv, 65; + his work for the Elzevirs, iv, 65; + his portraiture of beggars, iv, 66; + classic instinct of, iv, 68; + marriage of, iv, 71; + death of wife of, iv, 73; + children of, iv, 74; + relations with Hendrickje Stoffels, iv, 76; + death of, iv, 78; + influence of, iv, 78; + the age of, iv, 78; + Botticelli compared with, vi, 69; + Robert Browning compared with, vi, 67; + dual character of, vi, 66; + extravagance of, iv, 73; + Mozart compared with, xiv, 316; + Van Dyck and, iv, 193. + +Rembrandtesque, definition of, iv, 51. + +Remington's horses, iv, 67. + +Remittance-men, i, p xxii. + +Remorse, v, 105; + +Renaissance, the great American, xi, 370; + the Italian, vi, 223. + +_Renaissance Masters_, G. B. Rose, vi, 39. + +Renan, v, 150; + on Marcus Aurelius, viii, 131; + on St. Benedict, x, 322; + on Christianity, x, 135; + on flowers, xiv, 193; + on the Israelitish exodus, x, 38; + quoted, iv, 165; + on religion, ii, 78; + on Seneca, viii, 80; + and his sister, ii, 115; + on Spinoza, viii, 229. + +Renter, the, ix, 82. + +Representative government, v, 185. + +Repression, v, 235. + +_Republic_ of Plato, viii, 33, 105, 221; x, 98, 117. + +Reserve, v, 335. + +Resiliency, x, 374. + +Responsibility, v, 176; vi, 174; xi, 407. + +_Resurrection, The_, Perugino, vi, 27. + +Revere, Paul, iii, 104, 116, 222. + +Reversion to type, law of, ii, 192. + +_Revolution of the Heavenly Bodies, The_, Copernicus, xii, 117. + +Reynolds, Sir Joshua, iv, 114; xii, 179; + birthplace of, iv, 287; + parents of, iv, 288; + early training of, iv, 290; + pupil of Hudson, iv, 291; + travels of, iv, 295; + popularity of, iv, 297; + vogue of, iv, 298; + his specialty, iv, 303; + American sympathies of, iv, 305; + president of the Royal Academy, iv, 305; + death of, iv, 307; + fortune of, iv, 307; + appearance of, iv, 293; + Edmund Burke and, vii, 160, 174; + Gainsborough compared with, iv, 287; + on Gainsborough, vi, 128; + genius of, iv, 329; + Samuel Johnson and, v, 169; vi, 28; + Raphael compared with, iv, 303; + on Titian, iv, 146; + Turner and, i, 140; + on Velasquez, vi, 158. + +Rhetoric, W. D. Howells on, vi, 187; + the study of, x, 143, 273. + +Rhode Island Historical Society, vi, 95. + +_Richard III_, Shakespeare, i, 317. + +Richardson, Samuel, English novelist, i, 291; + father of the English novel, vi, 148; + _Clarissa Harlowe_, iv, 302; + _Theory of Painting_, iv, 289. + +Richelieu, Cardinal, Chieppo compared with, iv, 98; + Archbishop Laud compared with, ix, 328; + Olivarez and, vi, 180. + +Riches and roguery, xi, 304. + +Richter, Gustav, German painter, iv, 52. + +Richter, Jean Paul, xiv, 111. + +Rickman, Thomas, friend of Thomas Paine, ix, 174. + +_Riddle of the Universe, The_, Haeckel, xii, 249. + +Righteousness, v, 315. + +Rights of the individual, v, 205. + +_Rights of Man, The_, Thomas Paine, ix, 157, 159, 174. + +_Rights of Woman, The_, Mary Wollstonecraft, xiii, 85. + +_Rigoletto_, Verdi, xiv, 292. + +Riley, James Whitcomb, childhood impressions of, iv, 341; vii, 13; + nomination of, for U. S. president, ix, 80. + +_Rinaldo_, Handel, xiv, 257. + +_Ring and the Book, The_, Browning, v, 65. + +Ripley, Rev. George, organizer of the Brook Farm Community, viii, 402. + +Roberts, John E., ix, 283. + +Robespierre, ii, 265; + Marat and, vii, 224; + Thomas Paine and, ix, 178. + +Robinson, Beverly, iii, 19. + +Robinson, Crabb, ii, 23. + +_Robinson Crusoe_, Heinrich Campe's translation of, xii, 130. + +Rob Roy and Byron compared, v, 221. + +Rochambeau, quoted, iii, 27. + +Rochester, poet, contemporary of Addison, v, 249. + +Rockefeller, John D., xi, 373; + Edison compared with, i, 330. + +Rodin, Auguste, ix, 198. + +Roentgen ray, ii, 169; viii, 359. + +Rogers, H. H., xi, 315; + appearance of, xi, 360; + beneficences of, xi, 390; + boyhood of, xi, 362; + Helen Keller and, xi, 389; + on success, xi, 358; + Ida Tarbell and, xi, 359; + Mark Twain and, x, 110; xi, 389; + Booker T. Washington and, xi, 389. + +Rogers, Hon. Sherman S., vii, 315. + +Romagna, the kingdom of, vi, 43. + +Romano Giulio, pupil of Raphael, vi, 33. + +Romanticism, French school of, iv, 230. + +Romantic love, xiii, 211. + +_Romantic Love and Personal Beauty_, Finck, xiii, 39. + +Rome, decline of, iii, 232. + +Rome, Greece and Judea compared with, x, 36; + in winter, iv, 296; + policy of the Church of, vii, 140; + wonders of, iv, 56. + +Romeike habit, the, iii, 113. + +_Romeo and Juliet_, Shakespeare, i, 317; v, 216. + +Romney, the artist, xii, 170; + Thomas Paine and, ix, 175; + Emma Lyon and, xiii, 410. + +_Romola_, George Eliot, vi, 90. + +Roosevelt, Theodore, ix, 393. + +Rose, George B., _Renaissance Masters_, vi, 39. + +Roseberry, Lord, quoted, vii, 186, 199. + +Ross, Admiral Sir John, Arctic explorer, grave of, i, 231. + +Rossetti, Christina, mother of, ii, 117; + London home of, ii, 125; + literary productions of, ii, 129. + +Rossetti, Dante Gabriel, ii, 115; iv, 51; + influence of, on William Morris, v, 16; + Walter Hamilton on, xiii, 272. + +Rossetti, William Michael, i, 170; ii, 115; iv, 143; + William Sharp on, xiii, 271; + on Herbert Spencer, viii, 344; + on Walt Whitman, xiii, 18. + +Rossini, G., musician, iv, 230; + friendship of, for Dore, iv, 340. + +Rothschild, Mayer Anselm, Goethe and, xi, 134, 145; + the Landgrave of Hesse-Cassel and, xi, 146; + parents of, xi, 138. + +Rothschild, Nathan, at the battle of Waterloo, xi, 161. + +Rothschilds, rise of the, xi, 157. + +Rousseau, Jean Jacques, boyhood of, ix, 374; + John Burroughs and, ix, 394; + on education, xii, 128; + _Emile_, ix, 371; + greatness of, ix, 370; + influence of, on American patriots, ix, 388; + Pestalozzi and, x, 252; + Madame de Stael compared with, ii, 183; + Madame De Warens and, ix, 375; + _New Heloise_, ix, 393; + quoted, ix, 390; + referred to, i, pp. xxxii, 306; iii, 261; vi, 273; x, 117; xii, 179; + Ernest Thompson Seton and, ix, 394; + criticized by Voltaire, ix, 384; + Voltaire compared with, vii, 207; ix, 373, 385. + +Rousseau, Theodore, artist, iv, 279. + +Roustabouts, artistic, vi, 300. + +Rowan, Andrew, i, p xxix. + +Royal Academy, charter members of, iv, 306. + +Royce, Josiah, the Boston street-car conductor and, viii, 166; + on Kant, viii, 154. + +Roycrofters, The, ii, p ix; + origin of name, i, p xix; + Ali Baba and, ii, p x. + +Roycroft Inn, ii, p xi. + +Roycroft, Samuel and Thomas, i, p xviii. + +Rubens, Peter Paul, iv, 47, 81; + parents of, iv, 81; + birthplace of, iv, 88; + early home of, iv, 88; + appearance of, iv, 89; + pupil of Tobias Verhaecht, iv, 91; + pupil of Adam van Noort, iv, 92; + pupil of Otto van Veen, iv, 92; + attache of the Duke of Mantua, iv, 98; + travels of, iv, 103; + literary style of, iv, 106; + influence of, iv, 108; + marriage of, iv, 111; + Ruskin's criticism of, iv, 113; + work of, in England, iv, 114; + Whistler's criticism of, iv, 116; + Hamerton's criticism of, iv, 116; + letter of, to Chieppo, secretary of the Duke of Mantua, iv, 80; + jealousy of, iv, 176; + Macaulay compared with, v, 176; + Millet's admiration for, iv, 268; + quoted, iv, 183; + Titian and, iv, 153; + Van Dyck and, iv, 173; + Velasquez and, vi, 181; + the blonde women of, vi, 164. + +Ruffner, Gen. Lewis, x, 190. + +Rugby Grammar School, x, 229. + +Rum, Romanism and Rebellion, ix, 63. + +Rush, Dr. Benjamin, patriot, xi, 94; + friend of Thomas Paine, ix, 157. + +Ruskiniana, i, 89. + +Ruskin, John, i, p xxvii; iv, 166; + home of, i, 90; + married life of, i, 96; + versatility of, i, 98; + eccentricities of, i, 87; viii, 255; + influence of, i, 89; + Augustine Birrell on, vi, 126; + Botticelli and, vi, 71; + criticism of Rubens, iv, 113; + on Correggio, vi, 222; + influence of, on William Morris, v, 13; + _Modern Painters_, vi, 329; + Morris compared with, xiii, 253; + quoted, i, 137; ii, p viii; iii, 94; iv, 51; vi, 16; + Turner and, vi, 58; + description of Turner's _Old Temeraire_, i, 137; + on Velasquez, vi, 158; + on Venetian art, vi, 255; + views on woman suffrage, i, 93; + Whistler and, vi, 330. + +Russell, Edmund, list of seven immortals in art, vi, 244. + +Russia, Czar of, quoted, ii, 83. + + +Sacrilege, vii, 26; + laws against, xii, 368. + +"Sailors' Latin," vi, 109. + +St. Anne, mother of Mary, vi, 61. + +St. Anthony, father of Christian monasticism, x, 303. + +St. Augustine, i, p xxxii; + _Confessions_ of, vi, 273. + +St. Basil, on astronomy, xii, 100. + +St. Benedict, vii, 114; + book of rules, x, 324; + captain of industry, x, 320; + physical strength of, x, 312; + teachings of, x, 302. + +St. Cassiodorus, patron saint of bookmakers, x, 320. + +St. Cecilia, mother of sacred music, vi, 62. + +St. Chrysostom, vi, 74. + +Sainte-Beuve, Charles, French critic, xii, 301. + +Sainte-Hilaire, August de, xii, 371. + +St. Gaudens, Augustus, Elbert Hubbard and, vi, 117. + +St. Genevieve, patron saint of Paris, i, 202. + +St. Gregory, on the death of St. Benedict, x, 322. + +St. Helena, island of, i, 233. + +St. Jerome, x, 303. + +St. Lorenzo, church of, Florence, vii, 90. + +St. Louis, as an art center, iv, 142. + +St. Luke, Brotherhood of, in Antwerp, iv, 173. + +St. Mark's monastery, Florence, vii, 88. + +_St. Martin Dividing His Cloak With Two Beggars_, Van Dyck, iv, 184. + +St. Patrick's Cathedral, Dublin, i, 144, 157. + +_St. Paul, Conversion of_, Michelangelo, iv, 34. + +_St. Paul in Prison_, Rembrandt, iv, 64. + +St. Paul, referred to, i, 306; iii, 41; + Gallio and, viii, 46; ix, 189; + Seneca and, viii, 47; + quoted, ii, 189; xi, 307; + compared with Walt Whitman, i, 170. + +_St. Peter, Crucifixion of_, Michelangelo, iv, 34. + +St. Peter's, church of, in Cologne, iv, 86. + +St. Peter's, Rome, iv, 19; + dome of, Michelangelo's finest monument, iv, 35. + +"Saints and Sinners" corner, the, v, 356. + +_Saints' Everlasting Rest, The_, Richard Baxter, iii, 34. + +Saintship, xiv, 176. + +Saint-Simon and Auguste Comte, viii, 247, 277. + +St. Thomas Aquinas, vii, 82. + +Sairy Gamp, the profession of, viii, 12. + +Salamanders, vi, 277. + +Salesmanship, xi, 27; + old school of, xi, 342. + +Salome and John the Baptist, vi, 76. + +Samson, i, 75. + +Sanborn, Kate, iii, 194. + +Sand, George, xiv, 76; + Frederic Chopin and, xiv, 96; + Franz Liszt and, xiv, 194; + on the influence of Rousseau, ix, 387. + +Sangamon county, referred to, by Lincoln, iii, 275. + +Sangamon river, the, iii, 281. + +Sanitarium bacillus, the, vi, 226. + +Santa Claus, belief in, viii, 269. + +Sapphira, i, 75. + +Sappho, writings of, x, 283. + +Sargent, John S., American painter, vi, 323. + +Satan, v, 320; + Milton's conception of, iv, 32. + +Satolli, Cardinal, referred to, i, 155; + on religious zeal, xii, 81. + +_Saul_, Handel, xiv, 269. + +Savage, Rev. Minot, ix, 283; + preaching of, vii, 309. + +Savagery and civilization, iv, 263. + +Savannah, experiences of John Wesley in, ix, 31. + +Saviors of mankind, ii, 197. + +Savonarola, Girolamo, iv, 23; vi, 50; vii, 81; + Pope Alexander and, vii, 101; + Garibaldi compared with, ix, 124; + Lorenzo de Medici and, vii, 97; + monastic life of, vii, 85. + +Scamping defined, x, 174. + +Scandal and rumor, xiii, 197. + +_Scenes From a Private Life_, Balzac, xiii, 290. + +Scheffer, Ary, artistic evolution of, iv, 225; + influence of women on, iv, 225; + mother of, iv, 225; + home of, in Paris, iv, 227; + appearance of, iv, 231; + friendship for Lafayette, iv, 236; + acquaintance of Augustin Thierry with, iv, 237; + member of the household of Duke of Orleans, iv, 238; + his love for Princess Marie, iv, 242; + captain in the National Guard, iv, 248; + marriage of, iv, 253; + death of, iv, 255. + +Schiller, ii, 184; + Lord Byron compared with, v, 230; + on love, vi, 241; + Thackeray's estimate of, i, 234. + +Schlatter, Francis, divine healer, v, 109. + +Schlegel, Friedrich, ii, 184. + +Schleiermacher, Friedrich, German philosopher, v, 306. + +Schliemann, Heinrich, archeologist, vii, 11. + +Scholastica, twin sister of St. Benedict, x, 322. + +_School for Scandal_, Sheridan, iii, 122. + +Schoolhouse, the little red, iii, 255. + +School mothers, x, 262. + +_School of Athens_, Raphael, vi, 32. + +Schoolteaching, x, 219. + +Schopenhauer, Arthur, education of, viii, 369; + Goethe and, viii, 371; + on humanity, viii, 362; + on Immanuel Kant, viii, 170; + literary style of, viii, 378; + on love, xiv, 313; + _Metaphysics of Love_, viii, 382; + on morality, viii, 377; + on paternity, viii, 363; + on pose, v, 123; + on republics, xii, 245; + on suicide, viii, 385; + on will, viii, 380. + +Schubert, Franz Peter, xiv, 126. + +Schumann, Robert, boyhood of, xiv, 111; + death of, xiv, 349; + Heinrich Heine and, xiv, 117; + as a piano-player, viii, 173; + personality of, xiv, 335; + Schubert and, xiv, 126; + Clara Wieck and, xiv, 121. + +Science, of living, x, 51; + distinguished from metaphysics and theology, viii, 267; + Dr. Nordau as the Barnum of, i, 163; + poetry and, x, 114; + theology and, xii, 155. + +Scientist, the true, iii, 59. + +Scissors age, the, iv, 315. + +Scotch, the, v, 94; + humor of, xiii, 11; + manners of, i, 72; + penuriousness of, xi, 264; + religion of, i, 72; + two kinds of, xi, 169. + +Scotch-Irish, the, xi, 196. + +Scotch whisky, i, 72. + +Scotland in literature, xi, 263. + +Scott, Clement, quoted, v, 69. + +Scott, Thomas A., and Andrew Carnegie, xi, 273. + +Scott, Sir Walter, i, 52; + Lord Byron compared with, v, 230; + his friendship for Turner, i, 132; + lameness of, v, 211; + Landseer and, iv, 321; + on monasticism, x, 320; + Thorwaldsen and, vi, 115; + the Wordsworths and, i, 215; + his life of Dean Swift, i, 143. + +Scriptorium, the, x, 321. + +_Seasons, The_, Thomson, v, 31; xiii, 58. + +Secondhand Thought and New Thought, x, 284. + +Sect, the limitations of, viii, 149. + +Sedley, poet, contemporary of Addison, v, 249. + +Seine river, the, ii, 56. + +Self-complacency, vi, 201. + +Self-confidence, vii, 251. + +Self-consciousness, ix, 356. + +Self-interest, enlightened, vi, 251. + +Self-preservation, xi, 13. + +Self-reliance, v, 175; vi, 332. + +_Self-Reliance_, Emerson's essay on, i, 278; ii, 286. + +Selfridge, Harry G., xi, 326. + +Seneca, Lucius Annæus, stoic philosopher, viii, 49; + banishment of, viii, 60; + mother of, viii, 51; + Julius Cæsar compared with, viii, 72; + Canon Farrar on, viii, 80; + St. Paul and, viii, 47; + Renan on, viii, 80; + Voltaire on, viii, 80. + +Sensationalism in religion, ix, 283. + +_Sense and Sensibility_, Jane Austen, ii, 236. + +Sensualist, the, v, 235. + +Sensuality, vii, 73; + asceticism and, vi, 91. + +Sentimentality, iv, 246. + +Servant-girl problem, the, viii, 259. + +Servetus and Calvin, ix, 201; + Cardinal Newman compared with, ix, 202. + +Service, vii, 319; + religion by, ix, 188, 191. + +_Sesame and Lilies_, Ruskin, i, 95; iv, 166. + +Seven ages of man, iii, 261. + +Seward, William H., father of, iii, 262; + birthplace of, in Florida, N. Y., iii, 262; + Governor of N. Y., iii, 265; + political work of, iii, 266; + attitude of, on slavery, iii, 267; + presidential candidacy of, iii, 271; + as senator, iii, 270; + sons of, iii, 273; + wife of, iii, 273; + secretary of State, iii, 273; + attempted assassination of, iii, 275; + death of, iii, 276; + Henry Clay compared with, iii, 222; + referred to, iv, 128; iv, 71. + +Sewing-machines, ii, 70. + +Sex, immanence of, ii, 202; + religion and, ii, 201; + in Nature, v, 103. + +Shadows, Rembrandt's use of, iv, 62. + +Shaftesbury, Earl of, referred to, iii, 37. + +Shakers, the, ii, 189. + +Shakespeare, William, father of, i, 304; + relations with Ann Hathaway, i, 306; + birthplace of, i, 309; + epitaph of, i, 311; + grave of, i, 311; + Addison and, v, 246; + Bacon and, vi, 47; + Byron compared with, v, 204, 230; + characters of, i, 270; + childhood impressions of, iv, 341; + Cromwell and, ix, 307; + on democracy, i, 179; + Dryden and, i, 124; + Victor Hugo on, i, 200; + Ingersoll on, xii, 319; + Milton and, v, 119; + Plato compared with, x, 116; + quoted, xi, 284; + referred to, i, p xxvii, 49, 134, 223, 248; iii, 28; iv, 81, 159; + v, 26, 83, 97, 149; xii, 57; + on religion, x, 350; + Swedenborg compared with, viii, 177; + Thackeray on, vi, 42; + the universal man, vi, 178; + vogue of, xiii, 209; + Voltaire's opinion of, i, 134. + +Shareholding, xi, 25. + +"Sharps and Flats" Corner, Field's, v, 256. + +Sharp, William, on Dante Gabriel Rosetti, xiii, 271. + +Shaw, George Bernard, xi, 283; + on absentee landlordism, xiii, 177; + his description of the disagreeable girl, xiii, 111; + on marriage, ix, 44; + on Voltaire, viii, 320; + on Whistler, vi, 341. + +Shawneetown, Ill., life of Ingersoll in, vii, 245. + +Sheedy, Colonel Patrick, vi, 72. + +Sheldon, Arthur F., and Cobden, ix, 138. + +Shelley, Mary W., birth of, ii, 293; + mother of, ii, 293; + meeting of, with Percy B. Shelley, 300; + elopement of, ii, 303; + literary work of, ii, 305; + children of, ii, 306; + death of, ii, 307; + quoted, ii, 284; + referred to, xiii, 106. + +Shelley, Percy Bysshe, influence of women on, ii, 287; + compared with Emerson, ii, 287; + apostle of the good, the true and the beautiful, ii, 288; + meeting of, with Mary Wollstonecraft Godwin, ii, 289; + marriage of, to Harriet Westbrook, ii, 297; + death of, ii, 307; + referred to, xii, 57; iv, 160; v, 50, 97; + Aubrey Beardsley compared with, vi, 73; + Lord Byron and, v, 229; + Coleridge and, v, 310; + Giorgione compared with, vi, 254; + Southey and, v, 283; + Spurgeon's estimate of, i, 135; + Thorwaldsen and, vi, 116; + Wordsworth compared with, i, 222. + +Sheridan, Richard Brinsley, xii, 179; + Gainsborough and, vi, 144; + _The School for Scandal_, iii, 122; + Daniel Webster compared with, iii, 204. + +Sherman, Gen. William Tecumseh, x, 159; + on war, xiv, 313. + +Ship-money, ix, 315. + +_Shirley_, Charlotte Bronte, ii, 112. + +_Shoeing_, Landseer, iv, 320. + +_Sidera Medicea_, Galileo, xii, 69. + +Sidney, Sir Philip, ii, 49; xi, 200; + Giordano Bruno and, xii, 51. + +_Silverado Squatters, The_, Stevenson, xiii, 35. + +Simeon Stylites, x, 295. + +Simmias, disciple of Socrates, viii, 29. + +Simonetta, Botticelli and, vi, 83; + Maurice Hewlett on the death of, vi, 87. + +Simons, Menno, contemporary of Luther, viii, 211. + +Simple life, the, x, 108. + +Sincerity, v, 169. + +Sinclair, Upton, x, 117; xi, 359; + on Packingtown, xi, 179. + +Singing, congregational, vii, 338. + +Single tax, the, ix, 86. + +Sinnekaas, the, viii, 45. + +_Sinners in the Hands of an Angry God_, Jonathan Edwards, iii, 176. + +Sin, perverted power, iii, 40. + +Sioux Indians, i, 99; ii, 75. + +Sisera, i, 75. + +Sistine chapel, the, iv, 28. + +Sixtus, Pope, iv, 101. + +Skibo Castle, xi, 283. + +Slaughter-houses, xi, 180. + +Slavery, in New York State, iii, 247, 267; + Emerson on, vii, 393; + General Gordon on, vii, 393; + petition for abolishment of, vii, 239; + John Wesley on, ix, 81. + +Slaves, freeing of the, x, 188. + +Sloane, Hans, collector of curiosities, i, 124. + +Slums, city, ix, 83. + +Smiles, Dr. Samuel, v, 173. + +Smith, Adam, Scotch economist, i, 73; v, 94; + on capital, xi, 323; + Samuel Johnson and, v, 163; + on university education, ix, 21; + quoted, ix, 83; xi, 268. + +Smith, Donald Alexander, xi, 422. + +Smith, F. Hopkinson, i, 242; vi, 65. + +Smith, John Raphael, the engraver, i, 126. + +Smith, Sydney, iv, 320; + grave of, i, 231; + on Macaulay, v, 178. + +Smollett, Tobias, iv, 302. + +Snobs, Thackeray on, vi, 66. + +Snuffboxes, iv, 120. + +Sobieski, John, xiv, 86. + +_Social Contract, The_, Rousseau, i, 205; vii, 207; ix, 389. + +Socialism, xii, 342; + William Morris and, v, 22. + +Socialists, Christian, v, 22; + classes of, xi, 42. + +Social ostracism, vi, 172. + +_Social Statics_, Spencer, viii, 336. + +Society, fashionable, vi, 170. + +Society of Friends, ix, 217. + +Society for the Prevention of Cruelty to Children, ii, 20; v, 123. + +Socrates, birth of, viii, 11; + appearance of, viii, 11; + parents of, viii, 11; + wife of, viii, 22; + death of, viii, 37; + referred to, ii, 195; + Aspasia and, vii, 32; viii, 20; + Bronson Alcott compared with, viii, 27; + on character, viii, 27; + Confucius compared with, x, 50, 60; + the first democrat, x, 112; + disciples of, viii, 29; + Emerson and, viii, 16; + influence of, viii, 204; x, 99; + Thomas Jefferson compared with, xi, 97; + Samuel Johnson compared with, v, 168; + Plato and, viii, 11, 29; x, 102; + the Sophists and, viii, 18; + Tolstoy and, viii, 22; + compared with Walt Whitman, i, 170; + his opinion of women, viii, 21; + Xenophon and, viii, 11, 29. + +Solitude, ii, 285; v, 175, 268. + +Solomon's ideal wife, ii, 69. + +Somers, Bishop Manners, and George III, vii, 200. + +_Song of the Open Road_, quotation from, i, 162. + +_Song Without Words_, Mendelssohn, vi, 117; xiv, 183. + +_Sonnets From the Portuguese_, E. B. Browning, ii, 36. + +Sonnets of Michelangelo, iv, 4. + +Sophistication, the art of, viii, 202. + +Sophists, Socrates and the, viii, 18; + the Stoics compared with, viii, 53. + +Sophocles, v, 230. + +_Sordello_, Browning, v, 39. + +Sorrow, vii, 84. + +_Sortie of the Civic Guard_, Rembrandt, vi, 66. + +Soul, Emerson on the, viii, 403; + growth of the, vi, 109; +Plato on the, viii, 403. + +Southey, Robert, ii, 225; + Greta Hall, home of, v, 279; + parents of, v, 279; + monument of, v, 281; + Lord Byron, v, 281; + Coleridge and, v, 301; + his sonnet to Robert Emmett, v, 264; + his estimate of Jane Austen, ii, 254; + Lovell and, v, 301; + on Lord Nelson, xiii, 398; + Shelley and, v, 283; + Mary Wollstonecraft and, xiii, 102; + the Wordsworths and, i, 214; v, 303. + +Spain, England and, in the 16th century, iv, 81; + senility of, iii, 232; + under the rule of Philip II, vi, 171; + dominion in the Netherlands, iv, 81. + +Spalding, Bishop, on Mill, xiii, 162. + +Spanish colonies in America, xii, 145. + +Spanish Inquisition, the, vi, 171. + +Sparrows, Grant Allen on, viii, 400. + +Spear, William G., custodian of the Quincy Historical Society, iii, 134; + vi, 315. + +Specialist, age of the, iv, 120. + +_Speech for Unlicensed Printing_, Milton, xiii, 85. + +Speed, Joshua, Lincoln's law partner, iii, 303. + +Spelling-bees, iii, 255. + +Spencer, Herbert, parents of, viii, 325; + personality of, viii, 352; + as a civil engineer, viii, 352; + as assistant editor _Westminster Review_, viii, 334; + _Principles of Psychology_, viii, 342; + _Manners and Fashion,_ viii, 342; + Poultney Bigelow and, viii, 189; + Charles Bradlaugh compared with, viii, 334; + the Carlyles and, xii, 340; + Comte and, viii, 261; + Madame Curie and, viii, 259; + Mrs. Eddy and, viii, 189; + on education, xi, 171; + Mary Ann Evans and, viii, 335; + on genius, vii, 316; + W. E. Gladstone and, xii, 230; + Haeckel compared with, xii, 257; + on the herding instinct, viii, 149; + Huxley and, viii, 345; + George Henry Lewes and, viii, 337; + on morality, ix, 191; + on Sir Isaac Newton, x, 366; + quoted ii, 75; v, 70, 109; + referred to, i, 56; ii, 290; v, 174, 289; xii, 207, 371; xiii, 85; + Michael Rossetti on, viii, 344; + on science, xi, 386; + _Social Statics,_ viii, 336; + on Swedenborg, viii, 190; + on John Tyndall, xii, 34, 356; + on the Unknowable, viii, 173; + Prof. E. L. Youmans and, viii, 344. + +Spencerian system of writing, vi, 134. + +Spenser, Edmund, iv, 197; v, 14. + +Spinoza, Benedict, xi, 129; + excommunication of, viii, 224; + Grotius compared with, viii, 228; + influence of, viii, 206; + on the Mennonites, viii, 211; + Novalis on, viii, 233; + parents of, viii, 210; + philosophy of, viii, 234; + Renan on, viii, 229, 233; + _Tractatus Theologico-Politicus_, viii, 232; + Van der Spijck and, viii, 228. + +Spirit, of the hive, vii, 245; + of mutual giving, vi, 237. + +Spiritism, Alfred Russel Wallace's views on, xii, 392. + +Spirits, disembodied, viii, 176. + +Spiritual companionship, v, 227; + gravity, v, 241; + relationship, vii, 385. + +Spiritualism, x, 342. + +Spirituality, religion and, iv, 236; + sex and, xiii, 346. + +Spirit-world, the, i, 298. + +_Spirit World_, Swedenborg, viii, 172. + +Spooner, Rev. Peleg, viii, 45. + +Spoons, collecting, iv, 120. + +Sport, the college type described, v, 152. + +Sporza, Francisco, equestrian statue of, vi, 54. + +_Sposalizio_, Raphael, vi, 27. + +Spring, beauties of, iii, 298; + the coming of, ix, 286. + +_Spring_, Botticelli, iv, 159; vi, 78. + +Springfield, Ill., home of Abraham Lincoln, iii, 287. + +Spurgeon, on Darwinism, xii, 228; + Gustave Dore and, iv, 343; + Talmage compared with, ix, 284; + his estimate of Shelley, i, 135. + +Stagecoach days, v, 275. + +Standard Oil Co., formation of the, xi, 379. + +Standish, Capt. Miles, iii, 128. + +Stanley, Dean, quoted, iii, 5. + +Stanton, Elizabeth Cady, quoted, xiii, 200. + +State and Church, separation of, xiv, 231. + +Statesman, definition of, vii, 18. + +Statistics, vital, v, 96. + +Stead, William T., on America, vi, 340. + +Steele, Richard, v, 254; + regarding women, viii, 130. + +Steinheil, friend of Meissonier, iv, 129. + +Stephen, George, xi, 423. + +Stephen, Leslie, i, p xx; + life of Dean Swift, i, 143. + +Stephenson, inventor of the steam-locomotive, xi, 246. + +Stepmothers, vi, 47; + ministrations of, vi, 23. + +Sterne, shallowness of, v, 162. + +Stevenson, Robert Louis, iv, 178; + Edmund Gosse on, xiii, 42; + experience of, on shipboard, xiii, 30; + experience of, in New York, xiii, 31; + on failure, vi, 169; + humor of, xiii, 11; + Fanny Osbourne and, xiii, 22; + quoted, iv, 314; xi, 73; xiii, 19; + on relaxation, xiv, 41; + on Velasquez, vi, 154; + Walt Whitman and, xiii, 18. + +Stewart, Alexander T., business methods of, xi, 344; + business palace of, xi, 351; + Peter Cooper and, xi, 352; + wealth of, xi, 352; + the apple-woman and, xi, 220; + President Grant and, xi, 334; + purchaser of Meissonier's _Eighteen Hundred Seven_, iv, 142; + John Wanamaker and, xi, 353. + +Stoddard, Charles Warren, iv, 263. + +Stoics and Sophists compared, viii, 53. + +Stone Age, the, x, 16. + +Stoner, Winifred Sackville, ix, 283. + +_Stones of Venice_, Ruskin, i, 89. + +Story, Judge, and Daniel Webster, iii, 197. + +_Story of a Country Town_, E. W. Howe, x, 247. + +_Story of France_, Thomas E. Watson, viii, 241; ix, 380. + +_Story of German Love_, Max Muller, viii, 192. + +_Story of My Life, The_, George Sand, xiv, 76. + +Story, W. W., sculptor, xi, 327. + +Stowe, Harriet Beecher, v, 207. + +Strabismus, v, 100. + +_Stratford_, Browning, v, 55. + +"Strap-oil," vii, 243. + +Stratford-on-Avon, i, 49. + +Strawberry Hill, home of Horace Walpole, iv, 302. + +Street preaching, ix, 38. + +Stupidity, Irish, xii, 336. + +Sublime Porte, the, viii, 82. + +Submission, religion by, ix, 188. + +_Substance and Show_, Starr King, vii, 328. + +Substitution, religion by, ix, 188. + +_Subterranean Vegetation_, Humboldt, xii, 139. + +Success in business, xi, 355. + +Suicide, Schopenhauer on, viii, 385. + +Sullivan, Sir Arthur, on Handel, xiv, 254. + +Sumner, Charles, iii, 271; + Wendell Phillips and, vii, 399. + +Sunday School books, old-time, iii, 7. + +Sunday, Rev. William, x, 331. + +Sunshine, definition of, i, 339. + +Superior class, the, v, 291; xiv, 320. + +Superstition, iv, 124; v, 153; vii, 17; ix, 182; x, 366; + Hypatia on, x, 275; + Voltaire on, viii, 293. + +Supreme Court, first chief justice of, iii, 246. + +Surveying, the business of, xii, 389. + +Swedenborg, Emanuel, the mystic, iii, 28; viii, 174; + parents of, viii, 181; + _The Animal Kingdom_, viii, 194; + his experiments in motive power, xii, 21; + _Conjugal Love_, viii, 191; + Darwin compared with, viii, 179; + _The Economy of the Universe_, viii, 194; + Mary Baker Eddy and, viii, 190; x, 355; + Emerson on, viii, 177; + inventive genius of, viii, 186; + love-affair of, viii, 183; + on marriage, viii, 191; + _Principia_, viii, 192; + quoted, xiv, 170; + Herbert Spencer on, viii, 190; + Shakespeare compared with, viii, 177; + _Spirit World_, viii, 172; + travels of, viii, 186. + +Swedenborgians, the, viii, 196. + +Sweden, Florida compared with, viii, 182; + literacy of, viii, 181. + +Swett, Leonard, friend of Lincoln, iii, 288. + +Swift, Jonathan, mother of, i, 143; + birthplace of, i, 144; + youth of, i, 145; + misanthropy of, i, 146; + ambition of, i, 148; + wit of, i, 149; + popularity of, i, 151; + personality of, i, 152; + religion of, i, 152; + love-affair of, i, 158; + grave of, i, 160; + referred to, iii, 60; v, 258; xiv, 262; + on the celibacy of the Catholic clergy, i, 153; + epitaph of, i, 158; + his characterization of Lord Halifax, v, 250; + Stella and, vi, 177; + Voltaire and, viii, 295. + +Swimming, the art of, viii, 328. + +Swinburne, Algernon Charles, ii, 127; + his description of Elizabeth Eleanor Siddal, xiii, 265. + +Swing, David, reformer, ix, 282; + Philip D. Armour and, xi, 186. + +Swinton, Prof., and Henry George, ix, 76. + +Switzerland, supremacy of, vi, 193. + +_Sybil_, Disraeli, v, 341. + +Symonds, John Addington, referred to, i, 170; iv, 27; + on Cellini, vi, 274. + +Sympathy, v, 169, 239. + +_Synthetic Philosophy_, Spencer, viii, 344. + + +Taine, M., on Lord Byron, v, 215; + on Carlyle, viii, 312; + on Dickens, i, 265; + _English Literature_, xiii, 171; + on educated Englishmen, vi, 274; viii, 328; + on Leonardo, vi, 38; + quoted, vii, 180; + on Thackeray, i, 240. + +_Taking of the Smalah of Abd-el-Kader_, Vernet, iv, 215. + +Talent, xiv, 302; + distinguished from genius, vi, 56. + +_Tale of a Tub_, Swift, i, 142. + +_Tale of the Hollow Land, The_, William Morris, v, 15. + +_Tales From Shakespeare_, Mary Lamb, ii, 233. + +Talleyrand, quoted, ii, 166, 173, 280; iv, 97. + +Talmage, Rev. T. De Witt, ix, 283; + compared with Beecher, vii, 359; + on Darwinism, xii, 228; + as an orator, vii, 22; + on regeneration, iii, 41; + Spurgeon compared with, ix, 284. + +Tamerlane, Tatar conqueror of Asia, xii, 38. + +_Tancred_, Disraeli, v, 341. + +_Tannhauser_, Wagner, iv, 259; xiv, 29. + +Tantrum, defined, viii, 70. + +Tarbell, Ida, xi, 359. + +Tarquin referred to, i, 306. + +Tasso and Cellini, vi, 282. + +Taylor, Bayard, on Mendelssohn, xiv, 178. + +Taylor, Gen. Zachary, iii, 269. + +Taylor, Jeremy, xii, 338. + +Teacher, the ideal, iv, 53. + +Teaching, by antithesis, v, 178; + profession of, iii, 99; + Thomas Arnold on, x, 237; + importance of, vi, 249; + object of, vi, 249; + John Wesley on, viii, 202. + +Telepathy, xiii, 223. + +Telescope, invention of the, xii, 64. + +Temperament, v, 237. + +Temperance fanatics, v, 105; xiii, 89. + +_Tempest, The_, Shakespeare, i, 317; + Dore's illustrations of, iv, 338. + +Temple, Richard Earl, vii, 197. + +Tennyson, Alfred, Lord, education of, v, 75; + early poems of, v, 77; + appearance of, v, 79; + literary position of, v, 81; + Poet Laureate, v, 82; + marriage of, v, 82; + Queen Victoria and, v, 84; + friendship with Arthur Hallam, v, 85; + referred to, i, 91; iv, 165; iv, 253; v, 13, 97, 294; vi, 199; xii, 57; + Brookfield and, v, 76; + insularism of, v, 83; + Kemble and, v, 76; + his love of solitude, v, 79; + Milnes and, v, 76; + Spedding and, v, 76; + Wordsworth compared with, i, 222. + +_Ten o'Clock_, Lecture, Whistler, vi, 351. + +Tenth Legion, Caesar's, vii, 44. + +_Ten Years of Exile_, Madame de Stael, ii, 181. + +Terence, Roman poet, quoted, vi, 46. + +Terminus, the god, x, 125. + +Terry, Ellen, i, 257; xiv, 177. + +Tetzel, John, and Martin Luther, vii, 128. + +Teufelsdrockh, i, 81. + +Thackeray, William Makepeace, birth of, i, 232; + death of, i, 232; + mother of, i, 232; + humor of, i, 239; + acquaintance with Charlotte Bronte, i, 240; + stepfather of, i, 242; + genius of, i, 242; + wife of, i, 234; + early hardships of, i, 234; + extravagance of, i, 236; + friends of, i, 236; + visit of, to America, i, 243; + Charlotte Bronte and, ii, 109; + Goldsmith and, i, 209; + on George Henry Lewes, viii, 337; + on the people of England, vi, 148; + quoted, i, 281; ii, 69; v, 128; + on Shakespeare, vi, 42; xiv, 307; + on snobs, vi, 66; + referred to, i, 249; iii, 227; v, 97; + on women, viii, 22. + +_Thalaber_, Southey, i, 214. + +Thales, of Miletus, Greek philosopher, xii, 98. + +Thames, river, i, 77. + +_Thanatopsis_, W. C. Bryant, ii, 123; iv, 51. + +Thanet, isle of, ii, 130. + +The Hague, iii, 242. + +Theism, ii, 79. + +Themistocles, i, 321; + Pericles and, vii, 28. + +Theological Quibblers' Club, ix, 189. + +Theology, distinguished from metaphysics and science, viii, 267; + Homer's conception of, i, 113; + as a profession, iii, 99; + as a science, viii, 162; + science and, xii, 155; + Dr. Talmage as the Barnum of, i, 163. + +Theophrastus and Aristotle, xii, 268. + +_Theory of Painting_, Richardson, iv, 289. + +Theosophy, x, 342. + +Thermometer, invention of, xii, 64. + +Thetis, mother of Achilles, vii, 14. + +Thicknesse, Philip, vii, 199; + _Life of Gainsborough_, vi, 129; + Brock-Arnold on, vi, 130. + +Thierry, Augustin, friend of Ary Scheffer, iv, 237, 247. + +Thomas, Hiram W., reformer, ix, 282. + +Thompson-Seton, Ernest, and Rousseau, ix, 394. + +Thompson, Vance, on Rubens, vi, 164. + +Thomson, James, iii, 60; + Voltaire and, viii, 296. + +Thoreau, Henry David, influence of, viii, 393; + parents of, viii, 395; + education of, viii, 396; + friends of, viii, 406; + life of, in Walden Woods, viii, 412; + imprisonment of, viii, 417; + Agassiz and, viii, 417; + Henry Ward Beecher on, viii, 424; + Harrison Blake and, viii, 424; + John Brown compared with, viii, 426; + John Burroughs on, viii, 423; + Ellery Channing and, viii, 397; + on the character of Jesus, vii, 316; + on college training, viii, 397; + Emerson and, viii, 397, 408; + influence of, viii, 206; + quoted, iii, 59, 219; iv, 322; v, 16, 204; vii, 29; xiii, 49; + referred to, i, 89, 195; ii, 285; + George Francis Train compared with, viii, 425; + Walt Whitman and, viii, 422; + on work, x, 318. + +Thorwaldsen, Bertel, birthplace of, vi, 98; + ancestry of, vi, 95; + father of, vi, 98; + early life of, vi, 98; + experience of, with statue of Charles XII, vi, 99; + Abildgaard and, vi, 105; + his admiration for Napoleon, vi, 118; + Hans Christian Andersen and, vi, 100; + Byron and, vi, 116; + Canova and, vi, 108; + Flaxman and, vi, 110; + indolence of, vi, 107; + the King of Bavaria and, vi, 114; + life of, in Rome, vi, 107; + _Lion of Lucerne_, vi, 123; + Anna Maria Magnani and, vi, 111; + Maria Louise, second wife of Napoleon, and, vi, 118; + his love for mythology, vi, 97; + Mendelssohn and, vi, 116; + Sir Walter Scott and, vi, 115; + Shelley and, vi, 116; + social qualities of, vi, 115. + +Thorwaldsen Museum at Copenhagen, vi, 120. + +_Through Nature to God_, Fiske, xii, 396. + +Thucydides, contemporary of Pericles, iii, 93; v, 185; vii, 15, 24. + +Thursday lecture, the, in Boston, ix, 294, 358. + +Tiberius, Roman emperor, viii, 49. + +Tieck, Ludwig, on Correggio, vi, 220. + +Tietjens, Madame, grave of, i, 321. + +Tilden, Dr., quoted, xi, 53. + +Tilghman, death of, Washington on, iii, 4. + +Tilton, Theodore, vii, 375; xi, 258. + +_Timbuctoo_, Tennyson, v, 77. + +Time, the great avenger, iii, 40. + +Tingley, Katharine, ix, 283. + +Tintoretto, iv, 99; + Paul Veronese compared with, iv, 148. + +Titian, Reynolds on, iv, 146; + birth of, iv, 153; + Rubens at grave of, iv, 153; + Cadore, birthplace of, iv, 153; + pupil of Gian Bellini, iv, 157; + acquaintance of, with Giorgione, iv, 158; + paintings of, iv, 166; + religion of, iv, 166; + pictures by, in England, iv, 189; + Raphael and, vi, 35; + Van Dyck and, iv, 193; + referred to, iv, 60, 99; v, 323; + +_Toilers, The_, Hugo, i, 200. + +_To Jeannie_, Robert Burns, v, 92. + +Toleration Act, the, ix, 220. + +Tolstoy, Leo, v, 237; + _Anna Karenina_, xiv, 351; + daughter of, ii, 192; + on religious persecution, ix, 181; + Socrates and, viii, 22; + story of, ii, p xi; + his story of a peasant, xi, 90; + Wanamaker and, viii, 205; + wife of, v, 133. + +Tomb, of Napoleon, i, 315; + of Wellington, i, 315. + +_Tom Peartree_, Gainsborough, vi, 133. + +_To My Wife_, Stevenson, xiii, 42. + +Tooke, Horne, and Thomas Paine, ix, 175. + +Torah, Jewish Book of the Law, x, 33. + +Torrigiano, Pietro, and Cellini, vi, 281. + +Total depravity as a doctrine, viii, 357. + +Touchstone and King Lear, vi, 334. + +Tower of Babel, iv, 115. + +Townshend and Joshua Reynolds, iv, 304. + +_Tractatus Theologico-Politicus_, Spinoza, viii, 232. + +Trafalgar, battle of, xiii, 424. + +Tragedy, v, 240. + +Train, George Francis, vii, 397; + on Emerson, vii, 325; + imprisonment of, viii, 178. + +Transcendentalism, viii, 403; + of Hypatia, x, 280; + the new, ii, 53; + Thoreau on, viii, 427. + +Transmutation of metals, xii, 36. + +Transplantation, vi, 234; xiii, 50. + +Trappists, the, v, 235; x, 318. + +Traubel, Horace L., and Whitman, i, 167. + +Travel as a means of education, i, 233; v, 221. + +_Traveler, The_, Goldsmith, i, 296. + +_Travel on the Amazon and Rio Negro_, Wallace, xii, 380. + +_Travels of Humboldt and Bonpland, in the Interior of America_, Humboldt's + great work, xii, 149. + +Treason and heresy, ix, 24. + +_Treasure Island_, Stevenson, xiii, 37. + +Tremont Temple, Boston, i, p xxxvii. + +Trevelyan, Lord, v, 192. + +_Tribune_, the Chicago, in war-time, iii, 296. + +Triggsology, xii, 243. + +Trigonometry, science of, xii, 103. + +_Trilby_, referred to, i, 257; iii, 138. + +Trinity Church, New York, xi, 327. + +_Tristram Shandy_, Sterne, v, 162. + +_Triumph of the Cross, The_, Savonarola, vii, 95. + +Trolley-car, invention of, i, 329. + +Trollope, Anthony, ii, 39; + his friendship for Thackeray, i, 236. + +Tropics, the, v, 282. + +Truth, xiv, 333; + Aristotle on, viii, 100; + a point of view, viii, 388. + +Tsonnundawaonas, Indian tribe, viii, 45. + +Tufts college, i, p xxxiv. + +Turgot, Anne Robert, viii, 241. + +Turner, Joseph Mallord William, youth of, i, 124; + apprenticeship of, i, 126; + influence of Claude Lorraine on, i, 126; + appearance of, i, 131; + friendship of, with Sir Walter Scott, i, 132; + gentleness of, i, 135; + character of, i, 136; + religion of, i, 139; + grave of, i, 140; iv, 198; + Corot compared with, vi, 189; + public estimate of, i, 129; + Hamerton on, i, 168; iv, 135; + quoted, vi, 137; + Ruskin and, v, 246; vi, 58; + referred to, iii, 28; + Ruskin's defense of, v, 13; + subtlety of, iv, 325. + +Tuskegee Institute, i, p xxiii; x, 202. + +Tussaud, Madame, iv, 344. + +_Twilight_, Michelangelo, iv, 32. + +_Two in a Gondola_, Browning, v, 56. + +Tyndale, William, martyr, xii, 335. + +Tyndall, John, influence of Carlyle on, xii, 349; + on education, xii, 346; + influence of Emerson on, xii, 349; + Michael Faraday and, xii, 352; + Alexander Humboldt and, xii, 351; + Professor James of Harvard on, xii, 358; + as a mountain-climber, xii, 355; + Robert Owen and, ix, 225; xi, 48; xii, 344; + on the efficacy of prayer, xii, 357; + Herbert Spencer on, xii, 340, 359; + the University of Toronto and, xii, 356; + Alfred Russel Wallace compared with, xii, 342. + +Tyranny, v, 186; ix, 57. + + +Uffizi gallery, the, iv, 101. + +Ugly, philosophy of the, vi, 73. + +Ulysses, iv, 303. + +Umbrian school, the, vi, 29. + +Uncle Billy Bushnell, i, p xxv. + +_Uncle Tom's Cabin_, Harriet Beecher Stowe, x, 28. + +Unitarianism, v, 299; ix, 279; + Pantheism and, ix, 295; + Universalism and, vii, 326. + +United States Steel Corporation, the, xi, 297. + +Universal coinage, xii, 114. + +Universal energy, v, 123. + +Universality of great souls, vi, 97. + +University, advantages of the, x, 166; + origin of, xiii, 123. + +University of Hard Knocks, i, p xxxiv; i, 249, 344; iii, 218. + +Unknowable, the, viii, 174. + +Upsala, university of, viii, 185. + +Uranus, discovery of, xii, 186. + +Utah, prisons in, ii, 191. + +Utopia, v, 238. + +_Utopia_, Sir Thomas More, x, 171. + + +Vaccination, Wallace on, xii, 393. + +_Vailima Prayers_, Stevenson, xiii, 10. + +Valedictorians, vi, 325. + +Value sense, the, v, 70. + +_Vampire, The_, Burne-Jones, vi, 75. + +Vanderbilt, Commodore, iii, 261; + his experience with his son William, viii, 289. + +Vanderbilts, the, and Meissonier, iv, 139. + +Van Dyck, Anthony, Cowley's elegy on, iv, 172; + the name Van Dyck in Holland, iv, 173; + parents of, iv, 173; + influence of Rubens on, iv, 112, 173; + Rubens' jealousy of, iv, 176; + love-affairs of, iv, 181, 195; + residence at Saventhem, iv, 183; + journeys of, in Italy, iv, 187; + residence in England, iv, 192; + appearance of, iv, 193; + his paintings of Charles I, iv, 195; + marriage of, iv, 196; + death of, iv, 197; + monument of, iv, 198; + grave of, iv, 198; + quoted, iv, 183. + +Vane, Sir Henry, and Anne Hutchinson, ix, 358. + +Van Horne, Sir William, xi, 425. + +Vanity, v, 238. + +_Vanity Fair_, Thackeray, i, 233. + +Vasari, Italian painter, iv, 8; vi, 19; + quoted, iv, 163; + on the Bellinis, vi, 253; + Cellini and, vi, 288. + +Vase, a, defined, xiii, 76. + +Vassar, Matthew, xi, 242. + +Vatican, the, iv, 101; + dampness of, iv, 296; + Michelangelo's home in the, iv, 18. + +Vegetarianism, viii, 53. + +Velasquez, Diego de Silva, birth of, vi, 158; + inspirer of artists, vi, 157, 167; + Herrera and, vi, 160; + Murillo and, vi, 183; + Olivarez and, vi, 167; + Pacheco and, vi, 161; + Rubens and, vi, 181; + the wife of, vi, 164; + pictures by, in England, iv, 189; + influence of, vi, 184; + Raphael Menges on, vi, 158; + Reynolds on, vi, 158; + Ruskin on, vi, 158; + Stevenson on, vi, 154; + Sir David Wilkie and, vi, 158; + Whistler on, vi, 177; + influence of, on Whistler, vi, 346; + Fortuny compared with, iv, 208. + +Venice, canals of, vi, 23, 257; + Antwerp compared with, xiv, 224; + wonders of, iv, 56; + glass-factories of, iv, 155; + +Venus, ii, 43. + +Verdi, Giuseppe, Bulwer-Lytton on, xiv, 274; + early hardships of, xiv, 282; + influence of Hugo on, xiv, 292. + +Verestchagin, Russian painter, xii, 89. + +Vergil, i, 179. + +Verne, Jules, i, 164; vi, 146. + +Vernon, Admiral, iii, 16. + +Veronese, Paul, iv, 60; + pictures by, in England, iv, 189; + his fondness for dogs, vi, 240; + Tintoretto compared with, iv, 148. + +Verrocchio, Andrea del, Italian painter, vi, 51. + +Vespasian, Emperor, iv, 102. + +Vesuvius, ii, 96. + +_Vicar of Wakefield_, Goldsmith, i, 294. + +Victoria, Queen of England, i, 72; iv, 324; vi, 139; + Alfred Tennyson and, v, 84. + +_Villette_, Charlotte Bronte, ii, 112. + +Vincent, Dr. George, psychologist, quoted, vi, 335. + +_Vindication of Natural Society, The_, Burke, vii, 168. + +_Vindication of the Rights of Woman, A_, Mary Wollstonecraft, ii, 290. + +Virginia controversy, the, iii, 267. + +_Virginians, The_, Thackeray, i, 236. + +Vital statistics, v, 96. + +Vivakenandi, H. Darmapala, viii, 27. + +_Vivian Gray_, Disraeli, v, 324. + +Voice, the inner, x, 31; + the prophetic, i, 181. + +Voltaire, ii, 183; xii, 57; 179; + at the English Court, viii, 296; + financial ability of, viii, 298; + home of, in Switzerland, viii, 314; + as a pamphleteer, viii, 317; + his contempt for the clergy, viii, 280; + imprisonment of, viii, 285; + death of, viii, 276; + influence of, viii, 275; + _Life of Charles XII_, viii, 297; + _My Private Life_, viii, 312; + _Henriade_, viii, 296; + _Oedipe_, viii, 287; + _Philosophical Dictionary_, xi, 106; + Frederick the Great and, viii, 309; + Thomson and, viii, 296; + the Abbe de Chateauneuf and, viii, 278; + the Chevalier de Rohan and, viii, 292; + Congreve and, viii, 295; + Horace Walpole and, viii, 296; + Pope and, viii, 295; + Catherine of Russia and, viii, 315; + Madame du Chatelet and, viii, 301; + Dean Swift and, viii, 295; + John Gay and, viii, 295; + Madame Dunoyer and, viii, 282; + Ninon de Lenclos and, viii, 277; + on marriage and divorce, viii, 290; + on Newton, x, 366; xii, 409; + on Shakespeare, i, 134; + on Seneca, viii, 80; + on superstition, viii, 293; + quoted, xiii, 162; + referred to, i, 306; + Charles Dickens compared with, viii, 283; + Rousseau's criticism of, ix, 384; + Disraeli compared with, viii, 295; + Rousseau compared with, vii, 207; ix, 373, 385. + +Von Humboldt, Alexander, i, 342; + education of, x, 257. + + +_Wagner at Bayreuth_, Nietzsche, xiv, 36. + +Wagner, Parson, ix, 393. + +Wagner, Richard, mother of, xiv, 14; + marriage of, xiv, 16; + composition of his music, xiv, 24; + exile of, xiv, 31; + character of, xiv, 42; + referred to, v, 267; + on art, xiv, 22; + on Beethoven, xiv, 222; + influence of, viii, 205; + Franz Liszt and, xiv, 30; + Millet compared with, iv, 259; + William Morris compared with, xiv, 24; + Friedrich Nietzsche and, xiv, 35; + Whitman compared with, xiv, 23. + +Walden Pond, Thoreau's home at, viii, 413. + +Waldorf-Astoria, i, p xxxvii. + +Walker, Emery, and William Morris v, 29. + +Wallace, Alfred Russel, referred to, v, 289; + Darwin and, xii, 223, 372; + Humboldt compared with, xii, 380; + on the orang-utan, xii, 382; + on spiritism, xii, 392; + spiritualistic tendencies of, x, 342; + travels of, in Brazil, xii, 378; + travels of, in the Malay Archipelago, xii, 381; + John Tyndall compared with, xii, 342. + +Wallace line, the, xii, 387. + +Wallflowers, v, 49. + +Walpole, Horace, iv, 302; vii, 191; ix, 164; xii, 179; + on William Herschel, xii, 183; + _Anecdotes of Painting_, iv, 101; + Reynolds and, iv, 299; + Voltaire and, viii, 296. + +Walpole, Sir Robert, vii, 191. + +Wanamaker, John, and A.T. Stewart, xi, 353; + Tolstoy and, viii, 205. + +War, v, 238; + Thomas Paine on, ix, 173; + poetry of, ii, 271. + +War of 1812, iii, 221. + +_Warfare of Science and Religion_, Andrew D. White, xii, 222. + +Warwickshire, i, 49, 304. + +Warner, Charles Dudley, quoted, xiv, 225. + +Washington, Booker T., parents of, x, 185; + Andrew Carnegie and, xi, 290; + Napoleon compared with, x, 211; + H. H. Rogers and, xi, 389; + Gen. Ruffner and, x, 190. + +Washington, George, character of, iii, 6; + Weems' life of, iii, 7; v, 41; vi, 129; + lineage of, iii, 8; + home of, at Mount Vernon, iii, 16; + Indian name of, iii, 17; + appearance of, iii, 17; + love-affairs of, iii, 18; + marriage of, iii, 20; + appointed commander of the army, iii, 23; + strategy of, iii, 24; + humor of, iii, 25; + detractors of, iii, 28; + statue of, iii, 5; + letter of John Jay to, iii, 230; + Lincoln and, iii, 29; + on Thomas Paine, xiii, 84; + Mary Philipse and, xi, 217; + quoted, iii, 245; + referred to, iii, 90; xii, 57, 179; + Ary Scheffer's admiration for, iv, 235. + +Waterloo, battle of, i, 233; iv, 82; xi, 161. + +Watson, Thomas, _Story of France_, viii, 241; ix, 380. + +Watson, Sir William, astronomer, xii, 182. + +Watterson, Henry, on Lincoln, vii, 393. + +Watt, James, xi, 68; xii, 179; + Humphrey Gainsborough and, vi, 133. + +Wax-works, Madame Tussaud's, iv, 344. + +_Wealth of Nations_, Adam Smith, i, 73; v, 94, 163; ix, 64. + +Wealth, the handicap of, vi, 169. + +Webb, Philip, architect, v, 20. + +Webster, Daniel, birthplace of, iii, 191; + education of, iii, 192; + association of, with his brother Ezekiel, iii, 195; + graduation of, iii, 196; + his greatest speech, iii, 196; + his favorite theme, iii, 197; + debate of, with Hayne, iii, 198; + son of, iii, 200; + influence of, iii, 201; + the Stephen Girard case, iii, 201; + the Dartmouth College case, iii, 202; + effectiveness of, iii, 203; + death of, iii, 204; + on liberty, vii, 337; + James Oliver compared with, xi, 78; + on the practise of law, xi, 274; + quoted, iv, 253. + +Wedgwood, Josiah, xii, 203; + S. T. Coleridge and, v, 305; + Gladstone on, xiii, 60; + Robert Owen and, ix, 225; + John Wesley and, xiii, 53. + +Wedgwood, Julia, biographer of John Wesley, ix, 15. + +Weems, Rev. Mason L., iii, 7; + _Life of Washington_, v, 41; vii, 199. + +Wehrgeld, vii, 125. + +Weimar, Germany, i, 58, 233. + +Weir, Robert, Professor, vi, 342. + +Wellesley, Arthur, Duke of Wellington, i, 280, 313; v, 253; xii, 179, 338; + mother of, viii, 57. + +_Werther_, Coleridge's translation of, v, 307. + +Wesley, Charles, hymn-writer, ix, 11, 41. + +Wesley, John, American experiences of, ix, 29; + education of, ix, 21; + influence of, ix, 11, 46; + marital experience of, ix, 44; + the Moravians and, ix, 31; + Governor Oglethorpe and, ix, 27; + on teaching, viii, 202; + Josiah Wedgwood and, xiii, 52. + +Wesley, Susanna, ix, 221; + children of, ix, 11. + +West, Benjamin, American artist, iv, 306; xi, 94; xii, 179; + Thomas Gainsborough and, vi, 150. + +West Indies, the, iii, 110. + +Whale-oil industry, decline of, xi, 369. + +Wheat-belt, the, xi, 433. + +Whigs, Johnson on, v, 164. + +Whim, xiv, 302. + +Whistler, James Abbott McNeil, vi, 339; + on art, viii, 363; + his criticism of Gustave Dove, iv, 329; + his dual character, vi, 333; + _Etching and Dry Points_, vi, 351; + Judge Gaynor on, vi, 333; + _The Gentle Art of Making Enemies_, vi, 330, 351; + life of, in Russia, vi, 341; + _Nocturne_, vi, 345; + quoted, iv, 116, 220; v, 16; xii, 155; + Ruskin and, vi, 330; + the _Ten o'Clock_ lecture, vi, 351; + Velasquez and, vi, 177, 346. + +White, Andrew D., _The Warfare of Science and Religion_, xii, 222. + +Whitefield, George, colleague of the Wesleys, ix, 27, 41. + +White Pigeon, v, 269; + description of, vi, 40. + +Whitlock, Brand, ix, 283. + +Whitman, Walt, Lincoln's opinion of, i, 164; + appearance of, i, 165; + Dr. Bucke's characterization of, i, 166; + Horace L. Traubel on, i, 167; + home of, in Camden i, 168; + Symonds' opinion of, i, 170; + Rossetti's opinion of, i, 170; + democracy of, i, 174; + the poet of humanity, i, 179; + Edward Carpenter and, x, 46; + as a clerk, v, 26; + Corot compared with, vi, 190; + on death, i, 175; + on the human voice, vii, 314; + influence of, viii, 205; + influence of, on R. L. Stevenson, xiii, 18; + kingliness of, x, 109; + compared with Millet, iv, 259; + William Morris' estimate of, v, 32; + opinions regarding, vi, 191; + quoted, iv, 161; vi, 66; xii, 88; + referred to, i, p xxvii, 90, 195; ii, 285; v, 83; xi, 94; + Thoreau and, viii, 422; + Wagner compared with, xiv, 23. + +Whitney, Eli, xi, 69. + +Widows, the lot of, xii, 14. + +Wife-beating, iv, 240. + +Wife, Solomon's ideal, ii, 69. + +Wight, isle of, i, 196. + +Wilberforce, Samuel, and Charles Darwin, xii, 202. + +Wilberforce, William, philanthropist, vii, 196. + +Wilcox, Ella Wheeler, xi, 284. + +Wilkie, Sir David, and Velasquez, vi, 158. + +Willard, Frances E., ii, 52. + +William the Conqueror, i, 252; ii, 198; x, 148; xiv, 40. + +William the Silent, Prince of Orange, iv, 81. + +Williams, Roger, and Anne Hutchinson, ix, 359, 361. + +Willis, N. P., on Disraeli, v, 329. + +Will, force of, ii, 162; + Pentecost on, xiv, 66; + power of, iv, 330; + Schopenhauer on the, viii, 380. + +Wilson, Francis, and Eugene Field, v, 256. + +Wilson, James, Judge, iii, 14. + +Windermere, lake, i, 87, 218. + +Windows, stained-glass, v, 22. + +_Wine of Cyprus_, E. B. Browning, ii, 21. + +_Winter's Tale, The_, Shakespeare, i, 317. + +Winter, William, i, 51; + on Shakespeare, i, 312. + +Winthrop, John, Governor of Massachusetts Colony, ix, 337. + +Wisdom, v, 240; + ignorance and, Starr King on, vii, 308; + knowledge and, vii, 217; + learning and, x, 74; + mintage of, i, p xii. + +Wishart, George, and John Knox, ix, 206. + +Witchcraft, iii, 101; x, 352. + +Wizard, definition of, xii, 67; + Edison on, vi, 42. + +Woffington, Peg, friend of Reynolds, iv, 305. + +Wollstonecraft, Mary, birth of, ii, 289; + literary achievements of, ii, 290; + views of, ii, 291; + meeting of, with Gilbert Imlay, ii, 292; + marriage of, to William Godwin, ii, 293; + death of, ii, 294; + Charlotte Perkins Gilman compared with, xiii, 92; + Coleridge and, xiii, 102; + Dr. Samuel Johnson and, xiii, 90; + Thomas Paine and, ix, 175; + Robert Southey and, xiii, 102; + _The Rights of Woman_, xiii, 85. + +Womanhood in Greece, vii, 32. + +Woman suffrage, i, 93. + +Women, Botticelli's, vi, 81; + capacity of, for intellectual endeavor, ix, 346; + characterization of, i, 159; + degradation and, vi, 74; + in relation to divorce, viii, 133; + emancipation of, ii, 70; + emotional, xiii, 315; + in France, ii, 173; + helpfulness of, i, 75; + influence of, i, 131; iv, 36, 225; + the inspirers of music, xiv, 120; + of Ireland, i, 275; + Dr. Johnson concerning, xiii, 91; + Kipling and, vi, 74; + Mahomet on the truthfulness of, iv, 86; + Michelangelo's figures of, iv, 9; + the new woman, ii, 53; + in politics, viii, 51; + Socrates' opinion of, viii, 21; + souls of, iii, 101; + Richard Steele regarding, viii, 130; + as teachers, x, 259; + Washington's regard for, iii, 18. + +_Wonders of the Invisible World_, Mather, i, 238. + +Woodhull, Victoria, xi, 258. + +Woodward Gardens, San Francisco, ix, 63. + +Wooing, the art of, viii, 328. + +Wordsworth, Dorothy, i, 212; ii, 228; + Coleridge and, vi, 304. + +Wordsworth, William, home of, i, 212; + life of, at Rydal Mount, i, 216; + grave of, i, 222; + rank as poet, i, 222; + influence of, i, 223; + Robert Browning and, v, 55; + as a government employee, v, 26; + quoted, ii, 233, 285; + referred to, i, 88; ii, 28; v, 270; + Southey and, v, 303. + +Work, v, 24; + Martin Luther on, vii, 110; + +_Works and Days_, R. W. Emerson, ii, 286. + +World poets, v, 83. + +World's Congress of Religions, i, 135. + +World-weariness, xiv, 78. + +Worms, Luther at the Diet of, vii, 143. + +Worry, iii, 260. + +Wren, Christopher, architect, iii, 61. + +Writing academies, American, vi, 134. + +Wu Ting Fang, on Ireland, xi, 335. + +Wythe, George, and Patrick Henry, iii, 62. + + +Xantippe, wife of Socrates, i, 75; viii, 22. + +Xenophon and Socrates, viii, 11, 29. + + +Yale university, art-gallery at, vi, 71. + +Yates, Dick, friend of Lincoln, iii, 288. + +_Yesterdays With Authors_, Fields, i, 235. + +Yorkshire folks, ii, 104. + +Youmans, Edward L., and Herbert Spencer, viii, 344; + Darwinism and, xii, 231. + +Young, Brigham, x, 117; xi, 72. + +Youth, characterized, v, 18. + + +Zangwill, Israel, i, 163; ii, 193; iv, 243; v, 319; viii, 217; + on genius, xiv, 309; + on Scotland, xi, 77; + on the Ghetto, xi, 128; + his stories of the Ghetto, viii, 219. + +Zola, Emile, iv, 139. + +_Zoonomia_, Erasmus Darwin, xii, 371. + +Zueblin, Charles, on William Morris, xi, 356. + + + + + +End of the Project Gutenberg EBook of Little Journeys to the Homes of the +Great - Volume 14, by Elbert Hubbard + +*** END OF THIS PROJECT GUTENBERG EBOOK GREAT MUSICIANS *** + +***** This file should be named 20318-8.txt or 20318-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/0/3/1/20318/ + +Produced by Janet Blenkinship and the Online Distributed +Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/20318-8.zip b/20318-8.zip Binary files differnew file mode 100644 index 0000000..88acf4d --- /dev/null +++ b/20318-8.zip diff --git a/20318-h.zip b/20318-h.zip Binary files differnew file mode 100644 index 0000000..f16decb --- /dev/null +++ b/20318-h.zip diff --git a/20318-h/20318-h.htm b/20318-h/20318-h.htm new file mode 100644 index 0000000..1106660 --- /dev/null +++ b/20318-h/20318-h.htm @@ -0,0 +1,17395 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Little Journeys to the Homes of the Great: Great Musicians, +by Elbert Hubbard + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ + <!-- + p {margin-top: .75em; text-align: justify; margin-bottom: .75em} + p.titleblock {margin-top: 0; margin-bottom: 0; text-indent: 0; text-align: center} + h1,h2,h3,h4,h5,h6 {text-align: center; clear: both} + a {text-decoration: none} + table {margin-left: auto; margin-right: auto} + body {margin-left: 10%; margin-right: 10%} + .pagenum {right: 1%; font-size: x-small; background-color: inherit; visibility: hidden; color: gray; text-indent: 0em; text-align: right; position: absolute; border: 1px solid silver; padding: 1px 3px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none} + .blockquot {margin-left: 5%; margin-right: 10%} + .center {text-align: center} + .smcap {font-variant: small-caps} + td.pr {padding-right: 10px} + hr.full {width: 100%; margin-top: 2em; margin-bottom: 2em} + hr.major {width: 75%; margin-top: 2em; margin-bottom: 2em} + hr.minor {width: 30%; margin-top: 0.5em; margin-bottom: 0.5em} + .figcenter {margin: auto; text-align: center} + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 0em; margin-top: -0.7em; margin-right: 0.5em; padding: 0; text-align: center} + .author {text-align: right; margin-right: 5%;} + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + + div.trans-note {border-style: solid; border-width: 1px; + margin: 3em 15%; padding: 1em; text-align: center;} + + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Little Journeys to the Homes of the Great - +Volume 14, by Elbert Hubbard + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Little Journeys to the Homes of the Great - Volume 14 + Little Journeys to the Homes of Great Musicians + +Author: Elbert Hubbard + +Release Date: January 9, 2007 [EBook #20318] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK GREAT MUSICIANS *** + + + + +Produced by Janet Blenkinship and the Online Distributed +Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + +<p><span class='pagenum'><a name="XIV_Page_1" id="XIV_Page_1">1</a></span></p> + +<p><span class='pagenum'><a name="XIV_Page_2" id="XIV_Page_2">2</a></span></p> + +<p><span class='pagenum'><a name="XIV_Page_3" id="XIV_Page_3">3</a></span></p> + + +<h1>Little<br /><br /> +Journeys<br /><br /> +To the Homes of the Great<br /><br /></h1> + + +<h2>Elbert Hubbard<br /><br /></h2> + +<h3>Anniversary Edition<br /><br /></h3> + +<p class='center'>Printed and made into a Book by<br /> +The Roycrofters, who are in East<br /> +Aurora, Erie County, New York<br /> +Wm. H. Wise & Co.<br /> +New York</p> + + +<p><span class='pagenum'><a name="XIV_Page_4" id="XIV_Page_4">4</a></span></p> + +<hr class="major" /> + +<p><span class='pagenum'><a name="XIV_Page_5" id="XIV_Page_5">5</a></span></p> + + +<h2><br /><br /><a name="Contents" id="Contents"></a>Contents</h2> +<div class="smcap"> +<table border="0" width="500" cellpadding="2" cellspacing="0" summary="Contents"> +<col style="width:85%" /> +<col style="width:15%" /> +<tr><td align="left">RICHARD WAGNER</td><td align="right"><a href="#RICHARD_WAGNER">9</a></td></tr> +<tr><td align="left">PAGANINI</td><td align="right"><a href="#PAGANINI">47</a></td></tr> +<tr><td align="left">FREDERIC CHOPIN</td><td align="right"><a href="#FREDERIC_CHOPIN">75</a></td></tr> +<tr><td align="left">ROBERT SCHUMANN</td><td align="right"><a href="#ROBERT_SCHUMANN">107</a></td></tr> +<tr><td align="left">SEBASTIAN BACH</td><td align="right"><a href="#SEBASTIAN_BACH">133</a></td></tr> +<tr><td align="left">FELIX MENDELSSOHN</td><td align="right"><a href="#FELIX_MENDELSSOHN">161</a></td></tr> +<tr><td align="left">FRANZ LISZT</td><td align="right"><a href="#FRANZ_LISZT">185</a></td></tr> +<tr><td align="left">LUDWIG VAN BEETHOVEN</td><td align="right"><a href="#LUDWIG_VAN_BEETHOVEN">221</a></td></tr> +<tr><td align="left">GEORGE HANDEL</td><td align="right"><a href="#GEORGE_HANDEL">249</a></td></tr> +<tr><td align="left">GIUSEPPE VERDI</td><td align="right"><a href="#GIUSEPPE_VERDI">273</a></td></tr> +<tr><td align="left">WOLFGANG MOZART</td><td align="right"><a href="#WOLFGANG_MOZART">297</a></td></tr> +<tr><td align="left">JOHANNES BRAHMS</td><td align="right"><a href="#JOHANNES_BRAHMS">331</a></td></tr> +<tr><td align="left">INDEX</td><td align="right"><a href="#INDEX">359</a></td></tr> + +</table> +</div> + +<div class="trans-note"> + Transcriber's Note: Obvious spelling and punctuation errors have been +corrected. All other inconsistencies are as in the original. + </div> + +<p><span class='pagenum'><a name="XIV_Page_8" id="XIV_Page_8">8</a></span><span class='pagenum'><a name="XIV_Page_7" id="XIV_Page_7">7</a></span><span class='pagenum'><a name="XIV_Page_6" id="XIV_Page_6">6</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="RICHARD_WAGNER" id="RICHARD_WAGNER"></a> +<span class='pagenum'><a name="XIV_Page_9" id="XIV_Page_9">9</a></span> +<h2>RICHARD WAGNER</h2> +</div> + +<div class="figcenter" style="width: 325px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-001" id="illus-001"></a> +<img src="images/img01.jpg" alt="RICHARD WAGNER" title="" width = "325" height = "500"/> +</div> + +<div class="blockquot"><p>Was ever work like mine created for no purpose? Am I a miserable +egotist, possessed of stupid vanity? It matters not, but of this I +feel positive; yes, as positive as that I live, and this is, my +"Tristan and Isolde," with which I am now consumed, does not find +its equal in the world's library of music. Oh, how I yearn to hear +it; I am feverish; I am worn. Perhaps that causes me to be agitated +and anxious, but my "Tristan" has been finished now these three +years and has not been heard. When I think of this I wonder whether +it will be with this as with "Lohengrin," which now is thirteen +years old, and is still dead to me. But the clouds seem breaking, +they are breaking—I am going to Vienna soon. There they are going +to give me a surprise. It is supposed to be kept a secret from me, +but a friend has informed me that they are going to bring out +"Lohengrin."</p> + +<p class='author'>—<i>Wagner in a Letter to Praeger</i></p></div><p><span class='pagenum'><a name="XIV_Page_11" id="XIV_Page_11">11</a></span></p> + +<h3>RICHARD WAGNER</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-002" id="illus-002"></a> +<img src="images/img011.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>bsurd and silly people make jokes about mothers-in-law, stepmothers and +stepfathers—we will none of this. My heart warms to the melancholy +Jacques, who dedicated his book to his mother-in-law, "my best friend, +who always came when she was needed and never left so long as there was +work to do." Richard Wagner's stepfather was his patient, loving and +loyal friend.</p> + +<p>The father of Wagner died when the child was six months old. The mother, +scarcely turned thirty, had a brood of seven, no money and many debts. +There is trouble for you—ye silken, perfumed throng, who nibble +cheese-straws, test the hyson when it is red, and discuss the +heartrending aspects of the servant-girl problem to the lascivious +pleasings of a lute!</p> + +<p>But the widow Wagner was not cast down to earth—she resolved on keeping +her family together, caring for them all as best she could. The +suggestion from certain kinsmen that the children should be given out +for adoption was quickly vetoed. The fine spirit of the woman won the +admiration of a worthy actor, in slightly reduced circumstances, who had +lodgings in the house of the widow. This actor, Ludwig Geyer by name, +loved the widow and all of the brood, and he<span class='pagenum'><a name="XIV_Page_12" id="XIV_Page_12">12</a></span> proposed that they pool +their poverty.</p> + +<p>And so before Mrs. Wagner had been a widow a twelvemonth they were +married.</p> + +<p>In this marriage Geyer seemed to be moved to a degree by the sentiment +of friendship for his friend, the deceased husband. Geyer was a man of +many virtues—amiable, hopeful, kind. He had the artistic temperament +without its faults. To writers of novels, in search of a very choice +central character, Ludwig Geyer affords great possibilities. He was as +hopeful as Triplett and a deal more versatile. The histrionic art +afforded him his income of eleven dollars a week; but painting was his +forte—if he only had time to devote to the technique! Yet all the arts +being one he had written a play; he also modeled in clay and sang tenor +parts as understudy to the great Schudenfeldt. Hope, good-cheer and a +devotion to art were the distinguishing features of Mein Herr Geyer.</p> + +<p>All this was in the city of Leipzig; but Herr Geyer becoming a member of +the Court Theater, the family moved to Dresden, where at this time lived +one Weber, a composer, who used to walk by the Geyer home and +occasionally stop in for a little rest. At such times one of the +children would be sent out with a pitcher, and the great composer and +Herr Geyer would in fancy roam the realm of art, and Herr Geyer would +impart to Herr Weber valuable ideas that had never been used. The little +boy, Richard, used to cherish these visits of<span class='pagenum'><a name="XIV_Page_13" id="XIV_Page_13">13</a></span> Weber, and would sit and +watch for hours for the coming of the queer old man in the long gray +cloak.</p> + +<p>The stork, one fine day, brought Richard a little sister. He was scarce +two years older than she. These two sort of grew up together, and were +ever the special pets of Herr Geyer, who used to take them to the +theater and seat them on a bench in the wings where they could watch him +lead the assault in "The Pirate's Revenge."</p> + +<p>Richard regarded his stepfather with all the affection that ever a child +had for its own parent; and until he was twenty-one was known to the +world as Richard Wilhelm Geyer.</p> + +<p>The comparison of Ludwig Geyer with Triplett is hardly fair, for Geyer's +fine effervescence and hopeful, rainbow-chasing qualities were confined +to early life.</p> + +<p>As the years passed Geyer settled down to earnest work and achieved a +considerable success both as an actor and as a painter. The unselfish +quality of the man is shown in that his income was freely used to +educate the Wagner children. He was sure that Richard had the germ of +literary ability in his mental make-up, and his ambition was that the +boy should become a writer. But alas! Geyer did not live long enough to +know the true greatness of this child he had fostered and befriended.</p> + +<p>Unlike so many musicians Richard was not precocious. He was slow, +thoughtful and philosophic; and music<span class='pagenum'><a name="XIV_Page_14" id="XIV_Page_14">14</a></span> did not attract him so much as +letters. Incidentally he took lessons in music with his other studies, +and his first teacher, Gottlieb Muller, has left on record the statement +that the boy was "self-willed and eccentric, and not fluid enough in +spirit to succeed in music."</p> + +<p>The mother of Wagner seems to have been a woman of marked mentality—not +especially musical or poetic, but possessing a fine appreciation of all +good things, and best of all, she had commonsense. She very early came +to regard Richard as her most promising child, and before he was ten +years of age, said to a friend, "Richard will be able to succeed at +anything he concentrates his mind upon."</p> + +<p>The truth of the remark has often been reiterated. The youth was superb +in his mental equipment—strong, capable, independent. Had he turned his +attention to any other profession, or any branch of art or science, he +could have probed the problem to its depths, and made his mark upon the +age in which he lived.</p> + +<p>In height Wagner was a little under size, but his deep chest, well-set +neck, and large, shapely head gave him a commanding look. In physique he +resembled the "big little men" like Columbus, Napoleon, Aaron Burr, +Alexander Hamilton and John Bright—men born to command, with ability to +do the thinking for a nation.</p> + +<p>It's magnificent to be a great musician, and many musicians are nothing +else, but it is better to be a man than a musician. Richard Wagner was a +man. Envi<span class='pagenum'><a name="XIV_Page_15" id="XIV_Page_15">15</a></span>ronment forced literature upon his attention: he desired to be +a great poet. He wrote essays, stories, quatrains, epics. Chance sent +the work of Beethoven within his radius, and he became filled with the +melody of the master. Young men of this type, full of the pride of +youth, overflowing with energy, search for a something on which to try +their steel. Wagner could write poetry, that was sure, and more, he +could prepare the score and set his words to music. He fell upon the +work like one possessed—and he was. To his amazement the difficulties +of music all faded away, and that which before seemed like a hopeless +task, now became luminous before the heat of his spirit.</p> + +<p>Nothing is difficult when you put your heart in it.</p> + +<p>The obstacles to be overcome in setting words to sounds were like a game +of chess—a pleasing diversion. In a month he knew as much of the +science of music as many men did who had grubbed at the work a lifetime. +"The finances! Get your principles right and then 'tis a mere matter of +detail, requiring only concentration—I will arrange it," said Napoleon.</p> + +<p>Wagner focused on music, yet here seems a good place to say that he +never learned either to play the piano or to sing. He had to trust the +"details" to others. Yet at twenty he led an orchestra. Soon after he +became conductor of the opera at Magdeburg.</p> + +<p>In some months more he drifted to Konigsberg, and there acted as +conductor at the Royal Theater.<span class='pagenum'><a name="XIV_Page_16" id="XIV_Page_16">16</a></span> In the company of this theater was a +young woman by the name of Wilhelmina Planer. Wagner got acquainted with +her across the footlights. She was young, comely and all that—they +became engaged. Shortly afterwards, one fine moonlight night, in +response to her merry challenge, they rang up the "Dom" and were +married. They got better acquainted afterward.<span class='pagenum'><a name="XIV_Page_17" id="XIV_Page_17">17</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-003" id="illus-003"></a> +<img src="images/img017.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>t is a fact that Wagner's imprudent marriage at the age of twenty-three +has been much regretted and oft lamented. "What," say the Impressionable +Ones, "Oh, what could he not have accomplished with a proper mate!"</p> + +<p>It is very true that Minna Planer had no comprehension of the genius of +her husband; that her two feet were always flatly planted on earth, and +her head never reached the clouds; and true it is that she was a weary +weight to him for the twenty-five years they lived together. Still men +grow strong by carrying burdens; and we must remember that Wagner was +what he was on account of what he endured and suffered.</p> + +<p>Wagner expressed himself in his art, and all great art is simply the +honest, spontaneous, individual expression of soul-emotion. Had Wagner's +emotions been different he would have produced a totally different sort +of art. That is to say, if Wagner in his youth had loved and wedded a +woman who was capable of giving his soul peace, we would have had no +Wagner; we would have had some one else, and therefore a totally +different expression, or no expression at all. Probably the man would +have been quite content to be a village Kapellmeister. His life being +reasonably complete, his spirit would not have roamed the Universe +crying for rest. The ideals of his wife were so low and commonplace that +she influenced his career by antithesis. His soul was ahungered for the +bread of life, and stones were<span class='pagenum'><a name="XIV_Page_18" id="XIV_Page_18">18</a></span> given him in way of the dull, the ugly, +the affected, the smug, the ridiculous. Wagner's life was a revolt from +the ossified commonplace, a struggle for right adjustment—a heart +tragedy. And all this reaching out of the spirit, all the prayers, +hopes, fears and travail of his soul, are told and told again in his +poetry and in his music.</p> + +<p>All art is autobiography.</p> + +<p>Minna Planer was amiable and kind, but the frantic effort she made at +times, in public, to be profound or chic must have touched the great man +on the raw. He sought, however, to protect her, and at public gatherings +used to keep very near to her in order that she should not fall into the +clutches of some sharp-witted enemy and be lead on into unseemliness of +speech. The scoffs of critics and the ready-made gibes and jeers of the +mob were to her gospel truth; her husband's genius was a vagary to be +stoutly endured. So for many years she was inclined to pose as one to be +pitied—and so she was. That she suffered at times can not be denied, +yet God is good, and so has put short limit on the sensibilities of the +vain.</p> + +<p>But Wagner would never tolerate an unkind word spoken of Minna in his +presence, and once rebuked a friend who sought to console him by saying, +"Never mind, Minna lives her life the best she can, and expresses the +thoughts that come to her—what more do you and I do?"<span class='pagenum'><a name="XIV_Page_19" id="XIV_Page_19">19</a></span></p> + +<p>And in his later years, when calm philosophy was his, he realized that +Minna Planer had supplied him a stinging discontent, a continued unrest +that formed the sounding-board on which his sorrow and his hope and his +faith in the Ideal were echoed forth.</p> + +<p>Love is the recurring motif in all of Wagner's plays. A man and a woman, +joined by God, but separated by unkind condition, play their parts, and +our hearts are made by the Master to vibrate in sympathy with the +central idea. Only a broken-hearted man could have conjured forth from +his soul such couples as these: Senta and the Dutchman, Elizabeth and +Tannhauser, Elsa and Lohengrin, Tristan and Isolde, Siegmund and +Sieglinde, Walter and Eva, Siegfried and Brunhilde.</p> + +<p>Wagner's unhappy marriage forms the keynote of his art. Every opera he +wrote depicts a soul in bonds. From "The Flying Dutchman" to "Parsifal" +we are shown the struggle of a strong man with cruel Fate; a reaching +out for liberty and light; the halting between duty and inclination; and +the endless search for a woman who shall give deliverance through her +abiding love and faith.<span class='pagenum'><a name="XIV_Page_20" id="XIV_Page_20">20</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-004" id="illus-004"></a> +<img src="images/img011.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>ll art seems controlled by fad and fashion. No fashion endures, else +'twere not fashion, and in its character the fad is essentially +transient. Still we need not rail at fashion; it is a form of +periodicity, and periodicity exists through all Nature. There are day +and night, winter and summer, equinox and solstice, work and rest, years +of plenty and years of famine. Comets return, and all fashions come +back. Keep your old raiment long enough and it will be in style.</p> + +<p>All things move in an orbit, even theories and religions. Certain forms +of fanaticism come with the centuries—every new heresy is old. All +extremes cure themselves, for when matters get pushed to a point where +the balance of things is in danger of being disturbed, a Reformer +appears and utters his stentorian protest. This man is always ridiculed, +hooted, reviled, mobbed, and very happy indeed is his fate if he is +hanged, crucified or made to drink of the deadly hemlock; for then his +place in the affection of men is made secure, sealed with blood, and we +proclaim him liberator or savior. The Piazza Signora is sacred soil +because there it was that Savonarola died; John Brown's body lies +a-moldering in the grave, but his soul goes marching on; J. Wilkes Booth +linked his own name with that of Judas Iscariot and made his victim +known to the Ages as the Emancipator of Men.</p> + +<p>These strong men, sent at the pivotal points in history,<span class='pagenum'><a name="XIV_Page_21" id="XIV_Page_21">21</a></span> are born out +of a sore need—they are sent from God. Yet strong men always exist, but +it is the needs of the hour that develop and bring them to our +attention. Not always have the Reformers been fortunate in their takings +off—many have lingered out lengthening, living deaths in walled-up +cells. The Bastile, Chillon, London Tower, that prison joined to a +palace by the Bridge of Sighs, and all other such plague-spots of blood +are haunted by the ghosts of infamy. Before the memory of all those who +wrote immortal books behind grated bars we stand uncovered.</p> + +<p>Exile has been the lot of many who tried to live for sanity, justice and +truth when mad riot raged. Dante, Victor Hugo, Prince Kropotkin and +Wagner are types to which we turn. Then there is an attenuated form of +persecution known as ostracism, which consists in being exiled at home, +but of this it is not worth while to speak.</p> + +<p>Wagner was a strong, honest man who simply desired to express his better +self. The elements of caution and expediency were singularly lacking in +his character. These qualities of independence and self-reliance brought +him into speedy collision with those who stood in the front rank of the +artistic world of his day, and he became a marked man. His offense was +that he expressed his honest self.</p> + +<p>In Eighteen Hundred Forty-three, when he appeared upon the scene in +Dresden as Hofkapellmeister of<span class='pagenum'><a name="XIV_Page_22" id="XIV_Page_22">22</a></span> the Royal Theater, matters musical were +just about where the stage now is in America. In this Year of Grace, +Nineteen Hundred One, the great Shakespeare has been elbowed from the +stage by the author of "A Texas Steer"; and where once the haughty +Richard trod the boards, the skirt-dance assumes the center of the stage +and looms lurid like the spirit of the Brocken. Recently a vaudeville +"turn" of Hamlet has been presented, where the gravediggers do their +gruesome tasks to ragtime; and on every hand we behold the Lyceum giving +way to the McClure Continuous, Lim.</p> + +<p>Wagner abhorred the mere tune for the sake of tune. "You can not produce +art and leave man out," he said. All art must suggest something. Mere +verbal description is not literature: it is only words, words, words; a +picture must be charged with soul, otherwise a photograph would outrank +"The Angelus." Music must be more than jingling tunes and mincing +sounds. And thus we find Wagner at thirty years of age boldly putting +forth "The Flying Dutchman," with music not written for the text, nor +text written for the music, but words and music created at the same +time—the melody mirroring forth the soul of the words.</p> + +<p>In this play Wagner for the first time sacrificed every precedent of +musical construction and all thought of symmetrical form, in order to +make the music tell the tale. "The Flying Dutchman" is to opera what +Walt<span class='pagenum'><a name="XIV_Page_23" id="XIV_Page_23">23</a></span> Whitman's "Leaves of Grass" is to poetry, or Millet's "Sower" is +to painting. There is strength, heroic strength, in each of these +masterpieces I have named, but the "Dutchman" needs a listener, "Leaves +of Grass" requires a reader who has experienced, and the "Sower" demands +one who has eyes to see, before its lesson of love and patience and the +pathetic truth of endless toil are bodied forth.</p> + +<p>Whitman's book was well looked after by the local Antonius Ash-Box +inspector of the day, its publication forbidden, and the author +incidentally deprived of his clerkship at Washington; Millet did service +as the butt for jokes of artistic Paris, and was dubbed "The Wild Man"; +Wagner's play was hooted off the stage.<span class='pagenum'><a name="XIV_Page_24" id="XIV_Page_24">24</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-005" id="illus-005"></a> +<img src="images/img024.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>very man is but a type representing his class. Of course the class may +be small and one man may even be its sole living representative: but +Wagner had his double in William Morris. These men were brothers in +temperament, physique, habit of thought and occupation.</p> + +<p>Wagner wrote largely on the subjects of Art and Sociology, and made his +appeal for the toiler in that the man should be allowed to share the +joys of Art by producing it. His argument is identical with that of +William Morris; and yet the essays of Wagner were not translated into +English until after Morris had written his "Dream of John Ball," and +Morris did not read German.</p> + +<p>Both men hark back to a time when Man and Nature were on friendly terms; +when the thought, best exemplified by the early Greeks, of the +sacredness of the human body was recognized; when the old medieval +feeling of helpful brotherhood yet lingered; and the restless misery of +competition and all the train of woe, squalor and ugliness that +"civilization" has brought were unknown.</p> + +<p>Wagner's music is made up of the sounds of Nature conventionalized. You +hear the sighing of the breeze, the song of the birds, the cries of +animals, the rush of the storm. Wagner's essay, entitled, "Art and +Revolution," is the twin to the lecture, "Art and Socialism," by Morris; +and in the "Art-Work of the Future,"<span class='pagenum'><a name="XIV_Page_25" id="XIV_Page_25">25</a></span> Wagner works out at length the +favorite recurring theme of Morris: work is for the worker, and art is +the expression of man's joy in his work.</p> + +<p>In Eighteen Hundred Forty-four, when Morris was ten years of age, Wagner +wrote:</p> + +<p>"I compose for myself; it is just a question between me and my Maker. I +grow as I exercise my faculties, and expression is a necessary form of +spiritual exercise. How shall I live? Express what I think or feel, or +what you feel?</p> + +<p>"No, I must be honest and sincere. I must, for the need of myself, live +my own life, for work is for the worker, at the last. Each man must +please himself, and Nature has placed her approbation on this by +supplying the greatest pleasure men ever know as a reward for doing good +work. I hate this fast-growing tendency to chain men to machines in big +factories and deprive them of all joy in their efforts—the plan will +lead to cheap men and cheap products. I set my face against it and plead +for the dignity and health of the open air, and the olden time."</p> + +<p>This sort of talk led straight to Wagner's arrest in the streets of +Dresden on the charge of inciting a riot; and it was the identical line +of argument that caused the arrest of Morris in Trafalgar Square, +London, when he was taken struggling to the station-house.</p> + +<p>Wagner was exiled and Morris merely "cautioned," placed under police +surveillance and ostracized. The<span class='pagenum'><a name="XIV_Page_26" id="XIV_Page_26">26</a></span> difference in time explains the +difference in punishment. A century earlier and both men would have +forfeited their heads.</p> + +<p>In all of Wagner's operas the scene is laid at a time when the +festivals, games and religious ceremonies were touched with the thought +of beauty. Men were strong, plain, blunt and honest. Affectation, +finesse, pretense and veneer were unknown. Art had not resolved itself +into the possession of a class of idlers and dilettantes who hired +long-haired men and fussy girls in Greek gowns to make pretty things for +them. All worked with their hands, through need, and when they made +things they worked for utility and beauty. They gave things a beautiful +form, because men and women worked together, and for each other. And +wherever men and women work together we find Beauty. Men who live only +with other men are never beautiful in their work, or speech, or lives, +neither are women. But at this early time life was largely communal, +natural, and Art was the possession of all, because all had a share in +its production. Observe the setting of any Wagner opera where Walter +Damrosch has his way and get that flavor of bold, free, wholesome, +honest Beauty. And yet no stage was ever large enough to quite satisfy +Wagner, and all the properties, if he had had his way, would have been +works of Art, thought out in detail and materialized for the purpose by +human hands.</p> + +<p>Now turn to "The Story of the Glittering Plain,"<span class='pagenum'><a name="XIV_Page_27" id="XIV_Page_27">27</a></span> "Gertha's Lovers," +"News From Nowhere" or "The Hollow Land," by William Morris, and note +the same stage-setting, the same majesty, dignity and sense of power. +Observe the great underlying sense of joy in life, the gladness of mere +existence. A serenity and peace pervades the work of both of these men; +they are mystic, fond of folklore and legend; they live in the open, are +deeply religious without knowing it, have nothing they wish to conceal, +and are one with Nature in all her many moods and manifestations—sons +of God!<span class='pagenum'><a name="XIV_Page_28" id="XIV_Page_28">28</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-006" id="illus-006"></a> +<img src="images/img017.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>n the history of letters there is a writer by the name of Green, who +exists simply because he reviled a contemporary poet by the name of +Shakespeare. Green's name is embalmed in immortal amber with that of +Richard Quiney, who wrote a letter to the author of "The Tempest" +begging the favor of a loan of forty pounds.</p> + +<p>There are several ways of winning fame. Joseph Jefferson has written in +classic style of Count Johannes and James Owen O'Connor, who played +"Hamlet" to large and enthusiastic audiences, behind a wire screen; then +there was John Doe, who fired the Alexandrian Library, and Richard Roe, +the man who struck Billy Patterson. Besides these we have the Reverend +Obadiah Simmons of Nashville, Tennessee, who, in Eighteen Hundred Sixty, +produced a monograph proving that negroes had no souls, the value of +which work, to be sure, is slightly vitiated when we remember that the +same arguments were used, in Seventeen Hundred One, by Bishop Volberg, +in showing that women were in a like predicament.</p> + +<p>And now Henry T. Finck has compiled a list of more than one hundred +names of musical critics who placed themselves on record in opposition +to Richard Wagner and his music. Only such men as proved themselves past +masters in density and adepts in abuse are given a place in this Academy +of Immortals.</p> + +<p>No writer, musician or artist who ever lived brought<span class='pagenum'><a name="XIV_Page_29" id="XIV_Page_29">29</a></span> down on his head +an equal amount of contumely and disparagement as did Richard Wagner. +Turner, Millet and Rodin have been let off lightly compared with the +fate that was Wagner's; and even the shrill outcry that was raised in +Boston at sight of MacMonnies' Bacchante was a passing zephyr to the +storm that broke over the head of Wagner in Paris, when, after one +hundred sixteen rehearsals, "Tannhauser" was produced.</p> + +<p>The derisive laughter, catcalls, shouts, hisses and uproar that greeted +the play were only the shadow of the criticisms that filled the daily +press, done by writers who mistook their own anserine limitations for +inanity on the part of the composer. They scorned the melody they could +not appreciate, like men who deny the sounds they can not hear; or those +who might revile the colors they could not distinguish. And worse than +all this, the aristocratic hoodlums refused to allow any one else to +enjoy, and would not tolerate the thought that that which to them was +"jumbling discord, seven times confounded" might be a succession of +harmonies to one whose perceptions were more fully developed.</p> + +<p>Wagner himself only escaped personal violence by discreetly keeping out +of sight. The result of the Paris experiment was that the poor man lost +nearly a year's time, all of his modest savings were gone, creditors +dogged his footsteps, and the unanimous tone of the critics, for a time, +almost made him doubt his own<span class='pagenum'><a name="XIV_Page_30" id="XIV_Page_30">30</a></span> sanity. What if the critics were really +right?</p> + +<p>And this, we must remember, was in Eighteen Hundred Sixty-one, when +Wagner was forty-eight years of age.</p> + +<p>That even a strong man should doubt his value when he finds a world of +learned men arrayed against him is not strange. Every man who works in a +creative way craves approbation. Some one must approve. After the first +fever of ecstasy there comes the reaction, when the pulse beats slow and +the mind is filled with doubt and melancholy. This desire for approval +is not a weakness—it seems to stand as a natural need of every human +soul. When the great Peg Woffington played, you remember, she begged Sir +Henry Vane to stand in the wings so as to meet her when she came off the +stage, take her in his arms just for an instant, kiss her on the +forehead and say, "Well done!"</p> + +<p>Shallow people may smile at such a scene as this, but those who have +delved in the realm of creative art know this fervent need of a word of +encouragement from One who Understands.</p> + +<p>The one man who held the mirror up to Nature for Wagner was Franz Liszt. +Were it not for the steadfast love and faith of this noble soul, Wagner +must surely have fallen by the way. Wagner worked first to please +himself, and having pleased himself he knew it would please Franz Liszt, +and having pleased Franz Liszt he knew it would please all those as +great, noble, excellent and pure in heart as Franz Liszt. To speak to +an<span class='pagenum'><a name="XIV_Page_31" id="XIV_Page_31">31</a></span> audience made up of such as Liszt, and have them approve, was the +sublime dream and hope of Richard Wagner.</p> + +<p>Some of the enemies of Wagner, having placed themselves on record +against the man, have sought to make out that Wagner and Liszt often +quarreled, but this canard has now all been exploded. Such another +friendship between two strong men I can not recall. That of Goethe and +Schiller seems a mere acquaintanceship, and the friendship of Carlyle +and Emerson a literary correspondence with an eye on posterity, as +compared with this bond of brotherhood that existed between Wagner and +Liszt.</p> + +<p>During the ten years of Wagner's exile in Switzerland he received barely +enough from his work in music to support him, and several times he would +have been in sore need were it not for the "loans" made him by Liszt. He +did not even own a piano, and never heard his scores played, except when +Liszt made a semi-yearly visit. At such times a piano would be borrowed, +and the friends would revel in the new scores, and occasionally talk the +entire night away.</p> + +<p>When Liszt would go home after such visits, Wagner would go off on long +tramps, climbing the mountains, lonely and bereft, sure that the mood +for high and splendid work would never come again. Then some morning the +mist would roll away, the old spirit would come back, and he would apply +himself with all the<span class='pagenum'><a name="XIV_Page_32" id="XIV_Page_32">32</a></span> intense fire and burning imagination of which his +spirit was capable.</p> + +<p>When the score was done it was sent straight to Liszt, before the ink +was dry.</p> + +<p>The "Lohengrin" manuscript was sent along in parts, and Liszt was the +first man to interpret it. On one such occasion we find Liszt writing: +"Your 'Walkure' has arrived—and gladly would I sing to you with a +thousand voices your 'Lohengrin Chorus'—a wonder, a wonder! Dearest +Richard, you are surely a divine man, and my highest joy is to follow +you in your flight and be one with you in spirit!"</p> + +<p>On this occasion, when the "Lohengrin Chorus" first found voice, the +only auditor was the Princess von Wittgenstein, who added a postscript +to Liszt's letter, thus: "I wept bitter tears over the scene between +Siegmund and Sieglinde! This is beautiful—like heaven, like earth—like +eternity!" Was ever a woman so blest in privilege—to be the near, dear +friend of Franz Liszt and hear him play the music of Richard Wagner from +the manuscript, and then add her precious word of appreciation for the +work of the weary exile! The quotation given is only a sample of the +messages that Liszt was constantly sending to his exiled friend. And we +must understand that at this time Liszt had a world-wide reputation as +a composer himself, and was the foremost pianist of his time. And +Wagner—Wagner was only an obscure dreamer, with a penchant for<span class='pagenum'><a name="XIV_Page_33" id="XIV_Page_33">33</a></span> erratic +music!</p> + +<p>The "Lohengrin" was produced at Weimar under the leadership of Liszt, +but even his magic name could not make the people believe—the critics +had their way and wrote it down.</p> + +<p>Yet Liszt lived to see the name of Wagner proclaimed as the greatest +contemporary name in music; and he was too great and good to allow +jealousy to enter his great soul. Yet he knew that as a composer his own +work was quite lost in the shadow of the reputation of his friend. At a +banquet given in Munich in Eighteen Hundred Eighty-one in honor of +Wagner, Liszt said, "I ask no remembrance for myself or my work beyond +this: Franz Liszt was the loved and loving friend of Wagner, and played +his scores with tear-filled eyes; and knew the Heaven-born quality of +the man when all the world seemed filled with doubt."<span class='pagenum'><a name="XIV_Page_34" id="XIV_Page_34">34</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-007" id="illus-007"></a> +<img src="images/img011.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>mong men of worth, no man of his time was more thoroughly hated, +detested and denounced than Richard Wagner. Before he became an anarch +of art, he was singled out for distinction by royalty and a price was +placed upon his head. He escaped, and for ten years lived in exile, his +sole offense being that he lifted up his voice for liberty.</p> + +<p>That is the only thing worth lifting up your voice, or pen, or sword +for. The men who live in history are the men who have made freedom's +fight—there is no other. These men fought for us, and some of them died +for us—Socrates, Jesus, Savonarola, John Brown, Lincoln—saviors +all—they died that we might live.</p> + +<p>Instead of dying for us, Wagner lived for us, but he had to run away in +order to do it. There, in exile—in Switzerland—he wrote many of his +most sublime scores, and these he did not hear played till long years +after, for although the man could compose, he could not execute. The +music was in his brain and he could not get it out at his +finger-tips—for him the piano was mute. So now and again Franz Liszt +would come and play for him the scores he had never heard, and tears of +joy would flow down his fine face; then he would stand on his head, walk +on his hands and shout for pure gladness.</p> + +<p>All this, I will admit, was not very dignified.</p> + +<p>Ostracism, exile, hatred, and stupid misunderstanding<span class='pagenum'><a name="XIV_Page_35" id="XIV_Page_35">35</a></span> did not suppress +Wagner. In his work he is often severe, stern, tragic, but the man +himself bubbled with good-cheer. He made foolish puns, and routed the +serious ones of earth by turning their arguments into airy jests. If in +those early days he had been caught and carried in the death-tumbrel to +the Place of the Skull, he would have remarked with Mercutio, "This is a +grave subject."</p> + +<p>Finally, public opinion relaxed, and Wagner found his way back to +Germany. He settled at the town of Bayreuth, and very slowly it dawned +upon the thinking few that at Bayreuth there lived a Man.</p> + +<p>Among the very first who made this discovery was one Friedrich +Nietzsche, an idealist, a dreamer, a thinker, and a revolutionary. +Nietzsche was an honest man of marked intellect, whose nerves were worn +to the quick by the pretense of the times—the mad race for place and +power—the hypocrisy and phariseeism that he saw sitting in high places. +He longed to live a life of genuineness—to be, not to seem. And so he +had wandered here and there, footsore, weary, searching for peace, +scourged forever by the world's displeasure.</p> + +<p>The trouble was, of course, that Nietzsche didn't have anything the +world wanted. In the time of the Crusaders, the tired children would ask +at night-time, when the tents were pitched, "Is this Jerusalem?"</p> + +<p>And the only answer was: "Jerusalem is not yet! Jerusalem is not yet!"<span class='pagenum'><a name="XIV_Page_36" id="XIV_Page_36">36</a></span></p> + +<p>In Wagner, Nietzsche felt that at last he had found the Moses who would +lead the people out of captivity, into the Promised Land of Celestial +Art.</p> + +<p>Nietzsche came and heard the Wagnerian music and was caught as flotsam +in its whirling eddies. He read everything that Wagner had written, and +having come within the gracious sunshine of the great man's presence, he +rushed to his garret and in white heat wrote the most appreciative +criticism of Wagner and his work that has ever, even yet, been penned. +This booklet, "Wagner at Bayreuth," is a masterpiece of insight and +erudition, written by a man of imagination, who saw and felt, and knew +how to mold his feelings into words—words that burn. It is a rhapsody +of appreciation.</p> + +<p>Art is more a matter of heart than of head.</p> + +<p>The book had a wide circulation, helped on, they do say, by the Master +himself, who confessed that in the main the work rang true.</p> + +<p>The publication of the book sort of linked these two men, Wagner and +Nietzsche. The disciple sat at the feet of the elder man, and vowed he +would be in literature what Wagner was in music. He gazed on him, fed on +him, quoted him, waiting in patience for the pearls of thought.</p> + +<p>Now Wagner was a natural man—a natural son of God. He had the desires, +appetites and ambitions of a man. If he voiced great thoughts and wrote +great<span class='pagenum'><a name="XIV_Page_37" id="XIV_Page_37">37</a></span> scores, he did these things in a mood—and never knew how. At +times he was coarse, perverse, irritable.</p> + +<p>The awful, serious, sober ways of Nietzsche began to pall on Wagner—he +would run away when he saw him coming, for Nietzsche had begun to give +advice about how Wagner should regenerate the race, and also conduct +himself. Now Richard Wagner had no intention of setting the world +straight—he wanted to express himself, that was all, and to make enough +money so he could be free to come and go as he chose.</p> + +<p>Once, at a picnic, Wagner climbed a tree and cawed like a crow; then +hooted like an owl; he ate tarts out of a tin dish with a knife; a +little later he stood on his head and yelled like a Congo chief. When +Nietzsche tearfully interposed, Wagner told him to go and get +married—marry the first woman who was fool enough to have him—she +would relieve him of some of his silliness.</p> + +<p>Shortly after this, the great Wagner festival came on, and Bayreuth was +filled with visitors who had read Nietzsche's book, and bought +excursion-tickets to Bayreuth.</p> + +<p>Wagner was over his ears in work—an orchestra of three hundred players +to manage, new music to arrange, besides the humdrum, but necessary, +work of feeding and housing and caring for the throng. Of course he did +not do all the work, but the responsibility was his.</p> + +<p>In this rush of work, Nietzsche was dropped out of<span class='pagenum'><a name="XIV_Page_38" id="XIV_Page_38">38</a></span> sight—there was no +time now for long conferences on the Over-Soul and Music of the Future.</p> + +<p>Nietzsche was snubbed. He went off to his garret and wrote a scathing +criticism on the work of Richard Wagner. This divine music was not for +the intellectual few at all—it was getting popular and it was getting +bad. Wagner was insincere—commercial—a charlatan.</p> + +<p>Nietzsche was no longer interested in Wagner—he was interested only in +Nietzsche.</p> + +<p>Literary men do not quarrel more than other men—it only seems as if +they did. This is because your writer uses his kazoo in getting even +with his supposed enemy—he flings the rhetorical stinkpot with +precision, and his grievances come into a prominence all out of keeping +with their importance.</p> + +<p>In Eighteen Hundred Eighty-eight, Nietzsche issued his little book, "The +Fall of Wagner."</p> + +<p>After a person has greatly praised another, and wishes to say something +particularly unkind about him, one horn of the dilemma must be taken. If +you admit you were wrong in the first conclusion, you lay yourself open +to the suspicion that you are also wrong in the second—that you are one +who makes snap judgments. The safer way then is to cling close to the +presumption of your own infallibility, without, of course, actually +stating it, and claim that your idol has changed, backslidden—fallen. +This then lends an aura of virtue to your action, as it shows a +wholesome desire on your<span class='pagenum'><a name="XIV_Page_39" id="XIV_Page_39">39</a></span> part not to associate with the base person, +and also an altruistic wish to warn the world so it shall not be undone +by him.</p> + +<p>Of all the bitter, unkind and malicious things ever uttered against +Wagner, none contains more free alkali than the booklet by Nietzsche.</p> + +<p>Nietzsche, not being satisfied with an attack on Wagner's art, also made +a few flings at his pedigree, and declared that the Master's real name +was not Wagner: this was his mother's name, he being a natural son of +Ludwig Geyer, the poet—the Jew. What this has to do with Tannhauser, +Tristan and Isolde, the Ring, Lohengrin, and Parsifal, Nietzsche does +not explain. In any event, the information about Wagner's birth comes +with very bad grace from an avowed enemy, who practically admits that he +got the facts, in confidence, from Wagner himself. Neither does +Nietzsche, the freethinking radical, recognize that good men have long +ceased taunting other men concerning their parentage, or boasting of +their own.</p> + +<p>A man is what he is; and the word "illegitimate" is not in God's +vocabulary, since He smiles on love-children as on none other. If you +know history, you know this: that into their keeping God has largely +given the beauty, talent, energy, strength, skill and power, as well as +that divinity which confuses its possessor with Deity Incarnate.</p> + +<p>Wagner might have replied to Nietzsche in kind, and<span class='pagenum'><a name="XIV_Page_40" id="XIV_Page_40">40</a></span> pointed him out as +the product of "tired sheets," to use the phrase of Shakespeare. Wagner +might have said, "Yes, I am a member of that elect class to which belong +William the Conqueror, Leonardo da Vinci, Erasmus, the Empress +Josephine, Alexander Hamilton and Abraham Lincoln!" But he didn't—he +did better—he said nothing. Wagner had the pride that scorned a +defense—he realized his priceless birthright, and knew that his mother +and father had dowered him with a divine genius. Let those talk who +could do nothing else: silence was his only answer.</p> + +<p>In a year later, Nietzsche was taken to an asylum, dead at the top. He +lingered on until Nineteen Hundred, when his body, too, died, died there +at Weimar, the home of Goethe and the home of Franz Liszt—another of +life's little ironies. It is an obvious thing to say that Friedrich +Nietzsche was insane all the time. The fact is, he was not. He was a +great, sincere and honest soul, intent on living the ideal life. He +wrote thoughts that have passed into the current coin of all the +thinking world. When he praised Wagner to the skies and afterwards +damned him to the lowest depths of perdition, he was sane, and did the +thing that has been done since Cain slew his brother Abel. Take it home +to yourself—haven't the best things and the worst that have ever been +said about you, been expressed by the same person?</p> + +<p>The opinion of any one person concerning any man of<span class='pagenum'><a name="XIV_Page_41" id="XIV_Page_41">41</a></span> genius, or any +product of art, is absolutely valueless. Whim, prejudice, personal bias, +and physical condition color our view and tint our opinions, and when we +cease to love a man personally, to condemn his art is an easy and +natural step. What was before pleasing is now preposterous.</p> + +<p>Of course, it is all a point of view—a matter of perspective, and most +of us are a trifle out of focus. When we change our opinions we change +our friends.</p> + +<p>As a prescription for preserving a just and proper view, and living a +sane life, I would say, climb a tree occasionally, and hoot like an owl +and caw like a crow; stand on your head and yell at times like a +Comanche.</p> + +<p>Robert Louis Stevenson says, "A man who has not had the courage to make +a fool of himself has not lived."</p> + +<p>The man who does not relax and hoot a few hoots voluntarily, now and +then, is in great danger of hooting hoots and standing on his head for +the edification of the pathologist and trained nurse, a little later on.</p> + +<p>The madhouse yawns for the person who always does the proper thing. +Impropriety, in right proportion, relieves congestion, and thus are the +unities preserved. And so here the great Law of Compensation, invented +by Ralph Waldo Emerson, comes in: The sane, healthy man, who +occasionally strips off his dignity and hoots like an owl, or rolls +naked in the snow, will surely be called insane by the self-nominated +elect, but his personal compensation lies in the fact that he knows he +is not.<span class='pagenum'><a name="XIV_Page_42" id="XIV_Page_42">42</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-008" id="illus-008"></a> +<img src="images/img011.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>nd now look upon the face of this man! Even so, and upon every face is +written the record of the life the man has led: the loves that were his, +the thoughts, the prayers, the aspirations, the disappointments, all he +hoped to be and was not—all are written there—nothing is hidden, nor +can it be. Here was one born in poverty, nurtured in adversity, and yet +uplifted and sustained by homely friendships and rugged companions who +dumbly guessed the latent greatness of their charge.</p> + +<p>With soul athirst he sought for truth, and stubbornly groped his way +alone. Immediate precedent stood to him for little, and his sincerity +and honesty made him the butt of mob and rabble. His ambition to be +himself, to live his life, the desire to express his honest thought, led +straight to deprivation of bread and shelter. He had too much sympathy, +his honesty was not tempered by the graces of a diplomat—a price was +placed upon his head. By the help of that one noble friend, whose love +upheld him to the last, he escaped to a country where freedom of speech +is not a byword. But misunderstanding followed close upon his footsteps, +even his wife doubted his sanity, mistaking his genius for folly, and +died undeceived. Calumny, hate, brutal criticism, the contempt of the +so-called learned class—and all the train of woe that want and debt can +bring to bear were his lot and portion.</p> + +<p>Still he struggled on, refusing to compromise or parley<span class='pagenum'><a name="XIV_Page_43" id="XIV_Page_43">43</a></span>—he would live +his life, expressing the divinity within, and if fate decreed it so, die +the death, misunderstood, reviled, and be forgotten.</p> + +<p>And so he lived, working, praying, hoping, toiling, travailing—but with +days, now and then, when rifts broke the clouds and the sun shone +through, his Other Self giving approbation by saying, "Well done! the +work will live."</p> + +<p>More than half a century had passed over his head, and the frost of +years had whitened his locks; his form was bowed from the many burdens +it had borne; the fine face furrowed with lines of care; his eyes grown +dim from weeping—when gradually the critics grew less severe.</p> + +<p>Advocates were coming to the front, demanding that brutal hands should +no longer mangle this man: grudgingly pardon came for offenses never +committed, and he was permitted to return to his native land. Strong men +and women placed themselves on his side. They declared their faith, and +said his work was sublime; and they boldly stated the patent fact that +those who had done most to cry Wagner down, had themselves done nothing, +nor added an iota to the wealth or the harmony of the world. People +began to listen, to investigate, and they said, "Why, yes, the music of +Wagner has a distinct style—it has individuality."</p> + +<p>Individuality is a departure from a complete type, and so is never +perfect, any more than man is perfect. But<span class='pagenum'><a name="XIV_Page_44" id="XIV_Page_44">44</a></span> Wagner's music is honest and +genuine emotion set to sweet sounds, with words in keeping. It mirrors +the hopes, the disappointments, the aspirations and the love of a great +soul.</p> + +<p>As men and women grew to cultivate the hospitable mind and receptive +heart, tears filled their eyes and as they listened they came to +understand. Honesty and genuineness in souls are too rare to flout—when +found men really uncover before them. The people saw at last that they +had been deceived by the savants, blinded by the dust of paid and +prejudiced critics, fooled by those who led the way for a consideration. +They flocked to see the great composer and listen to his matchless +music, and they gave the man and his work their approval. Such sums were +paid to him as he had only read of in books. Adulation, approbation and +crowning fame were his at last.</p> + +<p>Then love came that way and gentle, trusting affection, and sweet, +spiritual comradeship, such as he had never known except in dreams—all +these were his. His fame increased, and lavish offers from across the +sea came, proffering him such wealth and honor as were not for any other +living artist.</p> + +<p>A theater was built for the presentation of his productions alone; the +lovers of music from every nation made Bayreuth a place of pilgrimage.</p> + +<p>When the man died—passed peacefully away, supported by the arms of the +one woman he had loved—the<span class='pagenum'><a name="XIV_Page_45" id="XIV_Page_45">45</a></span> daughter of Liszt—the art-loving world +paid his genius all the tribute that men can offer to the worth of other +men.</p> + +<p>And now the passing years have brought a confirmation in belief of the +statement made by Franz Liszt, "Richard Wagner is the one true musical +genius of his age."</p> + +<p>Wagner's admirers should, for him, plead guilty to the worst that can be +said: he is everything that his most bitter critics say, but he is so +much more that his faults and follies sink into ashes before the divine +fire of his genius, and we still have the gold. Inconsistent, +paradoxical, preposterous—why, yes, of course! Still he is the greatest +poet of passion the world has ever seen—don't cavil—passion's +consistency consists in being inconsistent.</p> + +<p>"Every sentence must have a man behind it," and so we might say, "Every +bar of music must have a man behind it." That harmony only can live +which once had its dwelling-place in a great and tender heart.</p> + +<p>The province of art is to impart a sublime emotion, and that which +affects to be an emotion, no matter how subtly launched, can never live +as classic art. Honesty here, as elsewhere, must have its reward. Be +yourself, though all the world laugh.</p> + +<p>I will not say that Wagner was—he is. The man himself in life was often +worn to the quick by the deprivations he had to endure, or the stupid +misunderstandings he encountered, so at times he was impatient, +erratic,<span class='pagenum'><a name="XIV_Page_46" id="XIV_Page_46">46</a></span> possibly perverse. But all that is gone—his mistakes have +been washed in the blood of Time—only the good survives. The best that +this great and godlike man ever thought, or felt, or knew, is ours—he +lives immortal in his Art.</p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="PAGANINI" id="PAGANINI"></a> +<span class='pagenum'><a name="XIV_Page_47" id="XIV_Page_47">47</a></span> +<h2>PAGANINI</h2> +</div> + +<div class="figcenter" style="width: 305px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-009" id="illus-009"></a> +<img src="images/img049.jpg" alt="PAGANINI" title="" width = "305" height = "500"/> +</div> + +<p> +<span style="margin-left: 5em;">For lo! creation's self is one great choir,</span><br /> +<span style="margin-left: 3em;">And what is Nature's order but the rhyme</span><br /> +<span style="margin-left: 3em;">Whereto the worlds keep time,</span><br /> +<span style="margin-left: 3em;">And all things move with all things from their prime?</span><br /> +<span style="margin-left: 3em;">Who shall expound the mystery of the lyre?</span><br /> +<span style="margin-left: 3em;">In far retreats of elemental mind</span><br /> +<span style="margin-left: 3em;">Obscurely comes and goes</span><br /> +<span style="margin-left: 3em;">The imperative breath of song, that as the wind</span><br /> +<span style="margin-left: 3em;">Is trackless, and oblivious whence it blows.</span><br /> +<span style="margin-left: 11em;">—<i>William Watson</i></span> +</p> + + +<p><span class='pagenum'><a name="XIV_Page_49" id="XIV_Page_49">49</a></span></p> + +<h3>PAGANINI</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-010" id="illus-010"></a> +<img src="images/img051.jpg" alt="Ornamental capital" title="" width = "72" height = "80"/> +</div> +<p>ome time ago, after my lecture one night in Boston, I bethought me to +call on my old friend Bliss Carman. I expected he would be sleeping the +sleep of the just, but I was prepared to rout him out, for although my +errand was from a fair, frail young thing, and trivial, yet I was bound +to deliver the message—for that is what one should always do.</p> + +<p>But the poet was not abed—he was pacing the room in a fine burst of +poetic fervor, composing "More Songs From Vagabondia." The songs told of +purling streams, hedgerows, bathers lolling on the river-bank, nodding +wild flowers, chirping pewees, and other such poetic properties, which +the singer conjured forth from boyhood's days, long since gone by.</p> + +<p>This suite of rooms, where the poet worked, was in a fine house on a +fashionable street, and I noticed the place bore every mark of elegant +bachelor ease and convenience that good taste could dictate. The best +"Songs From Vagabondia," I am told, are written in comfortable +apartments, where there are a bath and a Whitely Exerciser; but patient, +persistent effort and work overtime are necessary to lick the lines into +shape so they will live. Good poets run their machinery in<span class='pagenum'><a name="XIV_Page_50" id="XIV_Page_50">50</a></span> double +shifts.</p> + +<p>"Go away!" cried Bliss Carman, when he had opened the door in reply to +my sprightly knock. "Go away! I am giving to airy nothings a local +habitation and a name. This is my busy night—do you not see?" And fully +understanding the conditions, for I am a poet myself, I went away and +left the author to his labors.</p> + +<p>It is a mistake to assume that genius is the capacity for evading hard +work. "La Vie de Boheme" is a beautiful myth that was first worked out +with consummate labor by a man of imagination named Murger, and told +again with variations by Balzac and Du Maurier. Boheme is not down on +the map, because it is not a money-order post-office. It is only a Queen +Mab fairy fabric of a warm, transient desire; its walls being +constructed of the stuff that dreams are made of, and its little life is +rounded with a pipe and tabor, two empties and a brass tray. Yet the +semblance of the thing is there and this often deceives the very elect. +Around every art studio are found the young men in velveteen who smoke +infinite cigarettes, and throw off opinions about this great man and +that, and prate prosaically in blase monotone of the Beautiful. +Sometimes these young persons give lectures on "Art as I Have Found It"; +but do not be deceived by this—the art that lives is probably being +produced by small, shy, red-headed men who work on a top floor, and whom +you can only find with the help of a search-warrant. One sort talks of +art, the other kind produces<span class='pagenum'><a name="XIV_Page_51" id="XIV_Page_51">51</a></span> it. One tells of truth, the other is +living it.</p> + +<p>Edgar Allan Poe wrote the most gruesome stories that have ever been +told, just to prove that life is a tragedy and not worth living. But who +ever lived fuller and applied himself to hard work more conscientiously +in order to make his point? Poe wrote and rewrote, and changed and added +and interlined and balanced it all on his actor's tongue, and read it +aloud before the glass. Poe shortened his days and flung away a valuable +fag-end of his life, trying to show that life is not worth living, and +thus proved it is. Gray spent thirteen years writing his "Elegy," and so +made clear the point that the man who does good work does not at the +last lay him down and rest his head upon the lap of earth, a youth to +fortune and to fame unknown. Gray secured both fame and fortune. He was +so successful that he declined the Laureateship, and had the felicity to +die of gout. Gray's immortality is based upon the fact that his life +gave the lie to his logic. The man who thinks out what he wants to do, +and then works and works hard, will win, and no others do, or ever have, +or can—God will not have it so.<span class='pagenum'><a name="XIV_Page_52" id="XIV_Page_52">52</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-011" id="illus-011"></a> +<img src="images/img011.jpg" alt="Ornamental capital" title="" width = "72" height = "80"/> +</div> +<p>s a violinist Paganini far surpassed all other players who ever lived; +and when one follows the story of his life, the fact is apparent that he +succeeded because he worked.</p> + +<p>And yet behold the paradox! The idea existed in his own day, and is +abroad yet, that "the devil guided his hand," for the thought that the +devil is more powerful than God has ever been held by the majority of +men—more especially if a fiddle is concerned.</p> + +<p>Such patience, such persistency, such painstaking effort as the man put +forth for a score of years would have made him master at anything. The +public knows nothing of these long years of labor and preparation—it +sees only the result, and this result shows such consummate ease and +naturalness—all done without effort—that it exclaims, "A genius—the +devil guides his hand!" The remark was made of Titian and his wonderful +color effects, and then again of Rembrandt with his mysterious limpid +shadows—their competitors could not understand it! And so they disposed +of the subject by attributing it to a supernatural agency.</p> + +<p>Things all men can do and explain are natural; things we can not explain +are "supernatural." Progress consists in taking things out of the +supernatural pigeonhole and placing them in the natural. As soon as we +comprehend the supernatural, we are a bit surprised to find it is +perfectly natural.</p> + +<p>But the limitations of great men are seen in that when<span class='pagenum'><a name="XIV_Page_53" id="XIV_Page_53">53</a></span> they have +acquired the skill to do a difficult thing well, and the public cries, +"Genius!" why the genius humors the superstition and begins to allow the +impression to get out mysteriously that he "never had a lesson in his +life."</p> + +<p>Any man who caters to the public is to a great degree spoiled by the +public. Actors act off the stage as well as on, falling victims to their +trade: their lives are stained by pretense and affectation, just as the +dyer's hand is subdued to the medium in which it works. The man of +talent who is much before the public poses because his audience wishes +him to; one step more and the pose becomes natural—he can not divest +himself of it. Paganini by hard work became a consummate player; and +then so the dear public should receive its money's worth, he evolved +into a consummate poseur—but he was still the Artist.<span class='pagenum'><a name="XIV_Page_54" id="XIV_Page_54">54</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-012" id="illus-012"></a> +<img src="images/img011.jpg" alt="Ornamental capital" title="" width = "72" height = "80"/> +</div> +<p> large number of writers have described the appearance and playing of +Niccolo Paganini, but none ever did the assignment with the creepy +vividness of Heinrich Heine. The rest of this chapter is Heine's. I make +the explanation because the passage is so well known that it would be +both indiscreet and inexpedient for me to bring my literary jimmy to +bear and claim it as my own—much as I would like to.</p> + +<p>Says Heinrich Heine:</p> + +<div class="blockquot"><p>I believe that only one man has succeeded in putting Paganini's +true physiognomy upon paper—a deaf painter, Lyser by name, who, in +a frenzy full of genius, has with a few strokes of chalk so well +hit the great violinist's head that one is at the same time amused +and terrified at the truth of the drawing. "The devil guided my +hand," the deaf painter said to me, chuckling mysteriously, and +nodding his head with a good-natured irony in the way he generally +accompanied his genial witticisms. This painter was, however, a +wonderful old fellow; in spite of his deafness he was +enthusiastically fond of music, and he knew how, when near enough +to the orchestra, to read the music in the musicians' faces, and to +judge the more or less skilful execution by the movements of their +fingers; indeed, he wrote critiques on the opera for an excellent +journal at Hamburg. And yet is that peculiarly wonderful? In the +visible symbols of the performance the deaf painter could see the +sounds. There are men to whom the sounds themselves are invisible +symbols in which they hear<span class='pagenum'><a name="XIV_Page_55" id="XIV_Page_55">55</a></span> colors and forms.</p> + +<p>I am sorry that I no longer possess Lyser's little drawing; it +would perhaps have given you an idea of Paganini's outward +appearance. Only with black and glaring strokes could those +mysterious features be seized, features which seemed to belong more +to the sulphurous kingdom of shades than to the sunny world of +life. "Indeed, the devil guided my hand," the deaf painter assured +me, as we stood before the pavilion at Hamburg on the day when +Paganini gave his first concert there. "Yes, my friend, it is true +that he has sold himself to the devil, body and soul, in order to +become the best violinist, to fiddle millions of money, and +principally to escape the damnable galley where he had already +languished many years. For, you see, my friend, when he was +chapel-master at Lucca he fell in love with a princess of the +theater, was jealous of some little abbate, was perhaps deceived by +the faithless amata, stabbed her in approved Italian fashion, came +in the galley to Genoa, and as I said, sold himself to the devil to +escape from it, became the best violin-player, and imposed upon us +this evening a contribution of two thalers each. But, you see, all +good spirits praise God! There in the avenue he comes himself, with +his suspicious impresario."</p> + +<p>It was Paganini himself whom I then saw for the first time. He wore +a dark gray overcoat, which reached to his heels, and made his +figure seem very tall. His long black hair fell in neglected curls +on his shoulders, and formed a dark frame round the pale, +cadaverous face, on which sorrow, genius and hell had engraved +their lines. Near him danced along a little pleasing figure, +elegantly prosaic—with rosy, wrinkled face, bright gray<span class='pagenum'><a name="XIV_Page_56" id="XIV_Page_56">56</a></span> little +coat with steel buttons, distributing greetings on all sides in an +insupportably friendly way, leering up, nevertheless, with +apprehensive air at the gloomy figure who walked earnest and +thoughtful at his side. It reminded one of Retzsch's presentation +of "Faust" and Wagner walking before the gates of Leipzig. The deaf +painter made comments to me in his mad way, and bade me observe +especially the broad, measured walk of Paganini. "Does it not +seem," said he, "as if he had the iron cross-pole still between his +legs? He has accustomed himself to that walk forever. See, too, in +what a contemptuous, ironical way he sometimes looks at his guide +when the latter wearies him with his prosaic questions. But he can +not separate himself from him; a bloody contract binds him to that +companion, who is no other than Satan. The ignorant multitude, +indeed, believe that this guide is the writer of comedies and +anecdotes, Harris from Hanover, whom Paganini has taken with him to +manage the financial business of his concerts. But they do not know +that the devil has only borrowed Herr George Harris' form, and that +meanwhile the poor soul of this poor man is shut up with other +rubbish in a trunk at Hanover, until the devil returns its +flesh-envelope, while he perhaps will guide his master through the +world in a worthier form—namely as a black poodle."</p> + +<p>But if Paganini seemed mysterious and strange enough when I saw him +walking in bright midday under the green trees of the Hamburg +Jungfernstieg, how his awful bizarre appearance startled me at the +concert in the evening! The Hamburg Opera House was the scene of +this concert, and the art-loving public had flocked<span class='pagenum'><a name="XIV_Page_57" id="XIV_Page_57">57</a></span> there so +early, and in such numbers, that I only just succeeded in obtaining +a little place in the orchestra. Although it was post-day, I saw in +the first row of boxes the whole educated commercial world, a whole +Olympus of bankers and other millionaires, the gods of coffee and +sugar by the side of their fat goddesses, Junos of Wandrahm and +Aphrodites of Dreckwall. A religious silence reigned through the +assembly. Every eye was directed towards the stage. Every ear was +making ready to listen. My neighbor, an old furrier, took the dirty +cotton out of his ears in order to drink in better the costly +sounds for which he had paid his two thalers.</p> + +<p>At last a dark figure, which seemed to have arisen from the +underworld, appeared upon the stage. It was Paganini in his black +costume—the black dress-coat and the black waistcoat of a horrible +cut, such as is prescribed by infernal etiquette at the court of +Proserpine. The black trousers hung anxiously around the thin legs. +The long arms appeared to grow still longer, as, holding the violin +in one hand and the bow in the other, he almost touched the floor +with them, while displaying to the public his unprecedented +obeisances. In the angular curves of his body there was a horrible +woodenness, and also something absurdly animal-like, that during +these bows one could not help feeling a strange desire to laugh. +But his face, that appeared still more cadaverously pale in the +glare of the orchestra lights, had about it something so imploring, +so simply humble, that a sorrowful compassion repressed one's +desire to smile. Had he learnt these complimentary bows from an +automaton, or a dog? Is that the entreating gaze of one sick unto +death, or is there lurking behind it<span class='pagenum'><a name="XIV_Page_58" id="XIV_Page_58">58</a></span> the mockery of a crafty +miser? Is that a man brought into the arena at the moment of death, +like a dying gladiator, to delight the public with his convulsions? +Or is it one risen from the dead, a vampire with a violin, who, if +not the blood out of our hearts, at any rate sucks the gold out of +our pockets?</p> + +<p>Such questions crossed our minds while Paganini was performing his +strange bows, but all those thoughts were at once still when the +wonderful master placed his violin under his chin and began to +play.</p> + +<p>As for me, you already know my musical second-sight, my gift of +seeing at each tone a figure equivalent to the sound, and so +Paganini with each stroke of his bow brought visible forms and +situations before my eyes; he told me in melodious hieroglyphics +all kinds of brilliant tales; he, as it were, made a magic lantern +play its colored antics before me, he himself being chief actor. At +the first stroke of his bow the stage scenery around him had +changed; he suddenly stood with his music-desk in a cheerful room, +decorated in a gay, irregular way after the Pompadour style; +everywhere little mirrors, gilded Cupids, Chinese porcelain, a +delightful chaos of ribbons, garlands of flowers, white gloves, +torn lace, false pearls, powder-puffs, diamonds of gold-leaf and +spangles—such tinsel as one finds in the room of a prima donna. +Paganini's outward appearance had also changed, and certainly most +advantageously; he wore short breeches of lily-colored satin, a +white waistcoat embroidered with silver, and a coat of bright blue +velvet with gold buttons; the hair in little carefully curled locks +bordered his face, which was young and rosy, and gleamed with sweet +tenderness as he ogled the<span class='pagenum'><a name="XIV_Page_59" id="XIV_Page_59">59</a></span> pretty young lady who stood near him at +the music-desk, while he played the violin.</p> + +<p>Yes, I saw at his side a pretty young creature, dressed in antique +costume, the white satin swelled out above the waist, making the +figure still more charmingly slender; the high raised hair was +powdered and curled, and the pretty round face shone out all the +more openly with its glancing eyes, its little rouged cheeks, its +tiny beauty-patches, and the sweet, impertinent little nose. In her +hand was a roll of white paper, and by the movements of her lips as +well as by the coquettish waving to and fro of her little upper lip +she seemed to be singing; but none of her trills was audible to me, +and only from the violin with which young Paganini led the lovely +child could I discover what she sang, and what he himself during +her song felt in his soul.</p> + +<p>Oh, what melodies were those! Like the nightingale's notes, when +the fragrance of the rose intoxicates her yearning young heart with +desire, they floated in the twilight. Oh, what melting, languid +delight was that! The sounds kissed each other, then fled away +pouting, and then, laughing, clasped each other and became one, and +died away in intoxicating harmony. Yes, the sounds carried on their +merry game like butterflies, when one, in playful provocation, will +escape from another, hide behind a flower, be overtaken at last, +and then, wantonly joying with the other, fly away into the golden +sunlight. But a spider, a spider can prepare a sudden tragical fate +for such enamored butterflies!</p> + +<p>Did the young heart anticipate this? A melancholy sighing tone, a +sad foreboding of some slowly approaching misfortune, glided softly +through the enrapturing<span class='pagenum'><a name="XIV_Page_60" id="XIV_Page_60">60</a></span> melodies that were streaming from +Paganini's violin. His eyes became moist. Adoringly he knelt down +before his amata. But, alas! as he bowed down to kiss her feet, he +saw under the sofa a little abbate! I do not know what he had +against the poor man, but the Genoese became pale as death. He +seized the little fellow with furious hands, drew a stiletto from +its sheath, and buried it in the young rogue's breast.</p> + +<p>At this moment, however, a shout of "Bravo! Bravo!" broke out from +all sides. Hamburg's enthusiastic sons and daughters were paying +the tribute of their uproarious applause to the great artist, who +had just ended the first of his concert, and was now bowing with +even more angles and contortions than before. And on his face the +abject humility seems to me to have become more intense. From his +eyes stared a sorrowful anxiety like that of a poor malefactor. +"Divine!" cried my neighbor, the furrier, as he scratched his ears; +"that piece alone was worth two thalers."</p> + +<p>When Paganini began to play again a gloom came before my eyes. The +sounds were not transformed into bright forms and colors; the +master's form was clothed in gloomy shades, out of the darkness of +which his music moaned in the most piercing tones of lamentation.</p> + +<p>Only at times, when a little lamp that hung above cast its +sorrowful light over him, could I catch a glimpse of his pale +countenance, on which the youth was not yet extinguished. His +costume was singular, in two colors, yellow and red. Heavy chains +weighed upon his feet. Behind him moved a face whose physiognomy +indicated a lusty goat-nature. And I saw at times long, hairy hands +seize assistingly the strings of the violin on which<span class='pagenum'><a name="XIV_Page_61" id="XIV_Page_61">61</a></span> Paganini was +playing. They often guided the hand which held the bow, and then a +bleat-laugh of applause accompanied the melody, which gushed from +the violin ever more full of sorrow and anguish. They were melodies +which were like the song of the fallen angels who had loved the +daughters of earth, and being exiled from the kingdom of the +blessed, sank into the underworld with faces red with shame. They +were melodies in whose bottomless depths glimmered neither +consolation nor hope. When the saints in heaven hear such melodies, +the praise of God dies upon their paled lips, and they cover their +heads weeping. At times when the obligate goat's laugh bleated in +among the melodious pangs, I caught a glimpse in the background of +a crowd of small women-figures who nodded their odious heads with +wicked wantonness. Then a rush of agonizing sounds came from the +violin, and a fearful groan and a sob, such as was never heard upon +earth before, nor will be perhaps heard upon earth again, unless in +the valley of Jehoshaphat, when the colossal trumpets of doom shall +ring out, and the naked corpses shall crawl forth from the grave to +abide their fate. But the agonized violinist suddenly made one +stroke of the bow, such a mad, despairing stroke, that his chains +fell rattling from him, and his mysterious assistant and the other +foul, mocking forms vanished.</p> + +<p>At this moment my neighbor, the furrier, said, "A pity, a pity! a +string has snapped—that comes from constant pizzicato."</p> + +<p>Had a string of the violin really snapped? I do not know. I only +observed the alternation in the sounds, and Paganini and his +surroundings seemed to me again<span class='pagenum'><a name="XIV_Page_62" id="XIV_Page_62">62</a></span> suddenly changed. I could scarcely +recognize him in the monk's brown dress, which concealed rather +than clothed him. With savage countenance half-hid by the cowl, +waist girt with a cord, and bare feet, Paganini stood, a solitary +defiant figure, on a rocky prominence by the sea, and played his +violin. But the sea became red and redder, and the sky grew paler, +till at last the surging water looked like bright, scarlet blood, +and the sky above became of a ghastly corpse-like pallor, and the +stars came out large and threatening; and those stars were +black—black as glooming coal. But the tones of the violin grew +ever more stormy and defiant, and the eyes of the terrible player +sparkled with such a scornful lust of destruction, and his thin +lips moved with such a horrible haste, that it seemed as if he +murmured some old accursed charms to conjure the storm and loose +the evil spirits that lie imprisoned in the abysses of the sea. +Often, when he stretched his long, thin arm from the broad monk's +sleeve, and swept the air with his bow, he seemed like some +sorcerer who commands the elements with his magic wand; and then +there was a wild wailing from the depth of the sea, and the +horrible waves of blood sprang up so fiercely that they almost +besprinkled the pale sky and the black stars with their red foam. +There was a wailing and a shrieking and a crashing, as if the world +was falling into fragments, and ever more stubbornly the monk +played his violin. He seemed as if by the power of violent will he +wished to break the seven seals wherewith Solomon sealed the iron +vessels in which he had shut up the vanquished demons. The wise +king sank those vessels in the sea and I seemed to hear the voices<span class='pagenum'><a name="XIV_Page_63" id="XIV_Page_63">63</a></span> +of the imprisoned spirits while Paganini's violin growled its most +wrathful bass.</p> + +<p>But at last I thought I heard the jubilee of deliverance, and out +of the red billows of blood emerged the heads of the fettered +demons: monsters of legendary horror, crocodiles with bats' wings, +snakes with stags' horns, monkeys with shells on their heads, seals +with long patriarchal beards, women's faces with one eye, green +camels' heads, all staring with cold, crafty eyes, and long, +fin-like claws grasping at the fiddling monk. From the latter, +however, in the furious zeal of his conjuration, the cowl fell back +and the curly hair, fluttering in the wind, fell round his head in +ringlets, like black snakes.</p> + +<p>So maddening was this vision that to keep my senses I closed my +ears and shut my eyes. When I again looked up the specter had +vanished, and I saw the poor Genoese in his ordinary form, making +his ordinary bows, while the public applauded in the most rapturous +manner.</p> + +<p>"That is the famous performance upon G," remarked my neighbor. "I +myself play the violin, and I know what it is to master the +instrument." Fortunately, the pause was not considerable, or else +the musical furrier would certainly have engaged me in a long +conversation upon art. Paganini again quietly set his violin to his +chin, and with the first stroke of his bow the wonderful +transformation of melodies again began.</p> + +<p>They no longer fashioned themselves so brightly and corporeally. +The melody gently developed itself, majestically billowing and +swelling like an organ chorale in a cathedral, and everything +around, stretching larger and higher, had extended into a colossal +space which, not<span class='pagenum'><a name="XIV_Page_64" id="XIV_Page_64">64</a></span> the bodily eye, but only the eye of the spirit +could seize. In the midst of this space hovered a shining sphere, +upon which, gigantic and sublimely haughty, stood a man who played +the violin. Was that sphere the sun? I do not know. But in the +man's features I recognized Paganini, only ideally lovely, divinely +glorious, with a reconciling smile. His body was in the bloom of +powerful manhood, a bright blue garment enclosed his noble limbs, +his shoulders were covered by gleaming locks of black hair; and as +he stood there, sure and secure, a sublime divinity, and played the +violin, it seemed as if the whole creation obeyed his melodies. He +was the man-planet about which the universe moved with measured +solemnity and ringing out beatific rhythms. Those great lights, +which so quietly gleaming swept around, were they stars of heaven, +and that melodious harmony which arose from their movements, was it +the song of the spheres, of which poets and seers have reported so +many ravishing things? At times, when I endeavored to gaze out into +the misty distance, I thought I saw pure white garments floating +ground, in which colossal pilgrims passed muffled along with white +staves in their hands, and singular to relate, the golden knob of +each staff was even one of those great lights which I had taken for +stars. These pilgrims moved in a large orbit around the great +performer, the golden knobs of their staves shone even brighter at +the tones of the violin, and the chorale which resounded from their +lips, and which I had taken for the song of the spheres, was only +the dying echo of those violin tones. A holy, ineffable ardor dwelt +in those sounds, which often trembled scarce audibly, in mysterious +whisper<span class='pagenum'><a name="XIV_Page_65" id="XIV_Page_65">65</a></span> on the water, then swelled out again with a shuddering +sweetness, like a bugle's notes heard by moonlight, and then +finally poured forth in unrestrained jubilee, as if a thousand +bards had struck their harps and raised their voices in a song of +victory.</p></div><p><span class='pagenum'><a name="XIV_Page_66" id="XIV_Page_66">66</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-013" id="illus-013"></a> +<img src="images/img017.jpg" alt="Ornamental capital" title="" width = "72" height = "80"/> +</div> +<p>n Seventeen Hundred Eighty-four, Niccolo Paganini was born at Genoa. +His father was a street-porter who eked out the scanty exchequer by +playing a violin at occasional dances or concerts. That his playing was +indifferent is evident from the fact that he was very poor—his services +were not in demand.</p> + +<p>The poverty of the family and the failure of the father fired the +ambition of the boy to do something worthy. When he was ten years old he +could play as well as his father, and a year or so thereafter could play +better. The lad was tall, slender, delicate and dreamy-eyed. But he had +will plus, and his desire was to sound the possibilities of the violin. +And this reminds me that Hugh Pentecost says there is no such thing as +will—it is all desire: when we desire a thing strongly enough, we have +the will to secure it—but no matter!</p> + +<p>Young Niccolo Paganini practised on his father's violin for six hours a +day; and now when the customers who used to hire his father to play +came, they would say, "We just as lief have Niccolo."</p> + +<p>Soon after this they said, "We prefer to have Niccolo." And a little +later they said, "We must have Niccolo." Some one has written a book to +show that playing second fiddle is just as worthy an office as playing +first. This doubtless is true, but there are so many more men who can +play second, that it behooves every player to relieve the stress by +playing first if he can.<span class='pagenum'><a name="XIV_Page_67" id="XIV_Page_67">67</a></span> Niccolo played first and then was called upon +to play solos. He was making twice as much money as his father ever had, +but the father took all the boy's earnings, as was his legal right. The +father's pride in the success of the son, the young man always said, was +because he was proving a good financial investment. It does not always +pay to raise children—this time it did. It was finally decided to take +the boy to the celebrated musician, Rolla, for advice as to what was +best to do about his education. Rolla was sick abed at the time the boy +called and could not see him; but while waiting in the entry the lad +took up a violin and began to play. The invalid raised himself on one +elbow and pantingly inquired who the great master was that had thus +favored him with a visit.</p> + +<p>"It's the lad who wants you to give him lessons," answered the +attendant.</p> + +<p>"Impossible! no lad could play like that—I can teach that player +nothing!"</p> + +<p>Next the musician Paer was visited, and he passed the boy along to +Giretta, who gave him three lessons a week in harmony and counterpoint. +The boy had abrupt mannerisms and tricks of his own in bringing out +expressions, and these were such a puzzle to the teacher that he soon +refused to go on.</p> + +<p>Niccolo possessed a sort of haughty self-confidence that aggravated the +master; he believed in himself and was fond of showing that he could +play in a way no one else<span class='pagenum'><a name="XIV_Page_68" id="XIV_Page_68">68</a></span> could. Adolescence had turned his desire to +play into a fury of passion for his art: he practised on single passages +for ten or twelve hours a day, and would often sink in a swoon from +sheer exhaustion. This deep, torpor-like sleep saved him from complete +collapse, just as it saved Mendelssohn, and he would arise to go on with +his work.</p> + +<p>Paganini's wisdom was shown at this early age in that he limited his +work to a few compositions, and these he made the most of, just as they +say Bossuet secured his reputation as the greatest preacher of his time +by a single sermon that he had polished to the point of perfection.</p> + +<p>When fifteen years old Paganini contrived to escape from his father and +went to a musical festival at Lucca. He managed to get a hearing, was +engaged at once as a soloist, and soon after gave a concert on his own +account. In a month he had accumulated a thousand pounds in cash.</p> + +<p>Very naturally, such a success turned the head of this lad who never +before had had the handling of money. He began to gamble, and became the +dupe of rogues—male and female—who plunged him into an abyss of wrong. +He even gambled away the "Stradivarius" that had been presented to him, +and when his money, watch and jewels were gone, his new-found friends of +course decamped, and this gave the young man time to ponder on the +vanities of life.<span class='pagenum'><a name="XIV_Page_69" id="XIV_Page_69">69</a></span></p> + +<p>When he played again it was on a borrowed "Guarnerius," and after the +rich owner, himself a violinist, had heard him play, he said, "No +fingers but yours shall ever play that violin again!"</p> + +<p>Paganini accepted the gift, and this was the violin he played for full +forty years, and which, on his death, was willed to his native city of +Genoa. There it can be seen in its sealed-up glass case.</p> + +<p>Up to his thirtieth year Paganini continued his severe work of subduing +the violin. By that time he had sounded its possibilities, and +thereafter no one heard him play except in concert. It is told that one +man, anxious to know the secrets of Paganini's power, followed him from +city to city, watching him at his concerts, dogging him through the +streets, spying upon him at hotels. At one inn this man of curiosity had +the felicity to secure a room next to the one occupied by Paganini; and +one morning as he watched through the keyhole, he was rewarded by seeing +the master open the case where reposed the precious "Guarnerius." +Paganini lifted the instrument, held it under his chin, took up the bow +and made a few passes in the air—not a sound was heard. Then he kissed +the back of the violin, muttered a prayer, and locked the instrument in +its case.</p> + +<p>At concert rehearsals he always played a mute instrument; and Harris, +his manager, records that for the many years he was with Paganini he +never heard him<span class='pagenum'><a name="XIV_Page_70" id="XIV_Page_70">70</a></span> play a single note except before an audience.</p> + +<p>I have a full-length daguerreotype of Paganini taken when he was forty +years of age. No one ever asked this man, "Kind sir, are you anybody in +particular?"</p> + +<p>Paganini was tall and wofully slim. His hands and feet were large and +bony, his arms long, his form bowed and lacking in all that we call +symmetry. But the long face with its look of abject melancholy, the +curved nose, the thin lips and the sharp, protruding chin, made a +combination that Fate has never duplicated. You could easily believe +that this man knew all the secrets of the Nether World, and had tasted +the joys of Paradise as well. Women pitied and loved him, men feared +him, and none understood him. He lived in the midst of throngs and +multitudes—the loneliest man known in the history of art.</p> + +<p>Paganini, when he had reached his height, played only his own music; he +played divinely and incomprehensibly; next to his passion for music was +his greed for gold. These three facts sum up all we really know about +the master—the rest fades off into mist—mystery, fable and legend. We +do know, however, that he composed several pieces of music so difficult +that he could not play them himself, and of course no one else can. +Imagination can always outrun performance. Paganini had no close +friends; no confidants: he never mingled in society, and he never +married.</p> + +<p>At times he would disappear from the public gaze for<span class='pagenum'><a name="XIV_Page_71" id="XIV_Page_71">71</a></span> several months, +and not even his business associates knew where he was. On one such +occasion a traveler discovered him in a monastic retreat in the Swiss +Mountains, wearing a horsehair robe and a rope girdle; others saw him +disguised as a mendicant; and still another tells of finding him working +as a day-laborer with obscure and ignorant peasants. Then there are +tales told of how he was taken captive by a titled lady of great wealth +and beauty, who carried him away to her bower, where he eschewed the +violin and tinkled only the guitar the livelong day.</p> + +<p>Everywhere the report was current that Paganini had killed a man, and +been sentenced to prison for life. The story ran that in prison he found +an old violin, three strings of which were broken, and so he played on +one string, producing such ravishing music that the keepers feared he +was "possessed." They decided they must get rid of him, and so contrived +to have him thrown overboard from a galley; but he swam ashore, and +although he was everywhere known, no man dared place a hand on him.</p> + +<p>A late writer in a London magazine, however, has given evidence of being +a psychologist and man of sense; he says, and produces proof, that after +the concert season was over Paganini withdrew to a monastery in the +mountains of Switzerland, and there the monks who loved him well, +guarded his retreat. There he found the rest for which his soul craved, +and there he practised on<span class='pagenum'><a name="XIV_Page_72" id="XIV_Page_72">72</a></span> his violin hour after hour, day after day. +All this is better understood when we remember that after each retreat, +Paganini appeared with brand-new effects which electrified his +hearers—"effects taught him by the devil."</p> + +<p>Constant appearing before vast multitudes and ceaseless travel create a +depletion that demands rest. Paganini held the balance true by fleeing +to the mountains; there he worked and prayed. That Paganini had a soft +heart, in spite of the silent, cold and melancholy mood that usually +possessed him, is shown in his treatment of his father and mother, who +lived to know the greatness of their son. He wrote his mother kind and +affectionate letters, some of which we have, and provided lavishly for +every want of both his parents. At times he gave concerts for charity, +and on these occasions vast sums were realized.</p> + +<p>Paganini died in Eighteen Hundred Forty, aged fifty-six years. His will +provided for legacies to various men and women who had befriended him, +and he also gave to others with whom he had quarreled, thus proving he +was not all clay.</p> + +<p>The bulk of his fortune, equal to half a million dollars, was bequeathed +to his son, Baron Achille Paganini. And as if mystery should still +enshroud his memory and this, true to his nature, should be carried out +in his last will, there are those who maintain that Achille Paganini was +not his son at all—only a waif he had adopted. Yet<span class='pagenum'><a name="XIV_Page_73" id="XIV_Page_73">73</a></span> Achille always +stoutly maintained the distinction—but what boots it, since he could +not play his father's violin?</p> + +<p>Yet this we know—Paganini, the man of mystery and moods, once lived and +produced music that, Orpheus-like, transfixed the world. We are better +for his having been and this world is a nobler place in that he lived +and played, for listen closely and you can hear, even now, the sweet, +sad echoes of those vibrant strings, touched by the hand of him who +loved them well.</p> + +<p>And when we remember the prodigious amount of practise that Paganini +schooled himself to in youth; and join this to the recently discovered +record of his long monastic retreats, when for months he worked and +played and prayed, we can guess the secret of his power. If you wish me +to present you a recipe for doing a deathless performance, I would give +you this: Work, travel, solitude, prayer, and yet again—work.<span class='pagenum'><a name="XIV_Page_74" id="XIV_Page_74">74</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="FREDERIC_CHOPIN" id="FREDERIC_CHOPIN"></a> +<span class='pagenum'><a name="XIV_Page_75" id="XIV_Page_75">75</a></span> +<h2>FREDERIC CHOPIN</h2> +</div> +<p><span class='pagenum'><a name="XIV_Page_76" id="XIV_Page_76">76</a></span></p> + +<div class="figcenter" style="width: 379px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-014" id="illus-014"></a> +<img src="images/img079.jpg" alt="FREDERIC CHOPIN" title="" width = "379" height = "500"/> +</div> + +<div class="blockquot"><p>Nature does not design like art, however realistic she may be. She +has caprices, inconsequences, probably not real, but very +mysterious. Art only rectifies these inconsequences, because it is +too limited to reproduce them. Chopin was a resume of these +inconsequences which God alone can allow Himself to create, and +which have their particular logic. He was modest on principle, +gentle by habit, but he was imperious by instinct and full of a +legitimate pride which was unconscious of itself. Hence arose +sufferings which he did not reason and which did not fix themselves +on a determined object.</p> + +<p class='author'>—<i>George Sand in "The Story of My Life"</i></p></div> + +<p><span class='pagenum'><a name="XIV_Page_77" id="XIV_Page_77">77</a></span></p> + +<h3>FREDERIC CHOPIN</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-015" id="illus-015"></a> +<img src="images/img081.jpg" alt="Ornamental capital" title="" width = "72" height = "80"/> +</div> +<p>aybe I am all wrong about it, yet I can not help believing that the +spirit of man will live again somewhere in a better world than ours. +Fenelon says, "Justice demands another life in order to make good the +inequalities of this." Astronomers prophesy the existence of stars long +before they can see them. They know where they ought to be, and training +their telescopes in that direction they wait, knowing they will find.</p> + +<p>Materially, no one can imagine anything more beautiful than this earth, +for the simple reason that we can not imagine anything we have not seen; +we may make new combinations, but the whole is all made up of parts of +things with which we are familiar. This great green earth out of which +we have sprung, of which we are a part, that supports our bodies, and to +which our bodies must return to repay the loan, is very, very beautiful.</p> + +<p>But the spirit of man is not fully at home here; as we grow in soul and +intellect, we hear, and hear again, a voice which says, "Arise and get +thee hence, for this is not thy rest." And the greater and nobler and +more sublime the spirit, the more constant the discontent. Discontent +may come from various causes, so it will not do to assume that the +discontented are always the pure<span class='pagenum'><a name="XIV_Page_78" id="XIV_Page_78">78</a></span> in heart, but it is a fact that the +wise and excellent have all known the meaning of world-weariness. The +more you study and appreciate this life, the more sure you are that this +is not all. You pillow your head upon Mother Earth, listen to her +heart-throb, and even as your spirit is filled with the love of her, +your gladness is half-pain and there comes to you a joy that hurts.</p> + +<p>To look upon the most exalted forms of beauty, such as a sunset at sea, +the coming of a storm on the prairie, the shadowy silence of the desert, +or the sublime majesty of the mountains, begets a sense of sadness, an +increasing loneliness.</p> + +<p>It is not enough to say that man encroaches on man so that we are really +deprived of our freedom, that civilization is caused by a bacillus, and +that from a natural condition we have gotten into a hurly-burly where +rivalry is rife—all this may be true, but beyond and outside of all +this there is no physical environment in way of plenty which earth can +supply, that will give the tired soul peace. They are the happiest who +have the least; and the fable of the stricken king and the shirtless +beggar contains the germ of truth. The wise hold all earthly ties very +lightly—they are stripping for eternity.</p> + +<p>World-weariness is only a desire for a better spiritual condition. There +is more to be written on this subject of world-pain—to exhaust the +theme would require a book. And certain it is that I have no wish to<span class='pagenum'><a name="XIV_Page_79" id="XIV_Page_79">79</a></span> +say the final word on any topic. The gentle reader has certain rights, +and among these is the privilege of summing up the case. But the fact +holds that world-pain is a form of desire. All desires are just, proper +and right; and their gratification is the means by which Nature supplies +us that which we need. Desire not only causes us to seek that which we +need, but is a form of attraction by which the good is brought to us, +just as the ameba creates a swirl in the waters that brings its food +within reach. Every desire in Nature has a fixed, definite purpose in +the Divine Economy, and every desire has its proper gratification. If we +desire the friendship of a certain person, it is because that person has +certain soul-qualities that we do not possess, and which complement our +own. Through desire do we come into possession of our own; by submitting +to its beckonings we add cubits to our stature; and we also give out to +others our own attributes, without becoming poorer, for soul is not +limited.</p> + +<p>All Nature is a symbol of spirit, so I believe that somewhere there must +be a proper gratification for this mysterious nostalgia of the soul. The +Eternal Unities require a condition where men and women will live to +love, and not to sorrow; where the tyranny of things hated shall not +ever prevail, nor that for which the heart yearns turn to ashes at our +touch.<span class='pagenum'><a name="XIV_Page_80" id="XIV_Page_80">80</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-016" id="illus-016"></a> +<img src="images/img017.jpg" alt="Ornamental capital" title="" width = "72" height = "80"/> +</div> +<p> believe Stevie is not quite at home here—he'll not remain so very +long," said a woman to me in Eighteen Hundred Ninety-five. Five years +have gone by, and recently the cable flashed the news that Stephen Crane +was dead.</p> + +<p>Dead at twenty-nine, with ten books to his credit, two of them good, +which is two good books more than most of us scribblers will ever write. +Yes, Stephen Crane wrote two things that are immortal. "The Red Badge of +Courage" is the strongest, most vivid work of imagination ever fished +from an ink-pot by an American.</p> + +<p>"Men who write from the imagination are helpless when in presence of the +fact," said James Russell Lowell. In answer to which I'll point you "The +Open Boat," the sternest, creepiest bit of realism ever penned, and +Stevie was in the boat.</p> + +<p>American critics honored Stephen Crane with more ridicule, abuse and +unkind comment than was bestowed on any other writer of his time. +Possibly the vagueness, and the loose, unsleeked quality of his work +invited the gibes, jeers, and the loud laughter that tokens the vacant +mind; yet as half-apology for the critics we might say that scathing +criticism never killed good work; and this is true, but it sometimes has +killed the man.</p> + +<p>Stephen Crane never answered back, nor made explanation, but that he was +stung by the continued efforts of the press to laugh him down, I am very +sure.</p> + +<p>The lack of appreciation at home caused him to shake<span class='pagenum'><a name="XIV_Page_81" id="XIV_Page_81">81</a></span> the dust of +America from his feet and take up his abode across the sea, where his +genius was being recognized, and where strong men stretched out sinewy +hands of welcome, and words of appreciation were heard, instead of +silly, insulting parody. In passing, it is well to note that the five +strongest writers of America had their passports to greatness viséed in +England before they were granted recognition at home. I refer to Walt +Whitman, Thoreau, Emerson, Poe and Stephen Crane.</p> + +<p>Stevie did not know he cared for approbation, but his constant refusal +to read what the newspapers said about him was proof that he did. He +boycotted the tribe of Romeike, because he knew that nine clippings out +of every ten would be unkind, and his sensitive soul shrank from the +pin-pricks.</p> + +<p>Contemporary estimates are usually wrong, and Crane is only another of +the long list of men of genius to whom Fame brings a wreath and finds +her poet dead.</p> + +<p>Stephen Crane was a reincarnation of Frederic Chopin. Both were small in +stature, slight, fair-haired, and of that sensitive, acute, receptive +temperament—capable of highest joy and keyed for exquisite pain. +Haunted with the prophetic vision of quick-coming death, and with the +hectic desire to get their work done, they often toiled the night away +and were surprised by the rays of the rising sun. Both were shrinking +yet proud, shy but bold, with a tenderness and a feminine longing for +love that earth could not requite. At times mad gaiety, that<span class='pagenum'><a name="XIV_Page_82" id="XIV_Page_82">82</a></span> ill-masked +a breaking heart, took the reins, and the spirits of children just out +of school seemed to hold the road. At other times—and this was the +prevailing mood—the manner was one of placid, patient, calm and smooth, +unruffled hope; but back and behind all was a dynamo of energy, a +brooding melancholy of unrest, and the crouching world-sorrow that would +not down.</p> + +<p>Chopin reached sublimity through sweet sounds; Crane attained the same +heights through the sense of sight and words that symboled color, shapes +and scenes. In each the distinguishing feature is the intense +imagination and active sympathy. Knowledge consists in a sense of +values—of distinguishing this from that, for truth lies in the mass. +The delicate nuances of Chopin's music have never been equaled by +another composer; every note is cryptic, every sound a symbol. And yet +it is dance-music, too, but still it tells its story of baffled hope and +stifled desire—the tragedy of Poland in sweet sounds.</p> + +<p>Stephen Crane was an artist in his ability to convey the feeling by just +the right word, or a word misplaced, like a lady's dress in disarray, or +a hat askew. This daring quality marks everything he wrote. The +recognition that language is fluid, and at best only an expedient, +flavors all his work. He makes no fetish of a grammar—if grammar gets +in the way, so much the worse for the grammar. All is packed with color, +and charged with feeling, yet the work is usually quiet in quality and<span class='pagenum'><a name="XIV_Page_83" id="XIV_Page_83">83</a></span> +modest in manner.</p> + +<p>Art is born of heart, not head; and so it seems to me that the work of +these men whose names I have somewhat arbitrarily linked, will live. +Each sowed in sorrow and reaped in grief. They were tender, kind, +gentle, with a capacity for love that passes the love of woman. They +were each indifferent to the proprieties, very much as children are. +They lived in cloister-like retirement, hidden from the public gaze, or +wandered unnoticed and unknown. They founded no schools, delivered no +public addresses, and in their own day made small impress on the times. +Both were sublimely indifferent to what had been said and done—the term +precedent not being found within the covers of their bright lexicon of +words. In the nature of each was a goodly trace of peroxide of iron that +often manifested itself in the man's work.</p> + +<p>The faults in each spring from an intense personality, uncolored by the +surroundings, and such faults in such men are virtues.</p> + +<p>They belong to that elect few who have built for the centuries. The +influence of Chopin, beyond that of other composers, is alive today, and +moves unconsciously, but profoundly, every music-maker; the seemingly +careless style of Crane is really lapidaric, and is helping to file the +fetters from every writer who has ideas plus, and thoughts that burn.</p> + +<p>Mother Nature in giving out energy gives each man about an equal +portion. But that ability to throw the<span class='pagenum'><a name="XIV_Page_84" id="XIV_Page_84">84</a></span> weight with the blow, to +concentrate the soul in a sonnet, to focus force in a single effort, is +the possession of God's Chosen Few. Chopin put his affection, his +patriotism, his wrath, his hope, and his heroism into his music—as if +the song of all the forest birds could be secured, sealed and saved for +us!<span class='pagenum'><a name="XIV_Page_85" id="XIV_Page_85">85</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-017" id="illus-017"></a> +<img src="images/img115.jpg" alt="Ornamental capital" title="" width = "72" height = "80"/> +</div> +<p>he father of Chopin was a Frenchman who went up to Poland seeking gain +and adventure. He became a soldier under Kosciusko and arose to rank of +Captain. He found such favor with the nobility by his gracious ways that +he became a teacher of French in the family of Count Frederic Skarbek. +In the family group was a fair young dependent of nervous +temperament—slight, active, gentle and intelligent. She was descendent +from a line of aristocrats, but in a country where revolutions have been +known to begin and end before breakfast, titles stand for little.</p> + +<p>Nicholas Chopin, ex-soldier, teacher of French and Deportment, married +this fine young girl, and they lived in one of Count Skarbek's +straw-thatched cottages at the little village of Zelazowa-Wola, +twenty-nine miles from Warsaw. Here it was that Frederic Chopin was +born, in Eighteen Hundred Nine—that memorable year when Destiny sent a +flight of great souls to the planet Earth.</p> + +<p>The country was bleak and battle-scarred; it had been drained of its men +and treasure, and served as a dueling-ground and the place of skulls for +kings and such riffraff who have polluted this fair world with their +boastings of a divine power.</p> + +<p>The struggle of Poland to free herself from the grip of the imperial +succubi has generated an atmosphere of ultramarine, so we view the +little land of patriots (and<span class='pagenum'><a name="XIV_Page_86" id="XIV_Page_86">86</a></span> fanatics) through a mist of melancholy. +The history of Poland is written in blood and tears.</p> + +<p>Go ask John Sobieski, who saw his father hanged by order of Ferdinand +Maximilian, and child though he was, realized that banishment was the +fate of himself and mother; and then ten years after, himself, stood +death-guard over this same Maximilian in Mexico, and told that tyrant +the story of his life, and shook hands with him, calling it quits, ere +the bandage was tied over the eyes of the ex-dictator and the sunlight +shut out forever.</p> + +<p>Go ask John Sobieski!</p> + +<p>The woes of Poland have produced strange men. Under such rule as she has +known relentless hate springs up in otherwise gracious hearts from the +scattered dragons' teeth; and in other natures, where there is not quite +so much of the motive temperament, a deep strain of sorrow and religious +melancholy finds expression. The exquisite sensibility, delicate +insight, proud reserve and brooding world-sorrow of Frederic Chopin were +the inheritance of mother to son. This mother's mind was saturated with +the wrongs her people had endured: she herself had suffered every +contumely, for where chance had caused fact to falter, imagination had +filled the void.</p> + +<p>It is easy to say that Chopin's was an abnormal nature, and of course it +was, but when disease divides this world from another only by the +thinnest veil, the mind has<span class='pagenum'><a name="XIV_Page_87" id="XIV_Page_87">87</a></span> been known to see things with a clearness +and vividness never before attained. With Chopin the strands of life +were often taut to the breaking-point, but ere they snapped, their +vibration gave forth to us some exquisite harmonies.</p> + +<p>Curiously enough, this power to see and do is often the possession of +dying men. The life flares up in a flame before it goes out forever. The +passion of the consumptive Camille, as portrayed by Dumas, is +typical—no healthy woman ever loved with that same intense, eager and +almost vindictive desire. It was a race with Death.</p> + +<p>Perfect health brings unconsciousness of body, and disease that almost +relieves the spirit of this weight of flesh produces the same results. +Again we have the Law of Antithesis.</p> + +<p>That such a youth as Frederic Chopin should seek in music a surcease +from his world-sorrow is very natural. A stricken people turns to music; +it forms a necessary part of all religious observance, and the dirge of +mourners, the wail of the "keener," and the songs of the banshee evolve +naturally into being wherever the heart is sore oppressed. It was the +slave-songs that made slavery bearable; and in the long ago, exiles in +Babylon found a solemn joy by singing the songs of Zion. Chopin drank in +the songs of Poland with his mother's milk, and while yet a child began +to give them voice in his own way.<span class='pagenum'><a name="XIV_Page_88" id="XIV_Page_88">88</a></span></p> + +<p>In the meantime his father's fortunes had mended a bit, and the family +had moved to Warsaw, where Nicholas Chopin was Professor of Languages at +the Lyceum. The title of the office fills the mouth in a very satisfying +way, but the emoluments attached hardly afforded such a gratification.</p> + +<p>In Warsaw there was much misery, for the plunderer had worked +conscription and seizure to its furthest limit. Want and destitution +were on every hand, but still this brave people maintained their +University and clung to its traditions. The family of the Professor of +Languages consisted of himself, wife, three daughters and the son +Frederic. Their income for several years was not over fifteen dollars a +month, but still they managed to maintain an appearance of decency, and +by the help of the public library, the free museum and the open-air +concerts, they kept abreast of the times in literature, art and music.</p> + +<p>There was absolute economy required, every particle of food was saved, +and when cast-off dresses were sent from the home of the Count it was a +godsend for the mother and girls, who measured and patched and pieced, +making garments for themselves, and for Frederic as well; so while their +raiment was not gaudy nor expressed in fancy, it served.</p> + +<p>Chopin once said to George Sand, "I never can think of my mother without +her knitting-needles!" And George Sand has recorded, "Frederic never had +but<span class='pagenum'><a name="XIV_Page_89" id="XIV_Page_89">89</a></span> one passion and that was his mother." Into all of her knitting this +mother's flying needles worked much love. The entire household was one +of mutual service, and gentle, trusting affection. The weekly letters of +Chopin to his mother from Paris, and the cold sweat on his forehead at +the thought of his parents knowing of his relationship with George Sand, +are credit-marks to his character. There is a sweet recompense in mutual +deprivation where trials and difficulties only serve to cement the +affections; and who shall say how much the wondrous blending of strength +and delicacy in the music of Chopin is due to the memory of those early +days of toil and trial, of strength and forbearance, of hope and love?</p> + +<p>To be born into such a family is a great blessing. The value of the +environment is shown in that all three of the sisters became +distinguished in literature. Two of them married men of intellect, +wealth and worth, and through the collaboration of these sisters, books +were produced that did for the plain people of Poland what Harriet +Martineau's books on sociology did for the people of England. Frederic +played and practised at the Lyceum where his father taught, and the +ambition of his parents was that he should grow up and take the place of +Professor of Music in the Lyceum. Adalbert Zevyny, one of the leading +pianists in the city, became attracted to the boy and took him as a +pupil, without pay.<span class='pagenum'><a name="XIV_Page_90" id="XIV_Page_90">90</a></span></p> + +<p>The teacher soon became a little boastful of his precocious pupil, and +when there came a public concert for the benefit of the poor, we find +reference made to Chopin thus, "A child not yet eight years of age +played, and connoisseurs say he promises to replace Mozart." In reality +the boy was nearer twelve than eight, but his size and looks suggested +to the management the idea of plagiarizing, in advance, our honored +countryman, Phineas T. Barnum. Hence the announcement on the programs.</p> + +<p>But now the nobility of the neighborhood began to send carriages for the +fair-haired lad, so he could play for their invited guests. Then came +snug little honorariums that soon replaced his patched-up wardrobe for +something more fashionable.</p> + +<p>Frederic took all the applause quite as a matter of course, and on one +occasion, after he had played divinely, he asked a proud lady this +question, "How do you like my new collar?"</p> + +<p>He was to the manner born, and the gentle blood of his mother formed him +as a fit companion for aristocrats.</p> + +<p>These occasional musicales at the houses of the great made money matters +easier, and Frederic began to take lessons from Joseph Elsner, who +taught him the science of composition, and introduced him into the +deeper mysteries of music-making. Elsner, it was, more than any other +man, who forced the truth upon Chopin that he must play to satisfy +himself, and in composition be<span class='pagenum'><a name="XIV_Page_91" id="XIV_Page_91">91</a></span> his own most exacting critic. In other +words, Elsner developed and strengthened in Chopin the artistic +conscience—that impulse which causes an artist to scorn doing anything +save his best.</p> + +<p>From little excursions to neighboring towns and country houses about +Warsaw, Chopin now ventured farther away from home, chaperoned by his +friend, Prince Radziwill. He visited Berlin, Venice, Prague, Heidelberg, +and mingled on an absolute equality with the nobility. If they had +titles, he had talents. And his talents often made their decorations +sing small.</p> + +<p>His modesty was witching, and while in public concerts his playing was +not pronounced enough to capture the gallery, yet in small gatherings he +won all hearts, and the fact that he played his own compositions made +him an added object of enthusiasm to the elect. Chopin arrived in Paris +when he was twenty-two years of age. It was not his intention to remain +more than a few weeks, but Paris was to be his home for eighteen +years—and then Pere la Chaise.<span class='pagenum'><a name="XIV_Page_92" id="XIV_Page_92">92</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-018" id="illus-018"></a> +<img src="images/img011.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p> woman who beholds her thirtieth birthday in sight, and girlhood gone, +is approaching a climacteric in her career. Flaubert has named +twenty-nine as the eventful year in the life of woman, and thirty-three +for men. Every normal woman craves love and tenderness—these are her +God-given right. If they have not come to her by the time the bloom is +fading from her cheeks, there is danger of her reaching out and +clutching for them. The strongest instinct in young girls is +self-protection—they fight on the defensive. But at thirty, women have +been known to grow a trifle anxious, just as did the Sabine women who +dispatched a messenger to the Romans asking this question, "How soon +does the program begin?"</p> + +<p>And thus are conditions reversed, for it is the youth of twenty or so +who seeks conquest with fiery soul. Alexander was only nineteen when he +sighed for more worlds to conquer. He didn't have to wait long before he +found that this one had conquered him. Youth considers itself immortal, +and its powers without limit, but as a man approaches thirty he grows +economical of his resources and parsimonious of his emotions. Men of +thirty, or so, are apt to be coy.</p> + +<p>And so one might say that it is around thirty that for the first time +the man and the woman meet on an equality, without sham, shame or +pretense. Before that time the average woman abounds in affectation and +untruth; the man is absurdly aggressive and full of foolish flattery.<span class='pagenum'><a name="XIV_Page_93" id="XIV_Page_93">93</a></span></p> + +<p>As to the question, "Should women propose?" the answer is, "Yes, +certainly, and they do when they are twenty-nine."</p> + +<p>Aurora Dudevant saw her thirtieth birthday looming on the horizon of her +life. Nine years before she had been married to an ex-army-officer, who +dyed his whiskers purple. Aurora had been a dutiful wife, intent for the +first few years on filling her husband's heart and home with joy. She +had failed in this, and the proof of failure lay in that he much +preferred his dogs, guns and horses to her society. For days he would +absent himself on his hunting excursions, and at home he did not have +the tact to hide the fact that he was awfully bored.</p> + +<p>Thackeray, once for all, has given us a picture of the heavy dragoon +with a soul for dogs—one to whom all music, save the bay of a +fox-hound, makes its appeal in vain. Aurore detested dogs for dogs' +sake, yet she rode horses astride with a daring that made her husband's +bloodshot eyes bulge in alarm. He didn't much care how fast and hard she +rode at the fences and over the ditches, but he was supposed to follow +her, and this he did not care to do. He had reached an age when a man is +mindful of the lime in his bones, and his 'cross-country riding was +mostly a matter of memory and imagination, and best done around the +convivial table.</p> + +<p>Aurore was putting him to a test, that's all. She was proving to him +that she could meet him on his own preserve, give him choice of weapons, +and make him<span class='pagenum'><a name="XIV_Page_94" id="XIV_Page_94">94</a></span> cry for mercy.</p> + +<p>Her bent was literature, with music, science and art as side-lines. She +read Montaigne, Rochefoucald, Racine and Moliere, and a modern by the +name of Alfred de Musset, and quoted her authors at inconvenient times. +She flashed quotations and epigrams upon the doughty dragoon in a way he +could neither fend nor parry. At other times she was deeply religious +and tearfully penitent.</p> + +<p>In fact, she was living on a skimped allowance of love, and had never +received the attention that a good woman deserves. Her chains were +galling her. She sighed for Paris—forty miles away—Paris and a career.</p> + +<p>The epigrams were coming faster, shot in a sort of frenzy and fever. And +when she asked her liege for leave to go to Paris, he granted her +prayer, and agreed to give her ten dollars a week allowance.</p> + +<p>She grabbed at the offer, and he bade her Godspeed and good riddance.</p> + +<p>So leaving her two children behind, until such a time as she could +provide a home for them, with scanty luggage and light heart and purse, +she started away.</p> + +<p>Other women have gone up to Paris from country towns, too, and the +chances are as one to ten thousand that the maelstrom will sweep them +into hades.</p> + +<p>But Madame Dudevant was different—in two years she had won her way to +literary fame, and was commanding the jealous admiration of the best +writers of Paris. Her first work was a collaboration with Jules<span class='pagenum'><a name="XIV_Page_95" id="XIV_Page_95">95</a></span> +Sandeau in a novel. Every woman who ever wrote well began by +collaborating with a man. Sandeau had formerly come from Nohant, and how +much he had to do with Madame Dudevant's breaking loose from her +homes-ties no one knows. Anyway, the second novel was written by the +Madame alone, and as a tribute to her friend the name "George Sand" was +placed upon the title-page as author. Jules Sandeau, all-'round +hack-writer and critic, was greatly pleased by the compliment of having +his name anglicized and printed on the title-page of "Indiana," but +later he was not so proud of it. George Sand soon proved herself to be a +bigger man than Sandeau.</p> + +<p>She was not handsome, either in face or in form. She was inclined to be +stout—was rather short—and her complexion olive. But she lured with +her eyes—great sphinx-like eyes of hazel-brown—that looked men through +and through. Liszt has told us that "she had eyes like a cow," which is +not so bad as Thomas Carlyle's remark that George Eliot had a face like +a horse. George Sand was silent when other women talked, and her look +told in a half-proud, half-sad way that she knew all they knew, and all +she herself knew beside.</p> + +<p>Without going into the issue as to what George Sand was not, let us +frankly admit that pain, deprivation, misunderstanding and maternity had +taught her many things not found in books, and that she looked at Fate +out of her wide-open eyes with a gaze that did not blink.<span class='pagenum'><a name="XIV_Page_96" id="XIV_Page_96">96</a></span> She was wise +beyond the lot of women. I was just going to say she was a genius, but I +remember the remark of the De Goncourts to the effect that, "There are +no women of genius—women of genius are men." Possibly the point could +be covered by saying George Sand had a man's head and a woman's heart.</p> + +<p>Women did not like her, yet what other woman was ever so honored by +woman as was George Sand in those two matchless sonnets addressed to her +by Elizabeth Barrett Browning?</p> + +<p>The amazing energy of George Sand, her finely flowing sentences—all +charged with daring satire and insight into the heart of things—made +her work sought by readers and publishers. Her pen brought her all the +money she needed; and she had secured a divorce from "That Man," and now +had her two children with her in Paris. That she could do her literary +work and still attend to her manifold social duties must ever mark her +as a phenomenon. She was no mere adventuress. That she was systematic, +orderly and abstemious in her habits must go without saying, otherwise +her vitality would not have held out and allowed her to attend the +funerals of nearly all her retainers.</p> + +<p>In throwing overboard the Grub Street Sandeau for Franz Liszt, Madame +Dudevant certainly showed discrimination; but in retaining the name of +"Sand," she paid a delicate compliment to the man who first introduced +her to the world of art. Liszt was too strong a<span class='pagenum'><a name="XIV_Page_97" id="XIV_Page_97">97</a></span> man to remain long +captive—he refused to supply the doglike and abject devotion which +Aurore always demanded. Then came Michael de Bourges the learned +counsel, Calmatto the mezzotinter, Delacroix the artist, De Musset the +poet, and Chopin the musician.</p> + +<p>It was in the year Eighteen Hundred Thirty-nine, that Chopin and Sand +first met at a parlor musicale, where Chopin was taken by Liszt, half +against his will, simply because George Sand was to be there.</p> + +<p>Chopin did not want to meet her.</p> + +<p>All Paris had rung with the story of how she and De Musset had gone +together to Venice, and then in less than a year had quarreled and +separated. Both made good copy of the "poetic interval," as George Sand +called it. Chopin was not a stickler for conventionalities, but George +Sand's history, for him, proved her to be coarse and devoid of all the +finer feeling that we prize in women.</p> + +<p>Chopin had no fear of her—not he—only he did not care to add to his +circle of acquaintances one so lacking in inward grace and delicacy.</p> + +<p>He played at the musicale—it was all very informal—and George Sand +pushed her way up through the throng that stood about the piano and +looked at the handsome boy as he played—she looked at him with her big, +hazel, cow eyes, steadfastly, yearningly, and he glancing up, saw the +eyes were filled with tears.</p> + +<p>When the playing ceased, she still stood looking at the<span class='pagenum'><a name="XIV_Page_98" id="XIV_Page_98">98</a></span> great musician, +and then she leaned over the piano and whispered, "Your playing makes me +live over again every pain that has ever wrung my heart; and every joy, +too, that I have ever known is mine again."<span class='pagenum'><a name="XIV_Page_99" id="XIV_Page_99">99</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-019" id="illus-019"></a> +<img src="images/img011.jpg" alt="A" title="" width = "72" height = "80"/> +</div> +<p>fter their first meeting, when Chopin played at a musicale, George Sand +was apt to be there too—they often came together. She was five years +older than he, and looked fifteen, for his slight figure and delicate, +boyish face gave him the appearance of youth unto the very last. In +letters to Madame Mariana, George Sand often refers to Chopin as "My +Little One," and when some one spoke of him as "The Chopinetto," the +name seemed to stick.</p> + +<p>That she was the man in the partnership is very evident. He really +needed some one to look after him, provide mustard-plasters and run for +the camphor and hot-water bottle. He was the one who did the weeping and +pouting, and had the "nerves" and made the scenes; while she, on such +occasions, would viciously roll a cigarette, swear under her breath, +console and pooh-pooh.</p> + +<p>Liszt has told us how, on one occasion, she had gone out at night for a +storm-walk, and Chopin, being too ill, or disinclined to go, remained at +home. Upon her return she found him in a conniption, he having composed +a prelude to ward off an attack of cold feet, and was now ready to +scream through fear that something had happened to her. As she entered +the door he arose, staggered and fell before her in a fainting fit.</p> + +<p>A whole literature has grown up around the relations of Chopin and +George Sand, and the lady in the case has, herself, set forth her brief +with painstaking detail in her<span class='pagenum'><a name="XIV_Page_100" id="XIV_Page_100">100</a></span> "Histoire de Ma Vie." With De Musset, +George Sand had to reckon on dealing with a writing man, and his +accounts of "The Little White Blackbird" had taught her caution. +Thereafter she abjured the litterateurs, excepting when in her old age +she allowed Gustave Flaubert to come within her sacred circle—but her +friendship with Flaubert was placidly platonic, as all the world knows. +And so were her relations with Chopin, provided we accept her version as +gospel fact.</p> + +<p>George Sand lacked the frankness of Rousseau; but I think we should be +willing to accept the lady's statements, for she was present and really +the only one in possession of the facts, excepting, of course, Chopin, +and he was not a writer. He could express himself only at the keyboard, +and the piano is no graphophone, for which let us all be duly thankful. +So we are without Chopin's side of the story. We, however, have some +vigorous writing by a man by the name of Hadow.</p> + +<p>Mr. Hadow enters the lists panoplied with facts, and declares that the +friendship was strictly platonic, being on the woman's side of a purely +maternal order. Chopin was sick and friendless, and Madame Dudevant, +knowing his worth to the art world, succored him—nursing him as a +Sister of Charity might, sacrificing herself, and even risking her +reputation in order to restore him to life and health.</p> + +<p>And this view of the case I am quite willing to accept. Mr. Hadow is no +joker, like that man who has recently<span class='pagenum'><a name="XIV_Page_101" id="XIV_Page_101">101</a></span> written an appreciation of +Xantippe, showing that the wife of Socrates was one of the most patient +women who ever lived, and only at times resorted to heroic means in +order to drive her husband out into the world of thought. She willingly +sacrificed her own good name that another might have literary life.</p> + +<p>Hadow has gotten all the facts together and then dispassionately drawn +his conclusions; and these conclusions are eminently complimentary to +all parties concerned.</p> + +<p>It was only a few months after Chopin met George Sand that he was +attacked with a peculiar hacking cough. His friends were sure it was +consumption, and a leading physician gave it as his opinion that if the +patient spent the approaching Winter in Paris, it would be death in +March.</p> + +<p>The facts being brought to the notice of George Sand, she had but one +thought—to save the life of this young man. He was too ill to decide +what was best to do, and was never able by temperament to take the +initiative, anyway, so this strong and capable woman, forgetful of self +and her own interests, made all the arrangements and took him to the +Isle of Majorca in the Mediterranean Sea. There she cared for him alone +as she might for a babe, for six long, weary months. They lived in the +cells of an old monastery at Valdemosa, away up on the mountainside +overlooking the sea. Here where the roses bloomed the whole year +through, surrounded by groves<span class='pagenum'><a name="XIV_Page_102" id="XIV_Page_102">102</a></span> of orange-trees, shut in by vines and +flowers, with no society save that of the sacristan and an aged woman +servant, she nursed the death-stricken man back to life and hope.</p> + +<p>To better encourage him she sent for and surprised him with his piano, +which had to be carried up the mountain on the backs of mules. In the +quiet cloisters she cared for him with motherly tenderness, and there he +learned again to awake the slumbering echoes with divine music. Several +of his best pieces were composed at Majorca during his convalescence, +where the soft semi-tropical breeze laved his cheek, the birds warbled +him their sweetest carols, and away down below, the sea, mother of all, +sang her ceaseless lullaby. When they returned to France the following +Spring, M. Dudevant had accommodatingly vacated the family residence at +Nohant in favor of his wife. It was here she took the convalescent +Chopin. He was charmed with the rambling old house, its walled-in +gardens with their arbors of clustering grapes, and the green meadows +stretching down to the water's edge, where the little river ran its way +to the ocean.</p> + +<p>Back of the house was a great forest of mighty trees, beneath whose +thick shade the sun's rays never entered, and a half-mile away arose the +spire of the village church. There were no neighbors, save a cheery old +priest, and the simple villagers who made respectful obeisance as they +passed.<span class='pagenum'><a name="XIV_Page_103" id="XIV_Page_103">103</a></span> Here it was that Matthew Arnold came to pay his tribute to +genius, also Liszt and the fair Countess d'Agoult, Delacroix, Renan, +Lamennais, Lamartine, and so many others of the great and excellent. +Chopin was enchanted with the place, and refused to go back to Paris. +Madame Dudevant insisted, and explained to him that she took him to +Majorca to spend the Winter, but she had no intention or thought of +caring for him longer than the few months that might be required to +restore him to health. But he cried and clung to her with such +half-childish fright that she had not the heart to send him away.</p> + +<p>The summer months passed and the leaves began to turn scarlet and gold, +and he only consented to return to Paris on her agreeing to go with him. +So they returned together, and had rooms not so very far apart.</p> + +<p>He went back sturdily to his music-teaching, with an occasional +musicale, yet gave but one public concert in the space of ten years.</p> + +<p>The exquisite quality of Chopin's playing appealed only to the sacred +few, but his piano scores were slowly finding sale, through the +advertisement they received by being played by Liszt, Tausig and others. +Yet the critics almost uniformly condemned his work as bizarre and +erratic.</p> + +<p>Each Summer he spent at lovely Nohant, and there found the rest and +quiet which got nerves back to the norm and allowed him to go on with +his work. So passed<span class='pagenum'><a name="XIV_Page_104" id="XIV_Page_104">104</a></span> the years away. Of this we are very sure—no taint +exists on the record of Chopin excepting possibly his relationship with +George Sand. That he endeavored to win her full heart's love, for the +purpose of honorable marriage, Mr. Hadow is fully convinced. But when +his suit failed, after an eight years' courtship, and the lover was +discarded, he ceased to work. His heart was broken; he lingered on for +two years, and then death claimed him at the early age of forty years.<span class='pagenum'><a name="XIV_Page_105" id="XIV_Page_105">105</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-020" id="illus-020"></a> +<img src="images/img115.jpg" alt="H" title="" width = "72" height = "80"/> +</div> +<p>here is a tendency to judge a work of art by its size. Thus the +sculptor who does a "heroic figure" is the man who looms large to the +average visitor at the art-gallery.</p> + +<p>Chopin wrote no lengthy symphonies, oratorios or operas. His music is +poetry set to exquisite sounds. Poetry is an ecstasy of the spirit, and +ecstasies in their very nature are not sustained moods.</p> + +<p>The poetic mood is transient. A composition by Chopin is a soul-ecstasy, +like unto the singing of a lark.</p> + +<p>No other man but Chopin should have been allowed to set the songs of +Shelley to music. With such names as Shelley, Keats, Poe and Crane must +Chopin's name be linked.</p> + +<p>In Chopin's music there is much loose texture; there are wide-meshed +chords, daring leaps and abrupt arpeggios. These have often been pointed +out as faults, but such harmonious discords are now properly valued, and +we see that Chopin's lapses all had meaning and purpose, in that they +impart a feeling—making their appeal to souls that have suffered—souls +that know.</p> + +<p>More of Chopin's music is sold in America every year than was sold +altogether during the lifetime of the composer. His name and fame grow +with each year. Everywhere—wherever a piano is played—on concert +platform, in studio or private parlor, there you will find the work of +Frederic Chopin. That such a widespread distribution must have a potent +and powerful effect<span class='pagenum'><a name="XIV_Page_106" id="XIV_Page_106">106</a></span> upon the race goes without argument, although the +furthest limit of that influence no man can mark. It is registered with +Infinity alone. And thus does that modest, mild and gentle revolutionist +Frederic Chopin live again in minds made better.</p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="ROBERT_SCHUMANN" id="ROBERT_SCHUMANN"></a> +<span class='pagenum'><a name="XIV_Page_107" id="XIV_Page_107">107</a></span> +<h2>ROBERT SCHUMANN</h2> +</div> + +<div class="figcenter"><img src="images/img113.jpg" width="395" height="500" alt="ROBERT SCHUMANN" title="" /></div> + +<div class="blockquot"><p>Beneath these flowers I dream, a silent chord. I can not wake my +own strings to music; but under the hands of those who comprehend +me, I become an eloquent friend. Wanderer, ere thou goest, try me! +The more trouble thou takest with me, the more lovely will be the +tones with which I shall reward thee.</p> + +<p class='author'>—<i>Robert Schumann</i></p></div> + +<p><span class='pagenum'><a name="XIV_Page_109" id="XIV_Page_109">109</a></span></p> + +<h3>ROBERT SCHUMANN</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-021" id="illus-021"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>hat any man should ever write his thoughts for other men to read, seems +the very height of egoism.</p> + +<p>Literature never dies, and so the person who writes constitutes himself +a rival of Shakespeare and seeks to lure us from Montaigne, Milton, +Emerson and Carlyle. To write nothing better than grammatical English, +to punctuate properly, and repeat thoughts in the same sequence that +have been repeated a thousand times, is to do something icily regular, +splendidly null.</p> + +<p>To down the demons of syntax and epithet is not enough. To compose +blameless sonatas and produce symphonies in the accepted style, is not +adding an iota to the world's worth.</p> + +<p>The individual who tries to compose either ideas or harmonious sounds, +and hopes for success, must compose because he can not help it. He must +place the thing in a way it has never before been placed; on the subject +he must throw a new light; he must carry the standard forward, and plant +it one degree nearer the uncaptured citadel of the Ideal. And he must +remember this: the very prominence of his position will cause him to be +the target of contumely, abuse and much stupid misunderstanding. If he +complains of these things (as he<span class='pagenum'><a name="XIV_Page_110" id="XIV_Page_110">110</a></span> probably will), he reveals a rift in +the lute and proves that he is only a half-god, after all.</p> + +<p>Men of the highest type of culture—those of masterly talent—are not +gregarious in their nature. The "jiner" instinct goes with a man who is +a little doubtful, and so he attaches himself to this society, club or +church.</p> + +<p>The very tendency to "jine" is an admission of weakness—it is a getting +under cover, a combining against the supposed enemy. The "jiner" is an +ameba that clings to flotsam, instead of floating free in the great +ocean of life. The lion loves his mate, but prefers to flock by himself.</p> + +<p>The pioneer in art, as in any other field, must be willing to face +deprivations and loneliness and heart-hunger. He must find companionship +with birds and animals, and be brother to the trees and swift-flying +clouds. When men meet on the desert or in the forest wilds, how grateful +and how gracious is their hand-clasp! When love and understanding come +to those who live on the border-land of two worlds, how precious and +priceless the boon!<span class='pagenum'><a name="XIV_Page_111" id="XIV_Page_111">111</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-022" id="illus-022"></a> +<img src="images/img117.jpg" alt="R" title="" width = "72" height = "80"/> +</div> +<p>obert Schumann was the son of a book-publisher of Zwickau. He was a +handsome lad with the flash of genius in his luminous eyes, and an +independence like that of an Alpine goat. When very young they say he +used to have tantrums. If your child has a tantrum, it is bad policy for +you to imitate him and have one, too.</p> + +<p>A tantrum is only one of the little whirlwinds of God—it is misdirected +energy, power not yet controlled. When Robert had a tantrum, his father +would shake him violently to improve his temper, or fall upon him with a +strap that hung handy behind the kitchen-door. Then the mother, when the +father was out of the way, would take the lad and cry over him, and +coddle him, and undo the discipline.</p> + +<p>The best treatment for tantrums is—nothing. The more you let a nervous, +impressionable child alone, the better.</p> + +<p>When the lad was fourteen years old, we find him setting type in his +father's printery. He was working on a book called, "The World's +Celebrities," and his share of the work dealt with Jean Paul Richter. He +grew interested in the copy and stopped setting type and read ahead, as +printers sometimes will. The more he read, the more he was fascinated. +He fell under the spell of Jean Paul the Only.</p> + +<p>Jean Paul, inspired by Jean Jacques, was the inspirer of the whole brood +of young writers of his time. To him they looked as to a Deliverer.<span class='pagenum'><a name="XIV_Page_112" id="XIV_Page_112">112</a></span> +Jean Paul the Only! The largest, gentlest, most generous heart in all +literature! The peculiar mark of Richter's style is analogy and +comparison; everything he saw reminded him of something else, and then +he tells you of things of which both remind him. He leads and lures you +on, and takes you far from home, but always brings you safely back. Yet +comparison proves us false when we deal with Richter himself. He stands +alone, like Adam's recollection of his fall, which according to Jean +Paul was the one sweet, unforgetable thing in all the life of the First +Citizen of his time.</p> + +<p>Jean Paul seems to have combined in that mighty brain all feminine as +well as masculine attributes. The soul in which the feminine does not +mingle is ripe for wrong, strife and unreason. "It was mother-love, +carried one step further, that enabled the Savior to embrace a world," +says Carlyle.</p> + +<p>The sweep of tender emotion that murmurs and rustles through the writing +of Jean Paul is like the echo of a lullaby heard in a dream. Perhaps it +came from that long partnership when mother and son held the siege +against poverty, and the kitchen-table served them as a writing-desk, +and the patient old mother was his sole reviewer, critic, reader and +public.</p> + +<p>For shams, hypocrisy and pretense Jean Paul had a cyclone of sarcasm, +and the blows he struck were such as only a son of Anak could give; but +in his heart there was no hate. He could despise a man's bad habits and<span class='pagenum'><a name="XIV_Page_113" id="XIV_Page_113">113</a></span> +still love the man behind the veneer of folly. So his arms seem ever +extended, welcoming the wanderer home.</p> + +<p>Dear Jean Paul, big and homely, what an insight you had into the heart +of things, and what a flying-machine your imagination was! Room for many +passengers? Yes, and children especially, for these you loved most of +all, because you were ever only just a big overgrown boy yourself. You +cried your eyes out before your hair grew white, and then a child or a +woman led you about; and thus did you supply Victor Hugo a saying that +can not die: "To be blind and to be loved—what happier fate!"</p> + +<p>Yes, Jean Paul used to cry at his work when he wrote well, and I do, +too. I always know when I write particularly well, for at such times I +mop furiously. However, I seldom mop.</p> + +<p>Robert Schumann began to write little essays, and the essays were as +near like Jean Paul's as he could make them. He read them to his mother, +just as Jean Paul used to write for his mother and call her "my Gentle +Reader"—he had but one.</p> + +<p>Robert's mother believed in her boy—what mother does not? But her love +was not tempered by reason, and in it there was a sentimental flavor +akin to the maudlin.</p> + +<p>The father wanted the lad to take up his own business, as German fathers +do, but the mother filled the lad's head with the thought that he was +fit for something higher and better. She was not willing to let the +seed<span class='pagenum'><a name="XIV_Page_114" id="XIV_Page_114">114</a></span> ripen in Nature's way—she thought hothouse methods were an +improvement.</p> + +<p>Such a mother's ambition centers in her son. She wants him to do the +thing she has never been able to do. She thirsts for honors, applause, +publicity, and all those things that bring trouble and distress and make +men old before their time.</p> + +<p>So we find the boy at eighteen packed off to Heidelberg to study law, +with no special preparation in knowledge of the world, of men or books. +But old father antic, the law, was not to his taste. Robert liked music +and poetry better. His fine, sensitive, emotional spirit found its best +exercise in music; and at the house of Professor Carus he used to sing +with the professor's wife. This Professor Carus, by the way, is, I +believe, directly related to our own Doctor Paul Carus, of whom all +thinking people in America have reason to be proud. I am told that when +a boy of eighteen or nineteen mingles his voice several evenings a week +with that of a married lady aged, say, thirty-five, and they also play +"four hands" an hour or so a day, that the boy is apt to surprise the +married lady by falling very much in love with her. Boys are quite given +to this thing, anyway, of falling in love with women old enough to be +their mothers—I don't know why it is. Sometimes I am rather inclined to +commend the scheme, since it often brings good results. The fact that +the woman's emotions are well tempered with a sort of maternal regard +for her<span class='pagenum'><a name="XIV_Page_115" id="XIV_Page_115">115</a></span> charge holds folly in check, dispels that tired feeling, +promotes digestion, and stimulates the action of the ganglionic cells.</p> + +<p>It was surely so in this instance, for Madame Carus taught the youth how +to compose, and fired his mind to excel as a pianist. He wrote and +dedicated small songs to her, and their relationship added cubits to the +boy's stature.</p> + +<p>From a boy he became a man at a bound. Just as one single April day, +with its showers and sunshine, will transform the seemingly lifeless +twigs into leafy branches, so did this young man's intellect ripen in +the sunshine of love.</p> + +<p>As for Professor Carus, he was too busy with his theorems and biological +experiments to trouble himself about so trivial a matter as a youngster +falling in love with his accomplished wife—here the Professor's good +sense was shown.</p> + +<p>Jean Paul Richter lighted his torch at the flame of Jean Jacques +Rousseau. In a letter to Agnes Carus, Schumann has acknowledged his +obligation to Richter, in a style that is truly Richteresque.</p> + +<p>Says Robert:</p> + +<div class="blockquot"><p>Dear Lady:—I read from Jean Paul last night until I fell asleep +and then I dreamed of you. It was at the torch of Jean Paul that I +lighted my tallow dip, and now he is dead and these eyes shall +never look into his, nor will his voice fall upon my ears. I cry +salt tears to<span class='pagenum'><a name="XIV_Page_116" id="XIV_Page_116">116</a></span> think that Jean Paul never knew you. If I could only +have brought you two together and then looked upon you, realizing, +as I would, that you had both come from High Olympus! Blissful are +the days since I knew you, for you have brought within my range of +vision new constellations, and into my soul has come the clear, +white light of peace and truth. With you I am purified, freed from +sin, and harmony fills my tired heart. Without you—why, really I +have never dared think about it, for fear that reason would topple, +and my mind forget its 'customed way—let's talk of music. * * *</p></div> + +<p>Professor Carus kept his ear close to the ground for a higher call, and +when the call came from Leipzig, he moved there with his family.</p> + +<p>It was not many weeks before Robert was writing home, explaining that +lawyers were men who get good people into trouble, and bad folks out; +and as for himself he had decided to cut the business and fling himself +into the arms of the Muse.</p> + +<p>This letter brought his mother down upon him with tears and pleadings +that he would not fail to redeem the Schumanns by becoming a Great Man. +Poetry was foolishness and all musicians were poor—there were a hundred +of them in Zwickau who lived on rye-bread and wienerwurst.</p> + +<p>The boy promised and the mother went home pacified. But not many weeks +had passed before Robert set out on a pilgrimage to Bayreuth, to visit +the scene of Jean Paul's romances. On this same tour he went to Munich,<span class='pagenum'><a name="XIV_Page_117" id="XIV_Page_117">117</a></span> +and there met Heinrich Heine, who was from that day to enter into his +heart and jostle Jean Paul for first place. He was accompanied on this +memorable trip by Gisbert Rosen, who proved his lifelong friend and +confidant. Very naturally Leipzig was the ardently desired goal of his +wanderings. At once on arriving there, he sought out the home of +Professor and Madame Carus. That his greeting (and mayhap hers) did not +contain all the warmth the boy lover had anticipated is shown in a +letter to Rosen, wherein he says: "This world is only a huge graveyard +of buried dreams, a garden of cypress and weeping willows, a silent +peep-show with tearful puppets. Alas for our high faith—I wonder if +Jean Paul wasn't right when he said that love lessens woman's delicacy, +and time and distance dissipate it like morning dew?"</p> + +<p>Yet Madame Carus was kind, for Robert played at little informal concerts +at her house, and she urged him to abandon law for music; and he refers +the matter to Rosen, asking Rosen's advice and explaining how he wants +to be advised, just as we usually do. Rosen tells him that no man can +succeed at an undertaking unless his heart is in the work, and so he +shifts the responsibility of deciding on Professor Carus, whom Robert +"respects," but does not exactly admire enough to follow his advice.</p> + +<p>Robert does not consider the Professor a practical man, and so leaves +the matter to his wife. In the meantime songs are written similar to +Heine's, and essays<span class='pagenum'><a name="XIV_Page_118" id="XIV_Page_118">118</a></span> turned off, pinned with the precise synonym, the +phrase exquisite, just like Jean Paul's. Progress in piano-playing goes +steadily forward, with practise on the violin, all under the tutelage of +Madame Carus, who one fine day takes the young man to play for Frederick +Wieck, the best music-teacher in Leipzig.<span class='pagenum'><a name="XIV_Page_119" id="XIV_Page_119">119</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-023" id="illus-023"></a> +<img src="images/img081.jpg" alt="M" title="" width = "72" height = "80"/> +</div> +<p>usicians?" said Wieck, "I raise them!"</p> +<p>And so he did. He proved the value of his theories by making great +performers of Maria and Clara, his daughters—two sisters more gifted in +a musical way have never been born. Germany excels in philosophy and +music—a seeming paradox. Music is supposed to be a compound of the +stuff that dreams are made of—hazy, misty, dim, intangible feelings set +to sounds—we close our eyes and they take us captive and carry us away +on the wings of melody. And so it may be true that music is born of +moonshine, and fragrant memories, and hopes too great for earth, and +loves unrealized; yet its expression is the most exacting of sciences. A +Great Musician has not only to be a poet and a dreamer, but he must also +be a mathematician, cold as chilled steel, and a philosopher who can +follow a reason to its lair and grapple it to the death. And that is why +Great Musicians are so rare, and that is also why, perhaps, there are no +great women composers. "Women of genius are men," said the De Goncourts. +A Great Musician is a paradox, a miracle, a multiple-sided man—stern, +firm, selfish, proud and unyielding; yet sensuous as the ether, tender +as a woman, innocent as a child, and as plastic as potters' clay. And +with most of them, let us frankly admit it, the hand of the Potter +shook. When people write about musicians, they seldom write moderately. +The man is either a selfish rogue or an angel of light—it all depends +upon your point of view.<span class='pagenum'><a name="XIV_Page_120" id="XIV_Page_120">120</a></span> And the curious part is, both sides are right.</p> + +<p>Wieck was very fond of his daughters, and like good housewives who are +proud of their biscuit, he apologized for them. "He never quite forgave +our mother because we were girls," said Clara once, to Kalkbrenner. +Wieck, the good man, was a philosopher, and he had a notion that the +blood of woman is thinner than that of man—that it contains more white +serum and fewer red corpuscles, and that Nature has designed the body of +a woman to nourish her offspring, but that man's energy goes to feed his +brain. Yet his girls were so much beyond average mortals that they would +set men a pace in spite of the handicap.</p> + +<p>Fortunate it is for me that I do not have to act as the court of last +appeal on this genius business. The man who decides against woman will +forfeit his popularity, have his reputation ripped into carpet-rags, and +his good name worked up into crazy-quilts by a thousand Woman's Clubs.</p> + +<p>But certain it is that women are the inspirers of music. As critics they +are more judicial and more appreciative. Without women there would be no +Symphony Concerts, any more than there would be churches.</p> + +<p>Women take men to the Grand Opera and to Musical Festivals—and I am +glad.<span class='pagenum'><a name="XIV_Page_121" id="XIV_Page_121">121</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-024" id="illus-024"></a> +<img src="images/img127.jpg" alt="C" title="" width = "72" height = "80"/> +</div> +<p>lara Wieck was only ten years old, with dresses that came to her knees, +when Robert Schumann first began to take lessons of her father. She was +tall for her age, and had a habit of brushing her hair from her eyes as +she played, that impressed the young man as very funny. She could not +remember a time when she did not play: and she showed such ease and +abandon that her father used to call her in and have her illustrate his +ideas on the keyboard.</p> + +<p>Robert didn't like the child—she was needlessly talented. She could do, +just as a matter of course, the things that he could scarcely accomplish +with great effort. He didn't like her.</p> + +<p>Already Clara had played in various concerts, and was a great favorite +with the local public. Soon her father planned little tours, when he +gave performances assisted by his two daughters, who could play both +violin and piano. Their fame grew and fortune smiled. Wieck took a +larger house and raised his prices for pupils.</p> + +<p>Robert Schumann wandered over to Zwickau to visit his folks, then went +on down the Rhine to Heidelberg to see Rosen. It was nearly a year +before he got back to Leipzig, resolved to continue his music studies. +Wieck had a front room vacant, and so the young man took lodgings with +his teacher.</p> + +<p>It was not so very long before Clara was wearing her dresses a little +longer. She now dressed her hair in two<span class='pagenum'><a name="XIV_Page_122" id="XIV_Page_122">122</a></span> braids instead of one, and +these braids were tied with ribbons instead of a shoe-string. More +concerts were being arranged, and the attendance was larger—people were +saying that Clara Wieck was an Infant Phenomenon.</p> + +<p>Robert was progressing, but not so rapidly as he wished. To aid matters +a bit, he invented a brace and extension to his middle finger. It gave +him a farther reach and a stronger stroke, he thought. In secret he +practised for hours with this "corset" on his finger; he didn't know +that a corset means weakness, not strength. After three straight hours +of practise one day, he took the machine from his hand and was +astonished to see the finger curl up like a pretzel. He hurried to a +physician and was told that the member was paralyzed. Various forms of +treatment were tried, but the tendons were injured, and at last the +doctors told him his brain could never again telegraph to that hand so +it would perfectly obey orders. He begged that they would cut the finger +off, but this they refused to do, claiming that, even though the finger +was in the way, piano-playing in any event was not the chief end of +man—he might try a pick and shovel.</p> + +<p>Clara, who now wore her dress to her shoe-tops, sympathized with the +young man in his distress. She said, "Never mind, I will play for +you—you write the music and I will play it!"</p> + +<p>Gradually he became resigned to this, and spent much<span class='pagenum'><a name="XIV_Page_123" id="XIV_Page_123">123</a></span> of his time +composing music for Heine's songs and his own. Wieck didn't much like +these songs, and forbade his daughter playing such trashy things—only a +paraphrase of Schubert's work, anyway, goodness me!</p> + +<p>The girl pouted and rebelled, and erelong Robert Schumann was requested +to take lodgings elsewhere. Moodily he obeyed, but he managed to keep up +a secret correspondence with Clara, through the help of her sister. +Whenever Clara played in public, Robert was sure to be there, even +though the distance were a hundred miles. He had given up playing, and +now swung between composing and literature, having assumed the +editorship of a musical magazine.</p> + +<p>When Clara now played in concert, she wore a train, and her hair was +done up on the top of her head.</p> + +<p>Schumann's musical magazine was winning its way—the young man had a +literary style. Mendelssohn commended the magazine, and its editor in +turn commended Mendelssohn. A new star had been discovered on the +horizon—a Pole, Chopin by name. And whenever Clara Wieck appeared, +there were extended notices, lavish in praise, profuse in prophecy.</p> + +<p>Herz had written an article for a rival journal about Clara Wieck, +wherein the statement was made that no woman trained on, that her +playing was intuitive, and the limit quickly reached—marriage was death +to a woman's art, etc.</p> + +<p>To this Schumann replied with needless heat, and his<span class='pagenum'><a name="XIV_Page_124" id="XIV_Page_124">124</a></span> friends began to +joke him about his "disinterestedness." He was getting moody, and there +were times when he was silent for days. His passion for Clara Wieck was +consuming his life. He resolved to go direct to Frederick Wieck and have +it out.<span class='pagenum'><a name="XIV_Page_125" id="XIV_Page_125">125</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-025" id="illus-025"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>hey are always called "the Schumanns"—Robert and Clara. You can not +separate them, any more than you can separate the great Robert Browning +and Elizabeth Barrett. "Whomsoever God hath joined together, let no man +put asunder," seems rather a needless injunction, since we know that +man's efforts in the line of separation have ever but one result: +opposition fans the flame.</p> + +<p>Just as Elizabeth Barrett's father forcibly opposed the mating of his +daughter, so did Frederick Wieck oppose the love of his daughter Clara +for Robert Schumann.</p> + +<p>And one can not blame the man so very much—he knew the young man and he +knew the girl; and deducting fifty per cent for paternal pride, he saw +that the girl was much the stronger character of the two. Clara had +already a recognized reputation as a performer; her playing had made her +father rich, and he was sure that greater things were to come. Beside +that, she was only seventeen years old—a mere child.</p> + +<p>Robert was twenty-six, with most of his future before him—he was +advised to win a name and place for himself before aspiring to the hand +of a great artist: and so he was bowed out.</p> + +<p>He took the matter into the courts, and the decision was that, as she +was now eighteen years old, she had the right to wed, if she were so +minded.</p> + +<p>And so they were married; but Frederick Wieck was not present at the +ceremony to give the bride away.<span class='pagenum'><a name="XIV_Page_126" id="XIV_Page_126">126</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-026" id="illus-026"></a> +<img src="images/img051.jpg" alt="S" title="" width = "72" height = "80"/> +</div> +<p>chumann was essentially feminine in many ways, as the best men always +are. In spite of his mental independence, he did his best work when +shielded in the shadow of a stronger personality. Without Clara, Robert +would probably be unknown to us. She gave him the courage and the +confidence that he lacked; and she it was who interpreted his work to +the world.</p> + +<p>Heine characterized Meyerbeer's "Les Huguenots" as "like a Gothic +cathedral whose heaven-soaring spire and colossal cupolas seem to have +been planted there by the sure hand of a giant; whereas the innumerable +features, the rosettes and arabesques that are spread over it everywhere +like a lacework of stone, witness to the indefatigable patience of a +dwarf."</p> + +<p>Very different is the work of Robert Schumann, who, like his master +Schubert, knew little of the architectonics of the Art Divine. But +Schubert seems to have been the first to give us the "lyric cry"—the +prayer of a heart bowed down, or the ecstasy of a soul enrapt.</p> + +<p>Schumann built on Schubert. Music was to Schumann the expression of an +emotion. He saw in pictures, then he told in tones, what his inward eye +beheld. He even went so far as to give the names of persons, their +peculiarities and experiences on the keyboard. It is needless to say +that the tension of mind in such experiments is apt to reach the +breaking strain. We are under bonds for the moderate use of every +faculty, and he who<span class='pagenum'><a name="XIV_Page_127" id="XIV_Page_127">127</a></span> misuses any of God's gifts may not hope to go +unscathed.</p> + +<p>The exquisite quality of Robert Schumann's imagination served to make +him shun the society of vulgar people. The inability to grasp things +intuitively harassed him, and he acquired a habit of keeping silence, +except with the elect. He lived within himself, unless Clara were by, +and then he leaned on her.</p> + +<p>And what a strong, brave and beautiful soul she was! In a sense she +sacrificed her own career for the man she loved. And by giving all, she +won all.</p> + +<p>Most descriptions of women begin by telling how the individual looked +and what she wore. No pen-portraits of Clara Schumann have come down to +us, for the reason that she was too great, too elusive in spirit, for +any snapshot artist to attempt her. She never looked twice the same. In +feature she was commonplace, her form lacked the classic touch, and her +raiment was as plain as the plumage of a brown thrush in an autumn +hedgerow. She was as homely as George Eliot, Mary Wollstonecraft, Rosa +Bonheur, George Sand, or Madame De Stael. No two of the women named +looked alike, but I once saw a composite photograph of their portraits +and the picture sent no thrills along my keel. Their splendor was a +matter of spirit. Have you ever seen the Duse?—there is but one. In +repose this woman's face is absolute nullity. She starts with a +blank—you would never take a second glance at her at a pink tea. Her +dress is bargain day, her form so-so, her features clay.<span class='pagenum'><a name="XIV_Page_128" id="XIV_Page_128">128</a></span></p> + +<p>But mayhap she will lift her hand and resting her chin upon it will look +at you out of half-closed eyes that never are twice alike. If you are +speaking you will suddenly become aware that she is listening, and then +you will become uncomfortable and try to stop, but can not; for you will +realize that you have been talking at random, and you want to redeem +yourself.</p> + +<p>The presence of this plain woman is a challenge—she knows! Yet she +never contradicts, and when she wills it, she will lead you out of the +maze and make you at peace with yourself; for our quarrel with the world +is only a quarrel with self. When we are at peace with self we are at +peace with God.</p> + +<p>The Duse is a surprise, in that her homeliness of face masks an +intellect that is a revelation. Her body is an exasperation to the tribe +of Worth, but it houses a soul that has lived every life, died every +death, known every sorrow, tasted every joy, and been one with the +outcast, the despised, the forsaken; and has stood, too, clothed in +shining raiment by the side of the great, the noble, the powerful. +Knowing all, she forgives all. And across the face and out of the eyes, +and even from her silence, come messages of sympathy—messages of +strength, messages of a faith that is dauntless. Great people are simply +those who have sympathy plus. Clara Schumann knew the excellence of her +chosen mate, and through her sympathy made it possible for him to +express himself at his highest and best. She also guessed his +limitations<span class='pagenum'><a name="XIV_Page_129" id="XIV_Page_129">129</a></span> and sought to hold him 'gainst the calamity she saw looming +on the horizon, no bigger than a man's hand.</p> + +<p>When he was moody and there came times of melancholy, she invited young +people to the house; and so Robert mingled his life with theirs, and in +their aspirations he shook off the demons of doubt.</p> + +<p>It was in this way that he became interested in various rising stars, +and although in some instances we are aware that his prophecies went +astray, we know that he hailed Chopin and Brahms long before they had +come within the ken of the musical world, that so often looks through +the large end of the telescope. And this kindly encouragement, this +fostering welcome that the Schumanns gave to all aspiring young artists, +is not the least of their virtues. We love them because they were kind.<span class='pagenum'><a name="XIV_Page_130" id="XIV_Page_130">130</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-027" id="illus-027"></a> +<img src="images/img127.jpg" alt="C" title="" width = "72" height = "80"/> +</div> +<p>lara Schumann was wise beyond the lot of woman. She knew this fact +which very few mortals ever realize: The triumphs of yesterday belong to +yesterday, with all of yesterday's defeats and sorrows—the day is Here, +the time is Now. She did not drag her troubles behind her with a rope, +nor wax vain over achievements done. When the light of her husband's +intellect went out in darkness and he lived for a space a lingering +death, she faced the dawn each morning, resolved to do her work and do +it the best she could.</p> + +<p>When death came to Robert's relief, her one ambition, like that of Mary +Shelley, was to write her husband's name indelibly on history's page.</p> + +<p>The professedly and professionally cheerful person is very depressing. +The pessimist always has wit, for wit reveals itself in the knowledge of +values. And the individual who accepts what Fate sends, and undoes +Calamity by drinking all of it, is sure to have a place in our calendar +of saints.</p> + +<p>Clara Schumann, a widow at thirty-seven, with a goodly brood of babies, +and no income to speak of, lived one day at a time, did her work as well +as she could, and always had a little time and energy over to use for +others less fortunate.</p> + +<p>Such fortitude is sure to bear fruit, and friends flocked to her as +never before. The way to secure friends is to be one.<span class='pagenum'><a name="XIV_Page_131" id="XIV_Page_131">131</a></span></p> + +<p>Madame Schumann made concert tours throughout the Continent and England, +meeting on absolute equality the music-loving people, as well as the +Kings of Art. She played her husband's pieces with such a wealth of +expression that folks wondered why they had never heard of them. And so +today, wherever hearts are sad, or glad, and songs are sung, and strings +vibrate, and keys respond to love's caress, there is in hearts that know +and feel, a shrine; and on this shrine in letters of gold two words are +carved, and they are these: THE SCHUMANNS.<span class='pagenum'><a name="XIV_Page_132" id="XIV_Page_132">132</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="SEBASTIAN_BACH" id="SEBASTIAN_BACH"></a> +<span class='pagenum'><a name="XIV_Page_133" id="XIV_Page_133">133</a></span> +<h2>SEBASTIAN BACH</h2> +</div> + + +<div class="figcenter"><img src="images/img141.jpg" width="329" height="500" alt="SEBASTIAN_BACH" title="" /></div> + +<div class="blockquot"><p>The name of Bach would have been famous in musical history without +Johann Sebastian, but with his name added it becomes the most +illustrious that the world has ever known. Bach had many pupils, +but none surpassed his own sons, six of whom became great +musicians, but with these the musical faculty died.</p> + +<p class='author'>—<i>Sir Hubert Parry</i></p></div> + +<p><span class='pagenum'><a name="XIV_Page_135" id="XIV_Page_135">135</a></span></p> + +<h3>SEBASTIAN BACH</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-028" id="illus-028"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>he art of today is imitative. Once men had convictions, but we have +only opinions, and these are usually borrowed. The artificiality of +life, and the rush and the worry afford no time for great desires to +possess our souls.</p> + +<p>We average well, but no Colossus looms large above the crowd and goes +his solitary way unmindful of the throng: we look alike, act alike, +think alike, and in order that the likeness may be complete, we dress +alike.</p> + +<p>To wear a hat of your own selection or voice thoughts of your own +thinking is to invite unseemly mirth, and finally scorn and contumely.</p> + +<p>The great creators were solitary, rural in their instincts, ignorant and +heedless of what the world was saying and doing. They were men of deep +convictions and enthusiasms, unmindful of laughter or ridicule, caring +little even for approbation.</p> + +<p>No "boom town" can possibly produce a genius: it only fosters sundry +small Napoleons of finance. America is a nation of boomers—financial, +political, social and theological.</p> + +<p>We have sarcasm and cynicism, and we possess much that is clever, all +produced by snatches of success, well<span class='pagenum'><a name="XIV_Page_136" id="XIV_Page_136">136</a></span> mixed with disappointment and the +bitterness which much contact with the world is sure to evolve. Our age +that goes everywhere, knows everybody's business, and religiously reads +only "the last edition," produces a Bill Nye, a Sam Jones, a Teddy +Roosevelt, a DeWitt Talmage, a Hopkinson Smith, a Sam Walter Foss, a +Victor Herbert; but it is not at all likely to produce a Praxiteles, a +Michelangelo, a Rembrandt, an Immanuel Kant or a Johann Sebastian Bach.<span class='pagenum'><a name="XIV_Page_137" id="XIV_Page_137">137</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-029" id="illus-029"></a> +<img src="images/img145.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>hat Shakespeare is to literature, Michelangelo to sculpture, and +Rembrandt to portrait-painting, Johann Sebastian Bach is to organ-music. +He was the greatest organist of his time, and his equal has not yet been +produced, though nearly three hundred years have passed since his death. +"The organ reached perfection at the hands of Bach," says Haweis. As a +composer for the organ, Bach stands secure—his position is at the head, +and is absolutely unassailable.</p> + +<p>In point of temperament and disposition Bach bears a closer resemblance +to Michelangelo than to either of the others whose names I have +mentioned. He was stern, strong, self-contained, and so deeply religious +that he was not only a Christian but a good deal of a pagan as well. A +homely man was Bach—quiet, simple in tastes and blunt in speech.</p> + +<p>The earnest way in which this plain, unpretentious man focused upon his +life-work and raised organ-music to the highest point of art must +command the sincere admiration of every lover of honest endeavor.</p> + +<p>Bach was so great that he had no artistic jealousy, no whim, and when +harshly and unjustly criticized he did not concern himself enough with +the quibblers to reply. He made neither apologies nor explanations. The +man who thus allows his life to justify itself, and lets his work speak, +and who, when reviled, reviles not again, must be a very great and lofty +soul.<span class='pagenum'><a name="XIV_Page_138" id="XIV_Page_138">138</a></span></p> + +<p>Bach was a villager and a rustic, and, like Jean Francois Millet, used +to hoe in his garden, trim the vines, play with his children, putting +them to bed at night, or in the day cease from his work to cut slices of +brown bread which he spread with honey for the heedless little +importuner, who had interrupted him in the making of a chorale that was +to charm the centuries. At times he would leave his composing to help +his wife with her household duties—to wash dishes, sweep the room or +care for a peevish, fretful child. After the evening prayer, like +Millet, again, when his household were all abed, he would often walk out +into the night alone, and traverse his solitary way along a wintry road, +through the woods or by the winding river, a dim, misty, shadowy figure, +spectral as the "Sower," lonely as the "Fagot-Gatherer," talking to +himself, mayhap, and communing with his Maker.</p> + +<p>In his later years, when he traveled from one village or city to another +to attend musical gatherings, he was always accompanied by one or more +of his sons. His ambition was centered on his children, and his hope was +in them. Yet nothing has been added to either organ-building, +organ-playing or composition for the organ since his time.</p> + +<p>He never knew, any more than Shakespeare knew, that he had set a pace +that would never be equaled. He would have stood aghast with incredulity +had he been told that centuries would come and go and his name be<span class='pagenum'><a name="XIV_Page_139" id="XIV_Page_139">139</a></span> +acclaimed as Master.</p> + +<p>Such was Sebastian Bach—simple, polite, modest, unaffected, generous, +almost shy—doing his work and doing it as well as he could, living one +day at a time, loving his friends, forgetting his enemies. His heart was +filled with such melodies that their echo is a blessing and a +benediction to us yet. Art lives!<span class='pagenum'><a name="XIV_Page_140" id="XIV_Page_140">140</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-030" id="illus-030"></a> +<img src="images/img148.jpg" alt="H" title="" width = "72" height = "80"/> +</div> +<p>eredity is that law of our being which provides that a man shall +resemble his grandfather—or not. The Bach family has supplied the +believers in heredity more good raw material in way of argument than any +dozen other families known to history, combined.</p> + +<p>The Herschels with three eminent astronomers to their credit, or the +Beechers with half a dozen great preachers, are scarcely worth +mentioning when we remember the Bachs, who for two hundred fifty years +sounded the "A" for nearly all Germany.</p> + +<p>The earliest known member of this musical family was Vert Bach, who was +born about Fifteen Hundred Fifty. He was a miller and baker by trade, +but devoted so much time to playing at dances, rehearsing at church +festivals, and attending gipsy musical performances, that in his milling +business he never prospered and nobody called him "Pillsbury."</p> + +<p>This man had a son by the name of Hans, a weaver and a right merry +wight, who traveled over the country attending weddings, christenings +and such like festivals, playing upon a fiddle of his own construction. +So famous was Hans Bach that his name lives in legend and folklore, +wherein it is related that often betimes when he arrived at a village, +the word would be passed and the whole population would quit work and +caper on the green. So luring was his fiddle, and so potent his voice in +song and story, that in a few instances preachers<span class='pagenum'><a name="XIV_Page_141" id="XIV_Page_141">141</a></span> with long faces +warned their flocks against him; and once we find a country Dogberry had +his minions lay the innocent Hans by the heels and give him a taste of +the stocks, simply because he seduced a party of haymakers into +following him off to a dance at a tavern, and in the meantime a storm +coming up, the hay got wet. Poor Hans protested that he had nothing to +do with the storm, but his excuses were construed as proof of guilt and +went for naught.</p> + +<p>At last in his wanderings, Hans found a buxom lass who was willing to +take him for better or worse.</p> + +<p>And they were married and lived happily ever after, or fairly so.</p> + +<p>This marriage quite sobered the fun-loving fiddler, so that he settled +down and worked at his weaving; and at odd hours made himself a bass +viol that looked to be father of all the fiddles. In Eisenach I was told +that this viol was ten feet high. Hans used to play this instrument at +the village church, and his playing drew such crowds that the preacher +had just cause for jealousy, and improved the opportunity, yet stifling +his rage he ordered the verger to lock the doors and allow no one to +depart until after the sermon and collection.</p> + +<p>A goodly family was born to Hans and his worthy wife, and all were +trained in music, so that an orchestra was formed, made up of the +father, mother, and boys and girls. All the instruments used were made +by Hans, and these included marvelous fiddles, some with one string<span class='pagenum'><a name="XIV_Page_142" id="XIV_Page_142">142</a></span> and +others with twenty; wooden wind-instruments like flutes, and drums to +match the players, some of whom were wee toddlers. It is said that the +music this orchestra made was more or less unique.</p> + +<p>The best part of all this musical exploitation of Hans was that one of +his boys, Heinrich by name, applied himself so diligently to the art +that he became the organist in the village church, and then he was +called to play the great organ at Arnstadt. Heinrich was not a roisterer +like his father: he was a man of education and dignity. He composed many +pieces, and trained his choruses so well that his fame went abroad as +the chief musician of all Thuringia. He held his position at Arnstadt +for fifty years, and died in Sixteen Hundred Ninety-two, at which time +Johann Sebastian Bach, his nephew, was seven years old.</p> + +<p>In his day Heinrich Bach was known as the "Great Bach," and he had two +sons who were nearly as famous as himself, and would have been quite so, +were it not for the fact that they had a cousin by the name of Johann +Sebastian.</p> + +<p>Johann Sebastian was a son of Johann Ambrosius, a brother of Heinrich, +and Johann Ambrosius, of course, a son of the merry Hans. Johann +Ambrosius was a musician, too, but did not distinguish himself +especially in this line. His distinction lies in the fact that he was +the father of Johann Sebastian, and this is quite enough for any one +man, even if Gail Hamilton did once protest<span class='pagenum'><a name="XIV_Page_143" id="XIV_Page_143">143</a></span> that the office of male +parent was insignificant and devoid of honor.</p> + +<p>Johann Ambrosius was a shiftless kind of fellow who drank much beer out +of an earthen pot, and whittled out fiddles, sitting on a bench in the +sun. He sort of let his family shift for themselves. Heinrich Bach, his +brother, used to speak of him as one of his "poor relations," but at the +annual Bach family festival, when a full hundred Bachs gathered to sing +and play, Johann Ambrosius would attend and play on a flute or fiddle +and prove that he was worthy of the name.</p> + +<p>On one such annual reunion he took his little boy, Johann Sebastian, +eight years old. The boy's mother had died a year or so before, and +after the mother's death the father seemed to think more of his children +than ever before—which is often the case, I'm told.</p> + +<p>They walked the distance, about forty miles, in two days, to where the +festival occurred. It was one of the white milestones in the boy's +life—that trip with its revelation of sleeping in barns, singing, and +playing on many instruments, dining by the wayside, all winding up with +a solemn service at a great stone church, where the preacher gave them +his benediction, and the great company separated with handshakings, +embracings and tears, to meet again in a year. Johann Ambrosius did not +attend the next reunion. Before the Spring had come and birds sang +blithely, a band composed of twenty-five played funeral-dirges at his +grave—and little Johann<span class='pagenum'><a name="XIV_Page_144" id="XIV_Page_144">144</a></span> Sebastian was an orphan.</p> + +<p>Johann Sebastian's elder brother, Christoph, who had married a few years +before and moved away, attended the funeral, and when he went back home +he took little Johann Sebastian with him—there was no other place to +go. The lad was allowed to take one thing with him as a remembrance of +the home that he was now leaving forever—his father's violin in a green +bag, with a leathern drawstring. On the bag were his father's initials, +woven into the cloth by the boy's mother—a present from sweetheart to +lover before their marriage.</p> + +<p>Christoph was a musician, too, and a prosperous fellow—quite the +antithesis of his father. It takes a lot of love to bring up a child, +and the miracle of mother-love is a constant wonder to every thinking +person. Without mother-love how would the cross-grained, perverse little +tyrant ever survive the buffets which the world is sure to give? It is +love that makes existence possible.</p> + +<p>Christoph wished to be kind to his little brother, but it was a kindness +of the head and not of the heart. Only an hour a day was allowed the boy +for playing on the violin he had brought in the green bag, because +Christoph and his wife "did not want to hear the noise." Then when the +boy stole off to the forest and played there, he was waylaid on the way +home and well cuffed for disobeying orders. All this seems very much +like the Goneril and Cordelia business, or the history of Cinderella, +but as Johann Sebastian told it himself in the after-years, we<span class='pagenum'><a name="XIV_Page_145" id="XIV_Page_145">145</a></span> have +reason to believe it was not fiction.</p> + +<p>Little Johann Sebastian had been his father's favorite, and this fact +perhaps made Christoph fear the boy was going to tread in his father's +lazy footsteps. So he set about to discipline the lad.</p> + +<p>It must be admitted that Johann Ambrosius Bach, who whittled out fiddles +in the sun, and who drank much beer out of an earthen pot, was +shiftless, but it further seems that he was tender-hearted and kind and +took much interest in teaching Sebastian to play the violin, even while +the child wore dresses. And sometimes I think it is really better, if +you have to choose, to drink beer out of an earthen pot and be kind and +gentle, than to have a sharp nose for other folks' faults and be +continually trying to pinch and prod the old world into the straight and +narrow path of virtue. Yet there is wisdom in all folly, and I can see +that the prohibition concerning little Sebastian's playing the violin +only an hour a day—mind you! was not without its benefits. Surely it +would often be a wise bit of diplomacy on the part of the teacher to +order the pupil not to study his arithmetic lesson but an hour a day, on +penalty. Of course it might happen occasionally that the pupil in an +earnest desire to please, might not study at all, yet there are +exceptions to all rules, and we must remember that when Tom Sawyer +forbade the boys using his whitewash-brush, the scheme worked well.</p> + +<p>One instance, however, might be cited where the law<span class='pagenum'><a name="XIV_Page_146" id="XIV_Page_146">146</a></span> of compensation +seems really to have stood no chance. Christoph had a goodly musical +library and a collection of the best organ-music that had been produced +up to that time. He kept this music in a case, and carried the key to +the case in his pocket. On rare occasions he had shown bits of this +music to Sebastian, who read music like print when it is easy. The boy +devoured all the music he could lay his hands on, and hummed it over to +himself until every note and accent was fixed in his memory. He dearly +wanted to examine that music in the locked-up case, but his brother +declared his ambition nonsense—he was too young. But the boy contrived +a way to pick the lock—for a music-lover laughs at locksmiths—and at +night when all the household were safely in bed, he would steal +downstairs in his bare feet and get a sheet of the music and copy it off +by moonlight, sitting in the deep ledge of the window. Thus did he work +for six months, whenever the moon shone bright enough to read the lines +and signs and marks. But alas! one day the elder brother was rummaging +around the boy's room in search of things contraband and he pounced upon +the portfolio of copied music. He summoned the offender into his +presence. The facts were admitted, and Johann Sebastian had his bare +legs well tingled with an apple-sprout. Then the portfolio was +confiscated and carried away, despite pleadings, promises and tears. And +the question still remains whether "discipline" is not a matter of +gratification to the<span class='pagenum'><a name="XIV_Page_147" id="XIV_Page_147">147</a></span> person in power rather than a sincere and honest +attempt to benefit the person disciplined.</p> + +<p>Nevertheless, Johann Sebastian Bach was working out his own education: +he belonged to the boys' chorus at Ohrdruf, as all boys in the vicinity +did. Music in every German village was an important item, and the best +singers and best behaved members of the village choir were set apart as +a sort of select choir—a choir within a choir—and were often gathered +together to sing on special occasions at weddings and festivals. Johann +Sebastian had a sweet, well-modulated voice, and whenever he was to +sing, he carried his violin in the green bag, so he could play, too, if +needed. Thus he played and sang at serenades, just as did Martin Luther, +many years before, in Johann Sebastian's own native town of Eisenach.</p> + +<p>Johann Sebastian's fame grew until it reached to Luneburg, twelve miles +away, and he was invited there to sing in the choir of Saint Michael's. +The pay he received was very slight, but that was not to be considered. +An occasional bowl of soup and piece of rye-bread, and the privilege of +sleeping in the organ-loft, all combined with freedom, made his paradise +complete. He played on the harpsichord in the pastor's study sometimes; +and occasionally the organist, who could not help loving such a +music-loving boy, would allow him to try the big organ, and at every +service he was present to play his violin, or if any of the other +players were absent he<span class='pagenum'><a name="XIV_Page_148" id="XIV_Page_148">148</a></span> would just fill in and play any instrument +desired.</p> + +<p>Then we hear of him trudging off to Hamburg, a hundred miles away, with +only a few coppers in his pocket, to hear the great organist Reinke. He +slept in cattle-sheds by the way, played his violin at taverns for +something to eat, or plainly stated his case to sympathetic cooks at +backdoors. One instance he has recorded when all the world seemed to +frown. He had trudged all day, with nothing to eat, and at evening had +sat down near the open window of an inn, from which came savory smells +of supper. As he sat there, suddenly there were thrown out a couple of +small dried herrings. The hungry boy eagerly seized upon them, just as a +dog would. But what was his surprise to find, as he gnawed, in the mouth +of each fish a piece of silver! Some one had read the story of Saint +Peter to a purpose. Young Bach looked in vain for a person to thank, but +perceiving no one he took it as the act of God and an omen that his +pilgrimage to hear the great organist should not be in vain.</p> + +<p>The wonders of Reinke's playing and the marvel of the mighty music +filled his soul with awe, and fired his ambition to do a like +performance.</p> + +<p>Did the great Reinke know as he played that bright Sabbath morning, +filling the cathedral with thunders of echoing bass, or sounds of sweet, +subtle melody—did he know that away back in the throng stood a dusty, +tawny-haired boy who had tramped a hundred miles<span class='pagenum'><a name="XIV_Page_149" id="XIV_Page_149">149</a></span> just for this event? +And did the organist guess as he played that he was inspiring a human +soul to do a grand and wondrous work, and live a life whose influence +should be deathless? Probably not—few men indeed know when virtue has +gone out of them.</p> + +<p>Perhaps Reinke was playing just to suit himself, and had purposely put +the unappreciative, lazy, sleepy occupants of the pews out of his +thought, all unmindful that there was one among a thousand, back behind +a pillar, dusty and worn, but now unconsciously refreshed and oblivious +to all save the playing of the great organ. There stood the boy bathed +in sweet sounds, with streaming eyes and responsive heart.</p> + +<p>His inward emotions supplemented the outward melody, for music demands a +listener, and at the last is a matter of soul, not sound: its appeal +being a harmony that dwells within. So played Reinke, and back by the +door, peering from behind a pillar, stood the boy.<span class='pagenum'><a name="XIV_Page_150" id="XIV_Page_150">150</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-031" id="illus-031"></a> +<img src="images/img051.jpg" alt="S" title="" width = "72" height = "80"/> +</div> +<p>ebastian Bach was such a useful member of the choir at Luneburg that +the town musician from Weimar, who happened to be going that way, +induced him to go home with him as assistant organist.</p> + +<p>This was a definite move in the direction of fame and fortune. Men who +can make themselves useful are needed—there is ever a search for such. +They wanted Bach at Weimar. Johann Sebastian Bach, aged eighteen, was +wanted because he did his work well.</p> + +<p>After three or four months at Weimar he made a visit to Arnstadt, where +his uncle had so long been organist. His name at Arnstadt was a name to +conjure with, and in fact throughout all that part of the country, +whenever a man proved to be a musician of worth and power the people out +of compliment called him a "Bach."</p> + +<p>Johann Sebastian was invited to play for the people, and all were so +delighted that they insisted he should come and fill the place made +vacant by the death of the "Great Bach."</p> + +<p>So he came and was duly installed.</p> + +<p>And the young man drilled his chorus, wrote cantatas, and arranged +chants and hymns. But he was far from contented. He was being pushed on +by a noble unrest. It was not so very long before we find him packing +off to Denmark, with little ceremony, to listen to the playing of +Buxtehude, the greatest player of his age.</p> + +<p>Bach had been quite content to tiptoe into the church<span class='pagenum'><a name="XIV_Page_151" id="XIV_Page_151">151</a></span> when Reinke +played, grateful for the privilege of listening, half-expecting to be +thrust out as an interloper. He had gained confidence since then, and +now introduced himself to Buxtehude and was greeted by the octogenarian +as a brother and an equal, although sixty years divided them. His visit +extended itself from one week to two, and then to a month or more, and a +message came from his employers that if he expected to hold his place he +had better return.</p> + +<p>Bach's visit to Buxtehude formed another white milestone in his career. +He came back filled with enthusiasm and overflowing with ideas and plans +that a single lifetime could not materialize. Those who have analyzed +the work of Buxtehude and Bach tell us that there is a richness of +counterpoint, a vigor of style, a fulness of harmony, and a strong, +glowing, daring quality that in some pieces is identical with both +composers. In other words, Bach admired Buxtehude so much that for a +time he wrote and played just like him, very much as Turner began by +painting as near like Claude Lorraine as he possibly could. Genius has +its prototype, and in all art there is to be found this apostolic +succession. Bach first built on Reinke; next he transferred his +allegiance to Buxtehude; from this he gradually developed courage and +self-reliance until he fearlessly trusted himself in deep water, +heedless of danger. And it is this fearless, self-reliant and +self-sufficient quality that marks the work of every exceptional man in +every line of art.<span class='pagenum'><a name="XIV_Page_152" id="XIV_Page_152">152</a></span> "Here's to the man who dares," said Disraeli. All +strong men begin by worshiping at a shrine, and if they continue to grow +they shift their allegiance until they know only one altar and that is +the Ideal which dwells in their own heart.<span class='pagenum'><a name="XIV_Page_153" id="XIV_Page_153">153</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-032" id="illus-032"></a> +<img src="images/img011.jpg" alt="A" title="" width = "72" height = "80"/> +</div> +<p>nd now behold how Heinrich Bach had educated his people into the belief +that there was only one way to play, and that was as he did it. It is +not at all probable that Heinrich put forward any claims of perfection, +but the people regarded his playing as high-water mark, and any +variation from his standards was considered fantastic and absurd.</p> + +<p>In all of the old German Protestant churches are records kept giving the +exact history of the church. You can tell for two hundred years back +just when an organist was hired or dismissed; when a preacher came and +when he went away, with minute mention as to reasons.</p> + +<p>And so we find in the records of the Church at Arnstadt that the +organist, Johann Sebastian Bach, took a vacation without leave in the +year Seventeen Hundred Five, and further, when he returned his playing +was "fantastical."</p> + +<p>With the young man's compositions the Consistory expressed echoing +groans of dissatisfaction. A list of charges was drawn up against him, +one of which runs as follows: "We charge him with a habit of making +surprising variations in the chorales, and intermixing divers strange +sounds, so that thereby the congregation was confounded."</p> + +<p>Bach's answers are filed with the original charges, and are all very +brief and submissive. In some instances he pleads guilty, not thinking +it worth his while, strong<span class='pagenum'><a name="XIV_Page_154" id="XIV_Page_154">154</a></span> man that he was, to either apologize or +explain.</p> + +<p>But the most damning count brought against him was this: "We further +charge him with introducing into the choir-loft a Stranger Maiden, who +made music." To this, young Bach makes no reply. Brave boy!</p> + +<p>The sequel is shown that in a few weeks he was married to this "Stranger +Maiden," who was his cousin. She was a Bach, too, a descendant of the +merry Hans, and she, also, played the organ. But great was the horror of +the Arnstadites that a woman should play a church organ. Mein Gott im +Himmel—a woman might be occupying the pulpit next!</p> + +<p>Johann Sebastian's indifference to criticism is partially explained by +the fact that he was in correspondence with the Consistory at Mulhausen, +and also with the Duke Wilhelm Ernest, of Saxe-Weimar. Both Mulhausen +and Weimar wanted his services. Under such conditions men have ever been +known to invite a rupture—let us hope that Johann Sebastian Bach was +not quite so human.<span class='pagenum'><a name="XIV_Page_155" id="XIV_Page_155">155</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-033" id="illus-033"></a> +<img src="images/img081.jpg" alt="M" title="" width = "72" height = "80"/> +</div> +<p>ichelangelo never married, but Bach held the average good by marrying +twice.</p> + +<p>He was the father of just twenty children. His first wife was a woman +with well-defined musical tastes, as was meet in one with such an +illustrious musical pedigree. It wasn't fashion then to educate women, +and one biographer expresses a doubt as to whether Bach's first wife was +able to read and write. To read and write are rather cheap +accomplishments, though. Last year I met several excellent specimens of +manhood in the Tennessee Mountains who could do neither, yet these men +had a goodly hold on the eternal verities.</p> + +<p>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.</p> + +<p>The nine years Bach spent at Weimar, under the patronage of the Duke +Wilhelm Ernest, were years rich<span class='pagenum'><a name="XIV_Page_156" id="XIV_Page_156">156</a></span> 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."</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="XIV_Page_157" id="XIV_Page_157">157</a></span> 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.</p> + +<p>As Kapellmeister to the Court at Kothen he had the direction of a large +orchestra, and it seems also supervised a school of music.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.<span class='pagenum'><a name="XIV_Page_158" id="XIV_Page_158">158</a></span> Man +is made to mourn, but most widowers say but a year.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="XIV_Page_159" id="XIV_Page_159">159</a></span> 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.</p> + +<p>As proof that this was no honeymoon whim, the collaboration continued +for over a score of years, in spite of increasing domestic +responsibilities.</p> + +<p>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.</p> + +<p>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.<span class='pagenum'><a name="XIV_Page_160" id="XIV_Page_160">160</a></span> 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.</p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="FELIX_MENDELSSOHN" id="FELIX_MENDELSSOHN"></a> +<span class='pagenum'><a name="XIV_Page_161" id="XIV_Page_161">161</a></span> +<h2>FELIX MENDELSSOHN</h2> +</div> + +<div class="figcenter" style="width: 343px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-034" id="illus-034"></a> +<img src="images/img171.jpg" alt="FELIX MENDELSSOHN" title="" width = "343" height = "500"/> +</div> + +<div class="blockquot"><p>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.</p> + +<p class='author'>—<i>Mendelssohn to Devrient</i></p></div> + +<p><span class='pagenum'><a name="XIV_Page_163" id="XIV_Page_163">163</a></span></p> + +<h3>FELIX MENDELSSOHN</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-035" id="illus-035"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>hirty-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.</p> + +<p>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.</p> + +<p>But who can wonder that the old poet's heart went out to the youthful +Mendelssohn as soon as he saw him!<span class='pagenum'><a name="XIV_Page_164" id="XIV_Page_164">164</a></span></p> + +<p>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.</p> + +<p>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.</p> + +<p>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."</p> + +<p>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<span class='pagenum'><a name="XIV_Page_165" id="XIV_Page_165">165</a></span> 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.</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="XIV_Page_166" id="XIV_Page_166">166</a></span> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="XIV_Page_167" id="XIV_Page_167">167</a></span> 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.</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="XIV_Page_168" id="XIV_Page_168">168</a></span> his presence.</p> + +<p>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.</p> + +<p>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.</p> + +<p>Goethe had pooh-poohed and smitten the table with his "stein" in denial.</p> + +<p>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.</p> + +<p>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.<span class='pagenum'><a name="XIV_Page_169" id="XIV_Page_169">169</a></span></p> + +<p>"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.</p> + +<p>"Oh, a little!" answered Zelter indifferently.</p> + +<p>The ladies insisted—they always had music when Zelter made them a +visit.</p> + +<p>"Come, make some noise and awaken the spirits that have so long lain +slumbering!" ordered the old poet.</p> + +<p>Zelter advanced to the piano and played a stiff, formal little tune of +his own.</p> + +<p>He arose and motioned to Felix.</p> + +<p>"Play that!" said the teacher.</p> + +<p>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.</p> + +<p>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."</p> + +<p>Goethe arose, stroked the boy's pretty brown curls,<span class='pagenum'><a name="XIV_Page_170" id="XIV_Page_170">170</a></span> 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!"</p> + +<p>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.</p> + +<p>Then piece after piece was brought out for him to play, and Zelter +leaned back and by his manner said, "Oh, it is nothing!"</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="XIV_Page_171" id="XIV_Page_171">171</a></span>—boys together.</p> + +<p>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 "Æsthetics," and revealed to him for the first time the +wonders of Beethoven.</p> + +<p>Can you not close your eyes and see them—the mighty giant of fourscore, +with his whitened locks, and the slight, slender, handsome boy?</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="XIV_Page_172" id="XIV_Page_172">172</a></span> 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."<span class='pagenum'><a name="XIV_Page_173" id="XIV_Page_173">173</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-036" id="illus-036"></a> +<img src="images/img145.jpg" alt="W" title="" width = "72" height = "80"/> +</div> +<p>ith 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>Sorrow had never pierced the heart of this prosperous and very +respectable person.</p> + +<p>He was never guilty of indiscretion or excess, and no demon of +discontent haunted his dreams.<span class='pagenum'><a name="XIV_Page_174" id="XIV_Page_174">174</a></span></p> + +<p>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.</p> + +<p>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.</p> + +<p>Only the exiled can sympathize with the exile—only<span class='pagenum'><a name="XIV_Page_175" id="XIV_Page_175">175</a></span> the downtrodden and +the sore-oppressed understand the outcast. Golgotha never came to +Mendelssohn, and this was at once his blessing and his misfortune.</p> + +<p>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.</p> + +<p>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.<span class='pagenum'><a name="XIV_Page_176" id="XIV_Page_176">176</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-037" id="illus-037"></a> +<img src="images/img051.jpg" alt="S" title="" width = "72" height = "80"/> +</div> +<p>aintship is the exclusive possession of those who have either worn out, +or never had, the capacity to sin.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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<span class='pagenum'><a name="XIV_Page_177" id="XIV_Page_177">177</a></span> 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.</p> + +<p>I once heard Henry Irving make a speech at Harvard University, and shall +never forget the tremor in his voice and the half-embarrassment of his +manner. What could have been more complimentary to college striplings? +And then, as usual, he looked helplessly about for Ellen Terry, and +having located her, held out his hand toward her and led her to the +front to receive the homage.</p> + +<p>Tears filled my eyes. Was Irving's action art? Ods-bodkins! I never +thought of it: I was hypnotized and all swallowed up in loving +admiration for Sir Henry and the beautiful Lady Ellen.</p> + +<p>Felix Mendelssohn was beloved by his players. First, because he never +wrote parts that only seraphs of light could play. In this he was unlike +Wagner, who could think such music as no brass, no wood nor strings +could perform, and so was ever in torments of doubt and disappointment. +Second, he was always grateful when his players did the best they could. +Third, he was graciously polite, even at rehearsals. The extent of his +inclination to rebuke was shown once when he abruptly rapped for +silence, and when quiet came said to his orchestra: "I am sure that any +one of the gentlemen present could<span class='pagenum'><a name="XIV_Page_178" id="XIV_Page_178">178</a></span> write a symphony. I think, too, that +you can all improve on the music of the past—even that of Beethoven. +But this afternoon we are playing Beethoven's music—will you oblige +me?" And every man awoke to the necessity of putting the sweet, subtile, +strong quality of the master into the work, instead of absent-mindedly +sounding the note, fighting bluebottles, and taking care merely not to +get off the key too much.</p> + +<p>At the great Birmingham Festival several hundred ladies in the audience +contrived at a given signal to shower the great conductor with bouquets. +And Mendelssohn, entering into the spirit of the fun, dexterously caught +the blossoms and tossed them to his players, not even forgetting the +triangles and the boys who played the kettledrums.</p> + +<p>Bayard Taylor has described the lustrous brown eyes of Mendelssohn, that +seemed to send rays of light into your own: "Such eyes are the +possession of men who have seen heavenly visions. Genius shows itself in +the eye. Those who looked into the eyes of Sir Walter Scott, Robert +Burns or Lord Byron, always came away and told of it as an epoch in +their lives. This was what I thought when I sat vis-a-vis with Felix +Mendelssohn and looked into his eyes. I did not hear his voice, for I +was too intent on gazing into the fathomless depths of those splendid +eyes—eyes that mirrored infinity, eyes that had beheld celestial glory. +Little did I think then that in two years those eyes would close +forever."<span class='pagenum'><a name="XIV_Page_179" id="XIV_Page_179">179</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-038" id="illus-038"></a> +<img src="images/img017.jpg" alt="I" title="" width = "72" height = "80"/> +</div> +<p>n a letter to Hensel, Felix Mendelssohn's sex-quality is finely +revealed, when he says that his friends are advising him to marry, and +he is on the lookout for a wife.</p> + +<p>Ye gods! there is something strangely creepy about the thought of a man +going out in cold blood to seek a wife. Only two kinds of men search for +a wife; one is the Turk, and the other is his antithesis, who is advised +to marry for hygienic, prudential or sociologic reasons. John Ruskin was +"advised" to marry and the matter was duly arranged for him. In a week +he awoke to the hideousness of the condition. Six years elapsed before +John Millais and Chief Justice Coleridge collaborated to set him free, +but the cicatrix remained.</p> + +<p>The great books are those the authors had to write to get rid of; the +only immortal songs are those sung because the singers could not help +it. The best-loved wife is the woman who married because her lover had +to marry her to get rid of her; the children that are born because they +had to be are the ones that stock the race; and the love that can not +help itself is the only love that uplifts and inspires.</p> + +<p>Felix Mendelssohn, the slight, joyous, girlish youth, should have +preserved his Cecilia-like virginity. He should have left marriage to +those who were capable of nothing else; this would not have meant that +he turn ascetic, for the ascetic is a voluptuary in disguise. He should +simply have been married to his work. The<span class='pagenum'><a name="XIV_Page_180" id="XIV_Page_180">180</a></span> wonder is, though, that once +the thought of marriage was forced upon him, he did not marry a Hittite +who delighted in pork-chops and tomato-sauce, ordered Guinness Stout in +public places, and disciplined him as a genius should be disciplined.</p> + +<p>Fate was kind, however, and the lady of his choice was nearly as +esthetic in face and form, as gentle and spirituelle as himself. She +never humiliated him by cackle, nor led him a merry chase after +society's baubles. Her only wish was to please him and to do her wifely +duty. They pooled their weaknesses, and it need not be stated that this, +the only love in the life of Mendelssohn, made not the slightest impress +on his art, save to subdue it. The passing years brought domestic +responsibilities, and the every-day trials of life chafed his soul, +until the wasted body, grown tired before its time, refused to go on, +and death set the spirit free.<span class='pagenum'><a name="XIV_Page_181" id="XIV_Page_181">181</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-039" id="illus-039"></a> +<img src="images/img081.jpg" alt="M" title="" width = "72" height = "80"/> +</div> +<p>endelssohn made five visits to England, where his success was even +greater than it was at home. He learned to express himself well in +English, but always spoke with the precision and care that marks the +educated foreigner. So the result was that he spoke really better +"English" than the English. The ease with which the Hebrew learns a +language has often been noted and commented upon. Mendelssohn preferred +German, but was not at a loss to carry on a conversation in French, +Italian or English.</p> + +<p>His nature was especially cosmopolitan, and like the true aristocrat +that he was, he was also a democrat, and at home in any society.</p> + +<p>When he was invited by the Queen to call upon her at Buckingham Palace, +he went alone, in his afternoon dress, and sent in his card as every +gentleman does when he calls upon a lady. Her Majesty greeted him at the +door of her sitting-room, and dismissed the servants. They met as +equals. In compliment to her guest Victoria spoke only in German. The +Queen, seeing the music-rack was not in order, apologized, womanlike, +for the appearance of the room and began to dust things in the usual +housewifely fashion.</p> + +<p>Mendelssohn, with that fine grace which never forsook him, assisted her +in putting things to rights, and when the piano was opened, he proceeded +to carry out two pet parrots, laughingly explaining that if they were to +have music, it was well to insure against competition.<span class='pagenum'><a name="XIV_Page_182" id="XIV_Page_182">182</a></span></p> + +<p>He sat down at the piano and played, without being asked, and sang a +little song in English in graceful but unobtrusive compliment to the +hostess. Then the Queen sang in German, he playing the accompaniment. +And in his letter to his sister Fanny, telling her of all this, in his +easy, gossipy, brotherly way, Felix adds that the Queen has a charming +soprano voice, that only needs a little cultivation and practise to make +her fit to take the leading part in "Elijah."</p> + +<p>This was no joke to Felix—he only regretted that Queen Victoria's +official position was such that she could not spare enough time for +music.</p> + +<p>Albert did not appear upon the scene until Mendelssohn had extended his +call to an hour, and was just ready to leave. The Prince Consort was too +perfect a gentleman to ever obtrude when his wife was entertaining +callers, but now he apologized for not knowing the Meister had honored +them—which we hope was a white lie. But, anyway, Felix consented to +remain and play a few bars of the oratorio they had heard him conduct +the night before. Then Albert sang a little, and Victoria insisted on +making a cup of tea for the guest before they parted. When he went away, +Albert and Victoria both walked with him down the hall, and as he bade +them good-by, Victoria spoke the kindly "Auf wiedersehen."</p> + +<p>In the story of her life, Victoria has in spirit corroborated this +account of her meeting with Mendelssohn. She refers to him as her dear +friend and the friend of her<span class='pagenum'><a name="XIV_Page_183" id="XIV_Page_183">183</a></span> husband, and pays incidentally a gentle +tribute to his memory.</p> + +<p>The universal quality of Mendelssohn's knowledge, his fine forbearance +and diplomatic skill in leading a conversation into safe and peaceful +waters, were very marked. He was recognized by the King of Saxony as a +king of art, and so was received into the household as an equal; and +surely no man ever had a more kingly countenance. His body, however, +seemed to lag behind, and was no match for his sublime spirit. But when +fired by his position as Conductor, or when at the piano, the slender +body was nerved to a point where it seemed all suppleness and sinewy +strength.</p> + +<p>In his "Songs Without Words," the spirit of the Master is best shown. +There the grace, the gentleness and the sublimity of his soul are best +mirrored. And if at twilight you should hear his "On the Wings of Song," +played by one who understands, perhaps you will feel his spirit near, +and divine the purity, kindliness and excellence of Felix +Mendelssohn-Bartholdy.<span class='pagenum'><a name="XIV_Page_184" id="XIV_Page_184">184</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="FRANZ_LISZT" id="FRANZ_LISZT"></a> +<span class='pagenum'><a name="XIV_Page_185" id="XIV_Page_185">185</a></span> +<h2>FRANZ LISZT</h2> +</div> + +<div class="figcenter" style="width: 348px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-040" id="illus-040"></a> +<img src="images/img197.jpg" alt="FRANZ LISZT" title="" width = "348" height = "500"/> +</div> + +<div class="blockquot"><p>Were I to tell you what my feelings were on carefully perusing and +reperusing this essay, I could hardly find terms to express myself. +Let this suffice: I feel more than fully rewarded for my trials, my +sacrifices and artistic struggles, on noting the impression I have +made on you in particular. To be thus completely understood was my +only ambition; and to have been understood is the most ravishing +gratification of my longing.</p> + +<p class='author'>—<i>Liszt in a Letter to Wagner</i></p></div> + +<p><span class='pagenum'><a name="XIV_Page_187" id="XIV_Page_187">187</a></span></p> + +<h3>FRANZ LISZT</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-041" id="illus-041"></a> +<img src="images/img017.jpg" alt="I" title="" width = "72" height = "80"/> +</div> +<p>n writing of Liszt there is a strong temptation to work the superlative +to its limit. In this instance it is well to overcome temptation by +succumbing to it.</p> + +<p>That word "genius" is much bandied, and often used without warrant; but +for those rare beings who leap from the brain of Jove, full-armed, it is +the only appellation. No finespun theory of pedagogics or heredity can +account for the marvelous talent of Franz Liszt—he was one sent from +God.</p> + +<p>Yet we find a few fortuitous circumstances that favored his evolution. +Possibly, on the other hand, there are those who might say the boy +attracted to himself the human elements that he required, and thus +worked out his freedom, acquiring that wondrous ability to express his +inmost emotions. Art is the beautiful way of doing things. All art is +the expression of sublime emotions; and there seems a strong necessity +in every soul to impart the joy and the aspiration that it feels. And +further, art is for the artist first, just as work is for the worker—it +is all just a matter of self-development. And how blessed is it to think +that every soul that works out its own freedom gives freedom to others! +Liszt is the inspirer of musicians, just as Shakespeare is the inspirer +of writers.<span class='pagenum'><a name="XIV_Page_188" id="XIV_Page_188">188</a></span> Strong men make it possible for others to be strong. No man +of the century gave the science of music such an impulse for good as +this man. To go no further in way of proof, let the truth be stated yet +once again, that it was Franz Liszt who threw a rope to the drowning +Wagner.</p> + +<p>On October Twenty-second, in the year Eighteen Hundred Eleven, when a +man-child was born at the village of Raiding, Hungary, the heavens gave +no sign, and no signal-flags nor couriers proclaimed the event, all as +had been done a week before when a babe was born to the Prince and +Princess Esterhazy at the same place. Now the child born last was the +son of obscure parents, the father being an underling secretary of the +Prince, known as Liszt. The child was very weak and frail, and for some +months it was thought hardly possible it could live; but Destiny decreed +that the boy should not perish.</p> + +<p>The first recollections of Liszt take in, in a happy view, four men +playing cards at a square table. One of these men was the boy's father, +another was Mein Herr Joseph Haydn, and the other two players are lost +in the fog of obscurity. Did they ever know what a wonderful game they +played, as little Franz Liszt, sitting on a corner of the table, +listened to their talk and admired the buttons on the coat of the +Kappellmeister? After the card-game Haydn sat at the piano and played, +and the boy, just three years old, thought he could do that, too. Then +there was another Kappellmeister in the employ of<span class='pagenum'><a name="XIV_Page_189" id="XIV_Page_189">189</a></span> Prince Nicholas +Esterhazy at Eisenstadt, and his name was Hummel. He was a pupil of +Mozart, and used to tell of it quite often when he came up to Raiding on +little visits, after the wine had been sampled. Liszt the Elder used to +help Hummel straighten out his accounts, and where went Liszt the Elder, +there, too, went little Franz Liszt, who wasn't very strong and banked +on it, and had to be babied. And so little Franz became acquainted with +Hummel and used to sit on his knee at the piano, and together they +played funny duets that set the company in a roar—two tunes at a time, +harmonious discords and counterpoint, such as no one ever heard before, +or since.</p> + +<p>At this time there was no piano at the Liszt cottage, but the boy +learned to play at the neighbors', and practised at the palace of the +Prince. His father and mother once took him there to hear Hummel. On +this occasion Hummel played the Concerto by Reis in C minor. At the +close of the performance, little Franz climbed up on the piano-stool and +very solemnly played the same thing himself, to the immense delight of +the listeners.</p> + +<p>The father of Liszt has recorded that at this time the child was but +three years old, but after taking off the proper per cent for the pride +of a fond parent, the probabilities are the boy was five. This is the +better attested when we remember that it was only a few weeks later +that, on the request of Prince Esterhazy, the boy played at a concert in +Oedenburg.<span class='pagenum'><a name="XIV_Page_190" id="XIV_Page_190">190</a></span></p> + +<p>This launched the boy on that public career which was to continue for +just seventy years. There is good evidence that the boy could read music +before he could read writing, and that he threw into his playing such +feeling and expression as Ferdinand Reis, who merely imitated his +master, Beethoven, had never anticipated. That is to say, when he played +"Reis," he improved on him, with variations all his own—attempts often +made with the work of great composers, but which incur risks not +advised.</p> + +<p>It will be seen that Liszt, although born in poverty, was from the very +first in a distinctly musical environment. He could not remember a time +when he did not attend the band-concerts—his parents wanted to go, and +took the baby because there were no servants to take charge of him at +home. Music was in the air, and everybody discussed it, just as in Italy +you may hear the beggars in the streets criticizing art.</p> + +<p>The delightful insouciance of this child-pianist won the heart of every +hearer, and his success quite turned the head of his father, the worthy +bookkeeper.</p> + +<p>To give the child the advantages of an education was now his parents' +one ambition. Having no money of his own, the father importuned his +employer, the Prince, who rather smiled at the thought of spending time +and money on such an elfin-like child. His playing was, of course, +phenomenal, unaccountable, a sort of bursting out of the sun's rays, +and, like the rainbow, a thing not<span class='pagenum'><a name="XIV_Page_191" id="XIV_Page_191">191</a></span> to be seized upon and kept. It was +mere precocity, and precocity is a rareripe fruit, with a worm at the +core. This discouragement of the over-ambitious father was probably +wise, for it gave the boy a chance to play I-Spy and leapfrog in the +streets of the village, and to roam the fields. The lad became strong +and well, and when ten years of age he had grown into a handsome +youngster with already those marks of will and purpose on his beautiful +face that were to be his credentials to place and power.</p> + +<p>He had often played at concerts in the towns and villages about, and +when there were visitors at the palace this fine, slim son of the +bookkeeper was sent for to entertain them.</p> + +<p>This attention kept ambition alive in the hearts of his parents, and +after many misgivings they decided to hazard all and move to Vienna to +give their boy the opportunities they felt he deserved.</p> + +<p>The entire household effects being sold, the bookkeeper found he had +nearly six hundred francs—one hundred fifty dollars. To this amount +Prince Esterhazy added fifty dollars, and Hummel gave his mite, and with +tears of regret at breaking up the home-nest, but with high hope, +flavored by chill intervals of fear, the father, mother and boy started +for Vienna.</p> + +<p>Arriving in that city the distinguished Carl Czerny, pupil of Beethoven, +was importuned to take the lad. Only the letter from Hummel secured the +boy an<span class='pagenum'><a name="XIV_Page_192" id="XIV_Page_192">192</a></span> audience, for Czerny was already overburdened with pupils. But +when he had listened to the lad's playing, he consented to take him as a +pupil, merely saying that he showed a certain degree of promise. It is +sternly true that Czerny did not fully come into the Liszt faith until +after that concert of April Thirteenth, Eighteen Hundred Twenty-three, +when Beethoven, ripe with years, crowded his way to the front and kissed +the player on both cheeks, calling him "my son." Such a greeting from +the great Master spoke volumes when we consider the lifelong aversion +that Beethoven held toward "prodigies," and his disinclination to attend +all concerts but his own.</p> + +<p>And thus did Franz Liszt begin his professional pilgrimage, consecrated +by the kiss of the Master.</p> + +<p>Paris was the next step—to Paris, the musical and artistic center of +the world. To win in Paris meant fame and fortune wherever he wished to +exhibit his powers. The way the name of Franz Liszt swept through the +fashionable salons of Paris is too well known to recount. Scarcely +thirteen years of age, he played the most difficult pieces with peculiar +precision and power. And his simple, boyish, unaffected manner—his +total lack of self-consciousness—won him the affection of every +mother-heart. He was fondled, feted, caressed, and took it all as a +matter of course. He had not yet reached the age of indiscretion.<span class='pagenum'><a name="XIV_Page_193" id="XIV_Page_193">193</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-042" id="illus-042"></a> +<img src="images/img081.jpg" alt="M" title="" width = "72" height = "80"/> +</div> +<p>usic is a secondary sexual manifestation, just as are the songs of +birds, their gay and gaudy plumage, the color and perfume of flowers +that so delight us, and the luscious fruits that nourish us—all is sex. +And then, do you not remember that expression of Renan's, "The +unconscious coquetry of the flowers"? Without love there would be no +poetry and no music. All the manifest beauty of earth is only Nature's +nuptial decoration.</p> + +<p>James Huneker, not always judicious, but a trifle more judicial than +others that might be named, declares that two women, making a +simultaneous attack upon the great composer, caused him to cut for +sanctuary, and hence we have the Abbe Liszt, thus proving again that +love and religion are twin sisters.</p> + +<p>The old-time biographers can easily be placed in two classes: those who +sought to pillory their man, and those who sought to protect him. +Neither one told the truth; but each gave a picture, more or less +blurred, of a being conjured forth from their own inner consciousness. +Franz Liszt was naturalized in the Faubourg Saint Germain. It was here +that he was first hailed as the infant prodigy, and proud ladies, at his +performances, pressed to the front and struggled for the privilege of +imprinting on his fair forehead a chaste and motherly kiss.<span class='pagenum'><a name="XIV_Page_194" id="XIV_Page_194">194</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-043" id="illus-043"></a> +<img src="images/img024.jpg" alt="E" title="" width = "72" height = "80"/> +</div> +<p>ight years had passed: years of work and travel and constant growing +fame. The youth had grown into a man, and his return to the scene of his +former triumphs was the signal for a regathering of the clans to note +his progress—or decline. The verdict was that from "Le Petit Prodige," +he had evolved into something far more interesting—"Le Grand Prodige." +Tall, handsome, strong, and with a becoming diffidence and a half-shy +manner, his name went abroad, and he became the rage of the salons. His +marvelous playing told of his hopes, longings, fears and +aspirations—proud, melancholy, imploring, sad, sullen—his tones told +all.</p> + +<p>Fair votaries followed him from one performance to another. Leaving out +of the equation such mild incidents as the friendship for George Sand, +which began with a brave avowal of platonics, and speedily drifted into +something more complex; also the equally interesting incident of his +being invited to visit the Chateau of the lovely Adele Laprunarede, and +the Alpine winter catching the couple and holding them willing captives +for three months, blocked there in a castle, with nothing worse than a +conscience and an elderly husband to appease, we reach the one, supreme +love-passion in the life of Liszt. The Countess d'Agoult is worthy of +much more than a passing note.</p> + +<p>At twenty years of age she had been married to a man twenty-one years +her senior. It was a "mariage de<span class='pagenum'><a name="XIV_Page_195" id="XIV_Page_195">195</a></span> convenance"—arranged by her parents +and a notary in a powdered wig. It is somewhat curious to find how many +great women have contracted just such marriages. Grim disillusionment +following, true love holding nothing in store for them, they turn to +books, politics or art, and endeavor to stifle their woman's nature with +the husks of philosophy.</p> + +<p>Count d'Agoult was a hard-headed man of affairs—stern, sensible and +reasonably amiable—that is to say, he never smashed the furniture, nor +beat his wife. She submitted to his will, and all the fine, girlish, +bubbling qualities of her mind and soul were soon held in check through +that law of self-protection which causes a woman to give herself +unreservedly only to the One who Understands. Yet the Countess was not +miserable—only at rare intervals did there come moods of a sort of +dread longing, homesickness and unrest; but calm philosophy soon put +these moods to rout. She had focused her mind on sociology and had +written a short history of the Revolution, a volume that yet commands +the respect of students. At intervals she read her essays aloud to +invited guests. She studied art, delved a little in music, became +acquainted with the leading thinking men and women of her time, and +opened her salon for their entertainment.</p> + +<p>Three children had been born to her in six years. Maternity is a very +necessary part of every good woman's education—"this woman's flesh +demands its<span class='pagenum'><a name="XIV_Page_196" id="XIV_Page_196">196</a></span> natural pains," says a great writer in a certain play. A +staid, sensible woman was the Countess d'Agoult—tall, handsome, +graceful, and with a flavor of melancholy, reserve and disinterestedness +in her make-up that made her friendship sought by men of maturity. She +talked but little, and won through the fine art of listening.</p> + +<p>She was neither happy nor unhappy, and if the gaiety of girlhood had +given way to subdued philosophy, there were still wit, smiles and gentle +irony to take the place of laughter. "Life," she said, "consists in +molting one's illusions."</p> + +<p>The Countess was twenty-nine years of age when "Le Grand Prodige," aged +twenty-three, arrived in Paris. She had known him when he was "Le Petit +Prodige"—when she was a girl with dreams and he but a child. She wished +to see how he had changed, and so went to hear him play. He was +insincere, affected and artificial, she said—his mannerisms absurd and +his playing acrobatic. At the next concert where he played she sought +him out and half-laughingly told him her opinion of his work. He gravely +thanked her, with his hand upon his heart, and said that such honesty +and frankness were refreshing. After the concert Liszt remembered this +woman—she was the only one he did remember—she had made her +impression.</p> + +<p>He did not like her.</p> + +<p>Soon Liszt was invited to the salon of the Countess d'Agoult, and he, +the plebeian, proudly repulsed the<span class='pagenum'><a name="XIV_Page_197" id="XIV_Page_197">197</a></span> fair aristocrat when her attentions +took on the note of patronage. They mildly tiffed—a very good way to +begin a friendship, once said Chateaubriand.</p> + +<p>The feminine qualities in the heart of Liszt made a lure of the person +who dared affront him. He needed the flint on which his mind could +strike fire—nothing is so depressing as continual, mushy adulation. He +sought out the Countess, and together they traversed the border-land of +metaphysics, and surveyed, as the days passed, all that intellectual +realm which the dawn of the Twentieth Century thinks it has just +discovered.</p> + +<p>She taunted him into a defense of George Sand, who had but recently +returned from her escapade to Venice with Alfred de Musset. Liszt +defended the author of "Leone Leoni," and read to the Countess from her +books to prove his case.</p> + +<p>When haughty, proud and religious ladies mix mentalities with sensitive +youths of twenty-four, the danger-line is being approached. The Grand +Passions that live in history, such as that of Abelard and Heloise, +Petrarch and Laura, Dante and Beatrice, swing in their orbit around +world-weariness. Love does not concern itself with this earth alone—it +demands a universe for its free expression. And the only woman who is +capable of the Grand Passion—who stakes all on one throw of the +dice—is the melancholy woman, with this fine, religious reserve. No one +suspected the Countess d'Agoult of indiscretion—she was too cold and +self-contained for that!<span class='pagenum'><a name="XIV_Page_198" id="XIV_Page_198">198</a></span></p> + +<p>And so is the world deceived by the Eternal Paradox of things—that law +of antithesis which makes opposites look alike. Beneath the calm dignity +of matronly demeanor the fires of love were banked. Probably even the +Countess herself did not know of the volcano that was smoldering in her +heart. But there came a day when the flames burst forth, and all the +reserve, poise, quiet dignity, caution and discretion were dissolved +into nothingness in love's alembic.</p> + +<p>Poor Franz Liszt!</p> + +<p>Poor Countess d'Agoult!</p> + +<p>They were powerless in the coils of such a passion. It was a mad tumult +of wild intoxication, of delicious pain, of burning fears, and vain, +tossing unrest. The woman's nature, stifled by its six years of coaxing +marital repression, was asserting itself. Liszt did not know that a +woman could love like this—neither did the woman. Once they parted, +after talking the matter over solemnly and deciding on what was best for +both—they parted coldly—with a mere touching of the lips in a last +good-by.</p> + +<p>The next week they were together again.</p> + +<p>Then Liszt fled to the Abbe Lamennais, and in tears sought, at the +confessional and in dim retirement, a surcease from the passion that was +devouring him. Here was a pivotal point in the life of Liszt, and the +Church came near then, claiming him for her own. And such would have +been the case, were it not for the fact that<span class='pagenum'><a name="XIV_Page_199" id="XIV_Page_199">199</a></span> one of the children of the +Countess d'Agoult was sick unto death. He knew of the sleepless +vigils—the weary watching of the fond mother.</p> + +<p>The child died, and Franz Liszt went to the parent in her bereavement, +to offer the solace of religion and bid her a decent, respectful +farewell, ere he left Paris forever. He thought grief was a cure for +passion, and that in the presence of death, love itself was dumb. How +could he understand that, in most strong natures, tears and pain, and +hope and love are kin, and that each is in turn the manifestation of a +great and welling heart!</p> + +<p>Liszt stood by the side of the Countess as the grave closed over the +body of her firstborn child. And as they stood there, under the +darkening sky, her hand went groping blindly for his. She wrote of this, +years and years after, when seventy winters had silvered her hair and +her steps were feeble—she wrote of this, in her book called, +"Souvenirs," and tells how, in that moment of supreme grief, when her +life was whitened and purified by the fires of pain, her hand sought +his. The deep current of her love swept the ashes of grief away, and she +reached blindly for the hands—those wonderful music-making hands of +Liszt—that they might support her. And standing there, side by side, as +the priest intoned the burial service, he whispered to her, "Death shall +not divide us, nor is eternity long enough to separate thee from me!"<span class='pagenum'><a name="XIV_Page_200" id="XIV_Page_200">200</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-044" id="illus-044"></a> +<img src="images/img017.jpg" alt="I" title="" width = "72" height = "80"/> +</div> +<p>t was only a few days after that Liszt left Paris—but not for a +monastery. He journeyed to Switzerland, and stopping at Basle he was +soon joined by the Countess, her two children, and her mother.</p> + +<p>All Paris was set in an uproar by the "abduction." The George Sand +school approved and loudly applauded the "eclat"; but it was condemned +and execrated by the majority. As for the injured husband, it is said he +gave a banquet in honor of the event; his feelings, no doubt, being +eased by the fact that the goodly dot his wife had brought him at her +marriage was now his exclusive possession. He had never gauged her +character, anyway, and he inwardly acknowledged that her mind was of a +sort with which he could not parry.</p> + +<p>And now she had wronged him; yet in his grief he took much satisfaction, +and in his martyrdom there was sweet solace.</p> + +<p>The chief blame fell on Liszt, and the accusation that he had "broken up +a happy home" came to his ears from many sources. "They blame you and +you alone," a friend said to him.</p> + +<p>"Good! good!" said Liszt, "I gladly bear it all."</p> + +<p>George Sand, plain in feature, quiet in manner, soft and feminine when +she wished to be, yet possessing the mind of a man, went to Switzerland +to visit the runaway Liszt and the "Lady Arabella." At first thought, +one might suppose that such a visit, after the former<span class='pagenum'><a name="XIV_Page_201" id="XIV_Page_201">201</a></span> relationship, +might have been a trifle embarrassing for both. But the fact that in the +interval George Sand had been crunching the soul of Chopin formed an +estoppel on the memory of all the soft sentiment that had gone before. +George Sand brought her two children, Maurice and Solange, and the "Lady +Arabella" had two of her own to keep them company. A little family party +was made up, and with a couple of servants and a guide, a little journey +was taken through the mountain villages, all in genuine gipsy style. +George Sand, who worked up all life, its sensations and emotions, into +good copy, has given us an account of the trip, that throws some very +interesting side-lights on the dramatis personæ.</p> + +<p>The recounter and her children were all clothed in peasant +costume—man-style, with blouses and trousers. Gipsy garbs were worn by +the servants, and Liszt was arrayed like a mountaineer, and carried a +reed pipe, upon which he, from time to time, awoke the echoes. When the +dusty, unkempt crew arrived at a village inn, the landlord usually made +hot haste to secrete his silverware. Once when a sudden rainstorm drove +the wayfarers into a church, Liszt took his seat at the organ and +played—played with such power and feeling that the village priest ran +out and called for the neighbors to come quickly, as the Angel Gabriel, +in the guise of a mountaineer, was playing the organ. Anthem, oratorio, +and sweet, subtle, soulful improvisation followed, and the villagers +knelt, and eyes were filled with tears.<span class='pagenum'><a name="XIV_Page_202" id="XIV_Page_202">202</a></span> George Sand records that she +never heard such playing by the Master before; she herself wept, and yet +through her tears she managed to see a few things, and here is one +picture which she gives us: "The Lady Arabella sat on the balustrade, +swinging one foot, and cast her proud and melancholy gaze over the lower +nave, and waited in vain for the celestial voices that were supposed to +vibrate in her bosom.</p> + +<p>"Her abundant light hair, disheveled by the wind and rain, fell in +bewildering disorder, and her eyes, reflecting the finest hue of the +firmament, seemed to be wandering over the realm of God's creation after +each sigh of the huge organ, played by the divine Liszt.</p> + +<p>"'This is not what I expected,' said she to me languidly.</p> + +<p>"'Ah, that is what you said of the mountain peaks and the glacier, +yesterday,' said I."</p> + +<p>It will be seen, by those who have read between the lines, that George +Sand did not much like "the fair Lady Arabella of the wondrous length of +limb." In passing, it is well to note, in way of apology for this +allusion as to "length of limb," that George Sand was once spoken of by +Heine as "a dumpy-duodecimo." It is to be regretted that we have no +description of George Sand by the Lady Arabella.</p> + +<p>Years passed in study and writing, with occasional concert tours, +wherein the public flocked to hear the greatest pianist of his time. The +power, grasp and insight of the man increased with the years, and<span class='pagenum'><a name="XIV_Page_203" id="XIV_Page_203">203</a></span> +wherever he deigned to play, the public was not slow in giving him that +approbation which his masterly work deserved. Liszt was one of the Elect +Few who train on. On these short concert trips his wife (for such she +must certainly be regarded) seldom accompanied him—this in deference to +his wish, and this, it seems, was the first and last and only cause of +dissension between them.</p> + +<p>The Countess was born for a career and her spirit chafed at the forced +retirement in which she lived.</p> + +<p>Ten years had gone by and three children had been born to her and Liszt. +One of these, a boy, died in youth, but one of the daughters became, as +we know, the wife of Richard Wagner, and the other daughter married +Oliver Emile Ollivier, the eminent statesman and man of letters—member +of the Cabinet in that memorable year, Eighteen Hundred Seventy, when +France declared war on Germany. Both of these daughters of Liszt were +women of rare mentality and splendid worth, true daughters of their +father.</p> + +<p>Position is a pillory; sometimes the populace will pelt you with +rose-leaves—at others, with ancient vegetables. Liszt believed that for +his wife's peace of mind, and his own, she should not crowd herself too +much to the front—he feared what the mob might say or do. We can not +say that she was jealous of his fame, nor he of hers. However, as a +writer she was winning her way. But the fateful day came when the wife +said, "From this day on I must everywhere stand by your side, your<span class='pagenum'><a name="XIV_Page_204" id="XIV_Page_204">204</a></span> wife +and your equal, or we must part."</p> + +<p>They parted.</p> + +<p>Liszt made princely provision for her welfare, and the support of their +children, as well as those that had come to her before they met.</p> + +<p>She went south to Italy, and he began that most wonderful concert tour, +where, in Saint Petersburg, sums equal to ten thousand dollars were +taken at the door for single entertainments.</p> + +<p>Countess d'Agoult was the respected friend of King Emmanuel, and her +salon at Turin was the meeting-place of such men as Renan, Meyerbeer, +Chopin, Berlioz and Rossini. She carried on a correspondence with +Heinrich Heine, was the trusted friend of Prince Jerome Bonaparte, +Lamartine and Lamennais, and was on a footing of equality with the +greatest and best minds of her age. She wrote several plays, one of +which, "Jeanne d'Arc," was presented at the Court Theater of Turin, with +the Royal Family present, and was a marked success. Her criticism on the +work of Ingres made that artist's reputation, just as surely as Ruskin +made the fame of Turner. But one special reason why Americans should +remember this woman is because she first translated Emerson's "Essays" +and caused them to be published in Italian and French.</p> + +<p>I am not sure that Liszt ever quite forgave her for not dying of broken +heart, when they parted there at Lake Maggiore. He thought she would +take to opium or strong drink, or both. She did neither, but proved, by<span class='pagenum'><a name="XIV_Page_205" id="XIV_Page_205">205</a></span> +her after-life, that she was sufficient unto herself. She was worthy of +the love of Liszt, because she was able to do without it. She was no +parasitic, clinging vine that strangles the sturdy oak.</p> + +<p>The Abbe Lamennais, the close friend of Liszt, once said, "Liszt is a +great musician, the greatest the world has ever seen, but his wife can +easily take a mental octave which he can not quite span."</p> + +<p>The Countess d'Agoult died March Fifth, in Eighteen Hundred Seventy-six, +at the age of seventy years. When tidings of her passing reached the +Abbe Liszt, he caused all of his immediate engagements to be canceled +and went into monastic retirement, wearing the robe of horsehair and a +rope girdle at his waist. He filled the hours for the space of a month +with silent reverie and prayer.</p> + +<p>And even in that cloister-cell, with its stone floor and cold, bare +walls, the leaden hours brought the soundless presence of a tall and +stately woman. Through the desolate bastions of his brain she glided in +sweet disarray, looked into his tear-dimmed eyes, smoothing softly the +coarse pillow where rested that head with its lion's mane which we know +so well—a head now whitened by the frost of years. No sound came to him +there, save a soft voice which Fate refused to silence, and this voice +whispered and whispered yet again to him: "Death shall not divide us, +nor is eternity long enough to separate thee from me!"<span class='pagenum'><a name="XIV_Page_206" id="XIV_Page_206">206</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-045" id="illus-045"></a> +<img src="images/img117.jpg" alt="R" title="" width = "72" height = "80"/> +</div> +<p>eligion is not the cure of love. Perhaps religion is love and love is +religion—anyway, we know that they are often fused. For a time after +Liszt had parted from the Countess, fortune smiled. Then came various +loans to friends, managerial experiments, the backing of an ill-starred +opera, and a season of overwrought nerves.</p> + +<p>Luck had turned against the supposed invincible Liszt. Then it was that +the Princess Wittgenstein appears on the scene. This fine woman, +earnest, strong in character, intellectual, had tried ten years of +marital hard times and quit the partnership with a daughter and a goodly +dot.</p> + +<p>The Princess had secretly loved Liszt from afar, and had followed him +from town to town, glorying in his triumphs, feeding on his personality.</p> + +<p>When trouble came she managed to have a message conveyed to him that an +unknown woman would advance, without interest or security, enough money +for him to pay all his debts and secure him two years of leisure in +which he might regain his health and do such work as his taste might +dictate.</p> + +<p>Of course Liszt declined the offer, begging his unknown friend to +divulge her identity that he might thank her for her disinterested faith +in the cause of Art.</p> + +<p>A meeting was brought about and the result was as usual. The Grand +Duchess of Saxe-Weimar, in the face of scandal, took the Abbe and +Princess under protection,<span class='pagenum'><a name="XIV_Page_207" id="XIV_Page_207">207</a></span> giving them the Chateau of Altenburg, near +Weimar, for a retreat. There Liszt, guarded from all intrusion, composed +the symphonies of "Dante" and "Faust," sonatas, masses and parts of +"Saint Elizabeth." For thirteen years they lived an idyllic existence. +Then, having married her daughter by her first husband to Prince +Hohenlohe, the Princess set out for Rome to obtain a dispensation from +the Pope, so she and the Abbe could be married. Her husband, who was a +Protestant, had long before secured a divorce and married again. Pope +Pius the Ninth granted her wish, and she hastened home and prepared for +the wedding. It was said that flowers were already placed on the altar, +the marriage feast was prepared, the guests invited, when news came that +the Pope had changed his mind on the argument of one of the lady's +kinsmen. We now have every reason to believe, though, that the Pope +changed his mind on the earnest request of Liszt.</p> + +<p>On the death of the Princess Wittgenstein, the Pope dispensed Liszt from +his priestly ties, but he was called the Abbe until his death.</p> + +<p>Whenever I find any one who can write better on a subject than I can, I +refuse to go on.</p> + +<p>There is a book called, "Music Study in Germany," written by my friend +Amy Fay, and published by The Macmillan Company, from which I quote.</p> + +<p>If Amy Fay had not chosen to be the superb pianist that she is, she +might have struck thirteen in literature.<span class='pagenum'><a name="XIV_Page_208" id="XIV_Page_208">208</a></span></p> + +<p>There are a dozen biographies of Liszt, but none of them has ever given +us such a vivid picture of the man as has this American girl. The +simple, unpretentious little touches that she introduces are art so +subtile and true that it is the art which conceals art. The topmost +turret of my ambition would be to have Amy Fay Boswellize my memory.</p> + +<p>Says Amy Fay:</p> + +<div class="blockquot"><p>Liszt is the most interesting and striking-looking man imaginable, +tall and slight, with deep-set eyes, long iron-gray hair, and +shaggy eyebrows. His mouth turns up at the corners, which gives him +a most crafty and Mephistophelian expression when he smiles, and +his whole appearance and manner have a sort of Jesuitical elegance +and ease. His hands are very narrow, with long and slender fingers +that look as if they had twice as many joints as other people's. +They are so flexible and supple that it makes you nervous to look +at them. Anything like the polish of his manner I never saw. When +he got up to leave the box, for instance, after his adieux to the +ladies, he laid his hand on his heart and made his final bow—not +with affectation, or in mere gallantry, but with a quiet +courtliness which made you feel that no other way of bowing to a +lady was right or proper.</p> + +<p>But the most extraordinary thing about Liszt is his wonderful +variety of expression and play of feature. One moment his face will +look dreamy, shadowy, tragic; the next he will be insinuating, +amiable, ironical, sardonic; but always the same captivating grace +of manner. He is a perfect study. He is all spirit, but half the +time, at least, a mocking spirit, I should say. All<span class='pagenum'><a name="XIV_Page_209" id="XIV_Page_209">209</a></span> Weimar adores +him, and people say that women still go perfectly crazy over him. +When he walks out, he bows to everybody just like a king! The Grand +Duke has presented him with a beautiful house situated on the Park, +and here he lives elegantly, free of expense.</p> + +<p>Liszt gives no paid lessons whatever, as he is much too grand for +that, but if one has talent enough, or pleases him, he lets one +come to him and play to him. I go to him every other day, but I +don't play more than twice a week, as I can not prepare so much, +but I listen to others. Up to this point there have been only four +in the class beside myself, and I am the only new one. From four to +six o'clock in the afternoon is the time when he receives his +scholars. The first time I went I did not play to him, but listened +to the rest. Urspruch and Leitert, two young men whom I met the +other night, have studied with Liszt a long time, and both play +superbly.</p> + +<p>As I entered the salon, Urspruch was performing Schumann's +"Symphonic Studies"—an immense composition, and one that it took +at least half an hour to get through. He played so splendidly that +my heart sank down into the very depths. I thought I should never +get on there! Liszt came forward and greeted me in a very friendly +manner as I entered. He was in a very good humor that day, and made +some little witticisms. Urspruch asked him what title he should +give to a piece he was composing. "Per aspera ad astra," said +Liszt. This was such a good hit that I began to laugh, and he +seemed to enjoy my appreciation of his little sarcasm. I did not +play that time as my piano had only just come, and I was not +prepared to do so, but I went home and practised tremendously for +several days on Chopin's<span class='pagenum'><a name="XIV_Page_210" id="XIV_Page_210">210</a></span> "B minor sonata." It is a great +composition and one of his last works. When I thought I could play +it, I went to Liszt, though with a trembling heart. I can not tell +you what it has cost me every time I have ascended his stairs. I +can scarcely summon up courage to go there, and generally stand on +the steps a few moments before I can make up my mind to open the +door and go in.</p> + +<p>Well, on this day the artists Leitert and Urspruch, and the young +composer Metzdorf, were in the room when I came. They had probably +been playing. At first Liszt took no notice of me beyond a +greeting, till Metzdorf said to him, "Herr Doctor, Miss Fay has +brought a sonata." "Ah, well, let us hear it," said Liszt. Just +then he left the room for a minute, and I told the three gentlemen +they ought to go away and let me play to Liszt alone, for I felt +nervous about playing before them. They all laughed at me and said +they would not budge an inch. When Liszt came back they said to +him, "Only think, Herr Doctor, Miss Fay proposes to send us all +home." I said I could not play before such artists. "Oh, that is +healthy for you," said Liszt with a smile, and added, "you have a +very choice audience now." I don't know whether he appreciated how +nervous I was, but instead of walking up and down the room, as he +often does, he sat down by me like any other teacher, and heard me +play the first movement. It was frightfully hard, but I had studied +it so much that I managed to get through with it pretty +successfully. Nothing could exceed Liszt's amiability, or the +trouble he gave himself, and instead of frightening me, he inspired +me. Never was there such a delightful teacher! and he is the<span class='pagenum'><a name="XIV_Page_211" id="XIV_Page_211">211</a></span> most +sympathetic one I've had. You feel so free with him, and he +develops the very spirit of music in you. He doesn't keep nagging +at you all the time, but he leaves you your own conception. Now and +then he will make a criticism or play a passage, and with a few +words give you enough to think of all the rest of your life. There +is a delicate point to everything he says as subtle as he is +himself. He doesn't tell you anything about the technique; that you +must work out for yourself. When I had finished the first movement +of the sonata, Liszt, as he always does, said "Bravo!" Taking my +seat he made some little criticisms, and then he told me to go on +and play the rest of it.</p> + +<p>Now, I only half-knew the other movements, for the first one was so +extremely difficult that it cost me all the labor I could give to +prepare that. But playing to Liszt reminds me of trying to feed the +elephant in the Zoological Garden with lumps of sugar. He disposes +of whole movements as if they were nothing, and stretches out +gravely for more! One of my fingers fortunately began to bleed, for +I had practised the skin off, and that gave me a good excuse for +stopping. Whether he was pleased at this proof of industry, I know +not; but after looking at my finger and saying, "Oh!" very +compassionately, he sat down and played the whole three last +movements himself. That was a great deal and showed off his powers. +It was the first time I had heard him, and I don't know which was +the most extraordinary—the Scherzo, with its wonderful lightness +and swiftness, the Adagio with its depth and pathos, or the last +movement, where the whole keyboard seemed to "donnern und blitzen." +There is such a vividness about everything<span class='pagenum'><a name="XIV_Page_212" id="XIV_Page_212">212</a></span> he plays that it does +not seem as if it were mere music you are listening to, but it is +as if he had called up a real, living form, and you saw it +breathing before your face and eyes. It gives me almost a ghostly +feeling to hear him, and it seems as if the air were peopled with +spirits. Oh, he is a perfect wizard! It is as interesting to see +him as it is to hear him, for his face changes with every +modulation of the piece, and he looks exactly as he is playing. He +has one element that is most captivating, and that is a sort of +delicate and fitful mirth that keeps peering out at you here and +there. It is most peculiar, and when he plays that way, the most +bewitching expression comes over his face. It seems as if a little +spirit of joy were playing hide-and-go-seek with you.</p> + +<p>At home Liszt doesn't wear his long Abbe's coat, but a short one, +in which he looks much more artistic. His figure is remarkably +slight, but his head is most imposing. It is so delicious in that +room of his! It was all furnished and put in order for him by the +Grand Duchess herself. The walls are pale gray, with a gilded +border running round the room, or rather two rooms, which are +divided, but not separated, by crimson curtains. The furniture is +crimson, and everything is so comfortable—such a contrast to +German bareness and stiffness generally. A splendid grand piano (he +receives a new one every year,) stands in one window. The other +window is always open and looks out on the park. There is a +dovecote just opposite the window, and doves promenade up and down +upon the roof of it, and fly about, and sometimes whirr down on the +sill itself. That pleases Liszt. His writing-table is beautifully +fitted up with things that match. Everything is in<span class='pagenum'><a name="XIV_Page_213" id="XIV_Page_213">213</a></span> +bronze—inkstand, paper-weight, match-box, etc.—and there is +always a lighted candle standing on it by which he and the +gentlemen can light their cigars. There is a carpet on the floor, a +rarity in Germany, and Liszt generally walks about and smokes and +mutters, and calls upon one or the other of us to play. From time +to time he will sit down and himself play where a passage does not +suit him, and when he is in good spirits he makes little jests all +the time. His playing was a complete revelation to me, and has +given me an entirely new insight into music. You can not conceive, +without hearing him, how poetic he is, or the thousand nuances that +he can throw into the simplest thing, and he is equally great on +all sides. From the zephyr to the tempest, the whole scale is +equally at his command.</p> + +<p>Liszt is not at all like a master, and can not be treated as one. +He is a monarch, and when he extends his royal scepter you can sit +down and play to him. You never can ask him to play anything for +you, no matter how much you're dying to hear it. If he is in the +mood he will play; if not, you must content yourself with a few +remarks. You can not even offer to play yourself.</p> + +<p>You lay your notes on the table, so he can see that you want to +play, and sit down. He takes a turn up and down the room, looks at +the music, and if the piece interests him he will call upon you. We +bring the same piece to him but once, and but once play it through.</p> + +<p>Yesterday I had prepared for him his "Au Bord d'une Source." I was +nervous and played badly. He was not to be put out, however, but +acted as if he thought I had played charmingly, and then he sat +down and played the whole thing himself, oh, so exquisitely! It +made me<span class='pagenum'><a name="XIV_Page_214" id="XIV_Page_214">214</a></span> feel like a wood-chopper. The notes just seemed to ripple +off his fingers' ends with scarce any perceptible motion. As he +neared the close I noticed that funny little expression come over +his face, which he always has when he means to surprise you, and he +then suddenly took an unexpected chord and extemporized a poetical +little end, quite different from the written one. Do you wonder +that people go distracted over him?</p> + +<p>One day this week, when we were with Liszt, he was in such high +spirits that it was as if he had suddenly become twenty years +younger. A student from the Stuttgart conservatory played a Liszt +concerto. His name is V., and he is dreadfully nervous. Liszt kept +up a running fire of satire all the time he was playing, but in a +good-natured way. I shouldn't have minded it if it had been I. In +fact, I think it would have inspired me; but poor V. hardly knew +whether he was on his head or on his feet. It was too funny. +Everything that Liszt says is so striking. For instance, in one +place where V. was playing the melody rather feebly, Liszt suddenly +took his seat at the piano and said, "When I play, I always play +for the people in the gallery, so that those people who pay only +five groschens for their seats also hear something." Then he began, +and I wish you could have heard him! The sound didn't seem to be +very loud, but it was penetrating and far-reaching. When he had +finished, he raised one hand in the air, and you seemed to see all +the people in the gallery drinking in the sound. That is the way +Liszt teaches you. He presents an idea to you, and it takes fast +hold of your mind and sticks there. Music is such a real, visible +thing to him that he always has a symbol, instantly, in the<span class='pagenum'><a name="XIV_Page_215" id="XIV_Page_215">215</a></span> +material world to express his idea. One day, when I was playing, I +made too much movement with my hand in a rotary sort of a passage +where it was difficult to avoid it. "Keep your hand still, +Fraulein," said Liszt; "don't make omelet." I couldn't help +laughing—it hit me on the head so nicely. He is far too sparing of +his playing, unfortunately, and like Tausig, sits down and plays +only a few bars at a time generally. It is dreadful when he stops, +just as you are at the height of your enjoyment, but he is so +thoroughly blase that he doesn't care to show off before people and +doesn't like to have any one pay him a compliment about his +playing. In Liszt I can at least say that my ideal in something has +been realized. He goes far beyond all that I expected. Anything so +perfectly beautiful as he looks when he sits at the piano I never +saw, and yet he is almost an old man now. I enjoy him as I would an +exquisite work of art. His personal magnetism is immense, and I can +scarcely bear it when he plays. He can make me cry all he chooses, +and that is saying a good deal, because I've heard so much music, +and never have been affected by it. Even Joachim, whom I think +divine, never moved me. When Liszt plays anything pathetic, it +sounds as if he had been through everything, and opens all one's +wounds afresh. All that one has ever suffered comes before one +again. Who was it that I heard say once, that years ago he saw +Clara Schumann sitting in tears near the platform during one of +Liszt's performances? Liszt knows well the influence he has on +people, for he always fixes his eyes on some one of us when he +plays, and I believe he tries to wring our hearts. When he plays a +passage and goes pearling down the keyboard, he often<span class='pagenum'><a name="XIV_Page_216" id="XIV_Page_216">216</a></span> looks over +at me and smiles, to see whether I am appreciating it.</p> + +<p>But I doubt if he feels any particular emotion himself when he is +piercing you through with his rendering. He is simply hearing every +tone, knowing exactly what effect he wishes to produce and just how +to do it. In fact, he is practically two persons in one—the +listener and the performer. But what immense self-command that +implies! No matter how fast he plays you always feel that there is +"plenty of time"—no need to be anxious! You might as well try to +move one of the pyramids as fluster him. Tausig possessed this +repose in a technical way, and his touch was marvelous; but he +never drew the tears to your eyes. He could not wind himself +through all the subtle labyrinths of the heart as Liszt does. Liszt +does such bewitching little things! The other day, for instance, +Fraulein Gaul was playing something to him, and in it were two +runs, and after each run two staccato chords. She did them most +beautifully and struck the chords immediately after. "No, no," said +Liszt; "after you make a run you must wait a minute before you +strike the chords, as if in admiration of your own performance. You +must pause, as if to say, 'How nicely I did that!'" Then he sat +down and made a run himself, waited a second, and then struck the +two chords in the treble, saying as he did so, "Bravo!" and then he +played again, struck the other chord and said again, "Bravo!" and +positively, it was as if the piano had softly applauded.</p> + +<p>Liszt hasn't the nervous irritability common to artists, but on the +contrary his disposition is the most exquisite and tranquil in the +world. We have been there incessantly<span class='pagenum'><a name="XIV_Page_217" id="XIV_Page_217">217</a></span> and I've never seen him +ruffled except two or three times, and then he was tired and not +himself, and it was a most transient thing. When I think what a +little savage Tausig often was, and how cuttingly sarcastic Kullak +could be at times, I am astonished that Liszt so rarely lost his +temper. He has the power of turning the best side of every one +outward, also the most marvelous and instant appreciation of what +that side is. If there is anything in you, you may be sure that +Liszt will know it. On Monday I had a most delightful tete-a-tete +with Liszt, quite by chance. I had occasion to call upon him for +something, and strange to say, he was alone, sitting by his table +writing. Generally all sorts of people are up there. He insisted +upon my staying for a while, and we had the most amusing and +entertaining conversation imaginable. It was the first time I ever +heard Liszt really talk, for he contents himself mostly with making +little jests. He is full of esprit. Another evening I was there +about twilight and Liszt sat at the piano looking through a new +oratorio which had just come out in Paris, upon "Christus." He +asked me to turn for him, and evidently was not interested, for he +would skip whole pages and begin again, here and there. There was +only a single lamp, and that a rather dim one, so that the room was +all in shadow, and Liszt wore his Merlin-like aspect. I asked him +to tell me how he produced a certain effect he makes in his +arrangement of the ballad in Wagner's "Flying Dutchman." He looked +very "fin" as the French say, but did not reply. He never gives a +direct answer to a direct question. "Ah," said I, "you won't tell." +He smiled and then immediately played the<span class='pagenum'><a name="XIV_Page_218" id="XIV_Page_218">218</a></span> passage. It was a long +arpeggio, and the effect he made was, as I had supposed, a pedal +effect. He kept the pedal down throughout, and played the beginning +of the passage in a grand sort of manner, and then all the rest of +it with a very pianissimo touch, and so lightly, that the +continuity of the arpeggios was destroyed, and the notes seemed to +be just strewn in, as if you broke a wreath of flowers and +scattered them according to your fancy. It is a most striking and +beautiful effect, and I told him I didn't see how he ever thought +of it. "Oh, I've invented a great many things," said he, +indifferently—"this, for instance"—and he began playing a double +roll of octaves in chromatics in the bass of the piano. It was very +grand and made the room reverberate.</p> + +<p>"Magnificent," said I.</p> + +<p>"Did you ever hear me do a storm?" said he.</p> + +<p>"No."</p> + +<p>"Ah, you ought to hear me do a storm! Storms are my forte!"</p> + +<p>Then to himself between his teeth, while a weird look came into his +eyes as if he could indeed rule the blast, "Then crash the trees!"</p> + +<p>How ardently I wished that he would "play a storm," but of course +he didn't, and he presently began to trifle over the keys in a +blase style. I suppose he couldn't quite work himself up to the +effort, but that look and tone told how Liszt would do it. Alas, +that we poor mortals here below should share so often the fate of +Moses, and have only a glimpse of the Promised Land, and that +without the consolation of being Moses! But perhaps, after all, the +vision is better than the reality. We see the whole land, even if +but from afar, instead<span class='pagenum'><a name="XIV_Page_219" id="XIV_Page_219">219</a></span> of being limited merely to the spot where +our foot treads.</p> + +<p>Once again I saw Liszt in a similar mood, though his expression was +this time comfortably rather than wildly destructive. It was when +Fraulein Remmertz was playing his "E flat concerto" to him. There +were two grand pianos in the room; she was sitting at one, and he +at the other, accompanying and interpolating as he felt disposed. +Finally they came to a place where there was a series of passages +beginning with both hands in the middle of the piano, and going in +opposite directions to the ends of the keyboard, ending each time +with a short, sharp chord. "Pitch everything out of the window!" +cried he, and began playing these passages and giving every chord a +whack as if he were splitting everything up and flinging it out, +and that with such enjoyment that you felt as if you'd like to bear +a hand, too, in the work of demolition! But I never shall forget +Liszt's look as he so lazily proposed to "pitch everything out of +the window." It reminded me of the expression of a big tabby-cat as +it sits by the fire and purrs away, blinking its eyes and seemingly +half-asleep, when suddenly—!—! out it strikes with both its +claws, and woe to whatever is within its reach!</p></div><p><span class='pagenum'><a name="XIV_Page_220" id="XIV_Page_220">220</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="LUDWIG_VAN_BEETHOVEN" id="LUDWIG_VAN_BEETHOVEN"></a> +<span class='pagenum'><a name="XIV_Page_221" id="XIV_Page_221">221</a></span> +<h2>LUDWIG VAN BEETHOVEN</h2> +</div> + +<div class="figcenter" style="width: 323px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-046" id="illus-046"></a> +<img src="images/img235.jpg" alt="LUDWIG VAN BEETHOVEN" title="" width = "323" height = "500"/> +</div> + +<div class="blockquot"><p>Melody has by Beethoven been freed from the influence of Fashion +and changing Taste, and raised to an ever-valid, purely human type. +Beethoven's music will be understood to all time, while that of his +predecessors will, for the most part, only remain intelligible to +us through the medium of reflection on the history of Art.</p> + +<p class='author'>—<i>Richard Wagner</i></p></div> + +<p><span class='pagenum'><a name="XIV_Page_223" id="XIV_Page_223">223</a></span></p> + +<h3>LUDWIG VAN BEETHOVEN</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-047" id="illus-047"></a> +<img src="images/img081.jpg" alt="M" title="" width = "72" height = "80"/> +</div> +<p>usic is the youngest of the arts. Modern music dates back about four +hundred years. It is not so old as the invention of printing. As an art +it began with the work of the priests of the Roman Catholic Church in +endeavoring to arrange a liturgy.</p> + +<p>The medieval chant and the popular folk-song came together, and the +science of music was born. Sculpture reached perfection in Greece, +painting in Italy, portraiture in Holland; but Germany, the land of +thought, has given us nearly all the great musicians and nine-tenths of +all our valuable musical compositions.</p> + +<p>Holland has taken a very important part in every line of art and +handicraft, and in way of all-round development has set the pace for +civilization.</p> + +<p>Art follows in the wake of commerce, for without commerce there is +neither surplus wealth nor leisure. The artist is paid from what is left +after men have bought food and clothing; and the time to enjoy comes +only after the struggle for existence.</p> + +<p>When Venice was not only Queen of the Adriatic but of the maritime world +as well, Art came and established there her Court of Beauty. It was +Venice that mothered Giorgione, Titian, the Bellinis, and the men who<span class='pagenum'><a name="XIV_Page_224" id="XIV_Page_224">224</a></span> +wrought in iron and silver and gold, and those masterful bookmakers; it +was beautiful Venice that gave sustenance and encouragement to +Stradivari (who made violins as well as he could) up at Cremona, only a +few miles away.</p> + +<p>But there came a day when all those seventy bookmakers of Venice ceased +to print, and the music of the anvils was stilled, and all the painters +were dead, and Venice became but a monument of things that were, as she +is today; for Commerce is King, and his capital has been moved far away.</p> + +<p>So Venice sits sad and solitary—a pale and beautiful ruin, pathetic +beyond speech, infested by noisy shop-keepers and petty pilferers, the +degenerate sons of the robbers who once roamed the sea and enthroned her +on her hundred isles.</p> + +<p>All that Venice knew was absorbed by Holland. The Elzevirs and the +Plantins took over the business of the seventy bookmakers, and the +art-schools of Amsterdam, Leyden and Antwerp reproduced every picture of +note that had been done in Venice. The great churches of Holland are +replicas of the churches of Venice. And the Cathedral at Antwerp, where +the sweet bells have chimed each quarter of an hour for three centuries, +through peace and plenty, through lurid war and sudden death—there +where hangs Rubens' masterpiece—that Cathedral is but an enlarged +"Santa Maria de' Frari," where for two hundred years hung "The<span class='pagenum'><a name="XIV_Page_225" id="XIV_Page_225">225</a></span> +Assumption," by Titian.</p> + +<p>In these churches of Holland were placed splendid organs, and the +priests formed choirs, and offered prizes for the best singing and the +best compositions. Music and painting developed hand in hand; for at the +last, all of the arts are one—each being but a division of labor.</p> + +<p>The world owes a great debt to the Dutch. It was Holland taught England +how to paint and how to print, and England taught us: so our knowledge +of printing and painting came to us by way of the apostolic succession +of the Dutch.</p> + +<p>The march of civilization follows a simple trail, well defined beyond +dispute. Viewed in retrospect it begins in a hazy thread stretching from +Assyria into Egypt, from Egypt into Greece, from Greece to +Rome—widening throughout Italy and Spain, then centering in Venice, and +tracing clear and deep to Amsterdam—widening again into Germany and +across to England, thence carried in "Mayflowers" to America.</p> + +<p>That remark of Charles Dudley Warner, once near neighbor to Mark Twain, +that there is no culture west of Buffalo, was indelicate if not unkind; +and residents of Omaha aver that it is open to argument. But the fact +stands beyond cavil that what art we possess is traceable to our +masters, the Dutch.</p> + +<p>It must be admitted that the art of printing was first practised at +Mayence on the Rhine, leaving the Chinese out of the equation; but it +had to travel around down<span class='pagenum'><a name="XIV_Page_226" id="XIV_Page_226">226</a></span> through Italy before it reached perfection. +And its universality and usefulness were not fully developed until it +had swung around to Holland and was given by the Dutch back to Germany +and the world. And as with printing, so with music. Germany has +specialized on music. She has succeeded, but it is because Holland gave +her lessons.<span class='pagenum'><a name="XIV_Page_227" id="XIV_Page_227">227</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-048" id="illus-048"></a> +<img src="images/img267.jpg" alt="D" title="" width = "72" height = "80"/> +</div> +<p>uring the fore part of the Seventeenth Century, there lived in Antwerp, +Ludvig van Biethofen, grandfather of the genius known as Beethoven. A +life-size portrait of him can be seen in the Plantin Musee, and if you +did not know that the picture was painted before Beethoven was born, you +would say at once, "Beethoven!" There is a look of stern endurance, as +if the artist had admired Rembrandt's "Burgomaster" a little too well, +yet that sturdiness belonged to the Master, too; and there are the +abstracted far-away look, the touch of proud melancholy, and the +becoming unkemptness that we know so well.</p> + +<p>The child is grandfather to the man. Beethoven bore slight resemblance +to his immediate parents, but in his talent, habits and all of his +mental traits, he closely resembled this sturdy Dutchman who composed, +sang, led the military band, and played the organ at the Church of Saint +Jacques in Antwerp.</p> + +<p>Being ambitious, Ludvig van Biethofen, while yet a young man, moved to +Bonn, the home of Clement Augustus, Archbishop-Elector of Cologne.</p> + +<p>The chief business of elector was, in case of necessity, to elect a +King. America borrowed the elector idea from Germany. But our "electoral +college" is a degenerate political appendicle that is continued, +because, in borrowing plans of government, we took good and bad alike, +not knowing there was a difference. The elector<span class='pagenum'><a name="XIV_Page_228" id="XIV_Page_228">228</a></span> scheme in the United +States is occasionally valuable for defeating the will of the people in +case of a popular majority.</p> + +<p>In justice, however, let me say that the original argument of the +Colonists was that the people should not vote directly for President, +because the candidate might live a long way off, and the voter could not +know whether he was fit or not. So they let the citizen vote for a wise +and honest elector he knew.</p> + +<p>The result is that we all now know the candidates for President, but we +do not know the electors. The electoral college in America is just about +as useful as the two buttons on the back of a man's coat, put there +originally to support a sword-belt. We have discarded the sword, yet we +cling to our buttons.</p> + +<p>But the electors of Germany, in days agone, had a well-defined use. The +people were not, at first, troubled to elect them—the King did that +himself, and then as one good turn deserves another, the electors agreed +to elect the successor the King designated, when death should compel him +to abdicate. Then to fill in the time between elections, the electors +did the business of the King. It will thus be seen that every elector +was really a sort of King himself, governing his little State, amenable +to no one but the King.</p> + +<p>And so the chief business of the elector was to keep the people in his +diocese loyal to the King.</p> + +<p>There have always existed three ways of keeping the<span class='pagenum'><a name="XIV_Page_229" id="XIV_Page_229">229</a></span> people loving and +loyal. One is to leave them alone, to trust them and not to interfere. +This plan, however, has very seldom been practised, because the +politicians regard the public as a cow to be milked, and something must +be done to make it stand quiet.</p> + +<p>So they try Plan Number Two, which consists in hypnotizing the public by +means of shows, festivals, parades, prizes and many paid speeches, +sermons and editorials, wherein and whereby the public is told how much +is being done for it, and how fortunate it is in being protected and +wisely cared for by its divinely appointed guardians. Then the band +strikes up, the flags are waved, three passes are made, one to the right +and two to the left; and we, being completely under the hypnosis, hurrah +ourselves hoarse.</p> + +<p>Plan Number Three is a very ancient one and is always held back to be +used in case Number Two fails. It is for the benefit of the people who +do not pass readily under hypnotic control. If there are too many of +these, they have been known to pluck up courage and answer back to the +speeches, sermons and editorials. Sometimes they refuse to hurrah when +the bass-drum plays, in which case they have occasionally been arrested +for contumacy and contravention by stocky men, in wide-awake hats, who +lead the strenuous life. This Plan Number Three provides for an armed +force that shall overawe, if necessary, all who are not hypnotized. The +army is used for two purposes—to coerce disturbers at<span class='pagenum'><a name="XIV_Page_230" id="XIV_Page_230">230</a></span> home, and to get +up a war at a distance, and thus distract attention from the troubles +near at hand. Napoleon used to say that the only sure cure for internal +dissension was a foreign war: this would draw the disturbers away, on +the plea of patriotism, so they would win enough outside loot to satisfy +them, or else they would all get killed, it really didn't matter much; +and as for loot, if it was taken from foreigners, there was no sin.</p> + +<p>A careful analyst might here say that Plan Number Three is only a +variation of Plan Number Two—the end being gained by hypnotic effects +in either event, for the army is conscripted from the people to use +against the people, just as you turn steam from a boiler into the +fire-box to increase the draft. Possibly this is true, but I have +introduced this digression, anyway, only to show that the original +office of elector was a wise and beneficent function of the Government, +and could be revived with profit in America, to replace the outworn and +useless vermiformis that we now possess in way of an electoral college.<span class='pagenum'><a name="XIV_Page_231" id="XIV_Page_231">231</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-049" id="illus-049"></a> +<img src="images/img145.jpg" alt="W" title="" width = "72" height = "80"/> +</div> +<p>hen Kings allowed Church and State to separate they made a grave +mistake. With the two united, as they were until a more recent time, +they held a cinch on both the souls and the bodies of their subjects.</p> + +<p>In the good old days in Germany the elector was always an archbishop. +Our bishops now are a weakling lot. With no army to back their edicts +the people smile at their proclamations, try on their shovel hats, and +laugh at their gaiters. Or if they be Methodist bishops, who are only +make-believe bishops, having slipped the cable that bound them to the +past, we pound them familiarly on the back and address them as "Bish."</p> + +<p>Clement Augustus, Elector of Cologne, maintained a court that vied with +royalty itself. In his household were two hundred servants. He had +coachmen, footmen, cooks, messengers, a bodyguard, musicians, poets and +artists who hastened to do his bidding. He patronized all the arts, made +a pet of science, offered a reward for the transmutation of metals, +dabbled in astrology and practised palmistry.</p> + +<p>Into this brilliant court came the strong and masterful Ludvig van +Biethofen.</p> + +<p>In a year his gracious presence, superb voice and rare skill as a +musician, pushed him to the front and into favor with the powers, with a +yearly salary of four hundred guilders. The history of this man is a +deal better raw stock for a romance than the life of his grandson.<span class='pagenum'><a name="XIV_Page_232" id="XIV_Page_232">232</a></span></p> + +<p>From Seventeen Hundred Thirty-two, when he entered the court as an +unknown and ordinary musician with an acceptable tenor voice, to +Seventeen Hundred Sixty-one, when he was Kapellmeister and a member of +the private council of the Elector, his life was a steady march +successward. Strong men were needed then as now, and his promotion was +deserved. Various accounts and mention of this man are to be found, and +one contemporary described him as he appeared at sixty. The only mark of +age he carried was his flowing white hair. His smoothly shaven face +showed the strong features of a man of thirty-five; and his carriage, +actions and superb grace as an orchestra-leader made him a conspicuous +figure in any company.</p> + +<p>Ludvig van Biethofen had one son, Johann by name. This boy resembled his +gifted father very little, and his training was such that he early fell +a victim to arrested development.</p> + +<p>If a parent does everything for a child, the child probably will never +do anything for himself. It is Nature's plan—she seems to think that no +one needs strength excepting the struggler, and being kind she comes to +his rescue; but the man who puts forth no effort remains a weakling to +the end.</p> + +<p>Johann placed success beyond his reach very early in life by putting an +enemy into his mouth to steal away his brains. His marriage to a +daughter of a cook in Ehrenbreitstein Castle did not stop his +waywardness, or<span class='pagenum'><a name="XIV_Page_233" id="XIV_Page_233">233</a></span> give him decision as was hoped. Marriage as a scheme of +reformation is not always a success, and women who lend themselves to it +take great chances.</p> + +<p>Mary Magdalena was a widow, and some say possessed of wiles. That she +was beneath Johann in social station, but beyond him in actual worth, +there is no doubt. And whether she snared the incautious man, or whether +the marriage was arranged by the elder Biethofen as a diplomatic move in +the interests of morality, matters little. The end justifies the means; +and as a net result of this mating, without putting forward the +circumstance as a precedent to be religiously followed, the world has +Beethoven and his work.<span class='pagenum'><a name="XIV_Page_234" id="XIV_Page_234">234</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-050" id="illus-050"></a> +<img src="images/img011.jpg" alt="A" title="" width = "72" height = "80"/> +</div> +<p> plate affixed to Number Five Hundred Fifteen Bonngasse, Bonn, gives +the birth of Ludwig van Beethoven as December Seventeenth, Seventeen +Hundred Seventy. He was the second-born child of his mother, and after +him came a goodly assortment of boys and girls. Two of his brothers +lived to exercise a sinister influence over the life of the Master, and +to darken days that should have been luminous with love. Little Ludwig +was the pet and pride of the grandfather. The grandfather had even +insisted that the baby should bear his name. Disappointment in his own +child caused him to center his love in the grandchild. This instinct +that makes men long to live again in the lives of their children—is it +reaching out for immortality? And as the grandfather virtually supported +the household, he was allowed to have his own way, and indeed that +strong, yet cheery will was not to be opposed. The old man prophesied +what the boy would do, just as love ever does, and has done, since the +world began.</p> + +<p>But only in his dreams was Ludvig van Biethofen to know of the success +of his namesake. When the boy was scarce four years old, the old man +passed away. The place in the orchestra that Johann held through favor +was soon forfeited, and times of pinching poverty followed, and sorrows +came like the gathering of a winter night.</p> + +<p>Have you never shared the mocking shame and biting<span class='pagenum'><a name="XIV_Page_235" id="XIV_Page_235">235</a></span> pain of a drunkard's +household? Then God grant you never may. When the world withdraws its +faith from a man through his own imbecility, and employment is denied; +when promises are unkept; when order and system are gone, and foresight +fled, and loud accusation, threat and contumely vary their strident +tones with maudlin protestations of affection, and vows made to be +broken, easily change to curses; when the fire dies on the hearth, and +children huddle in bed in the daytime for warmth; when the scanty food +that is found is eaten ravenously, and blanching fear comes when a heavy +tread and fumbling at the lock are heard in the hall—these things +challenge language for fit expression and cause words to falter.</p> + +<p>The moody and dispirited Johann one day conceived a bright thought—a +thought so vivid that for the moment it cleared the cobwebs from his +mind and sobered his boozy brain—the genius of his five-year-old boy +should be exploited to retrieve his battered fortunes!</p> + +<p>The child was already showing signs of musical talent; and diligent +practise was now begun. Several chums at the beer-gardens were +interviewed and great plans unfolded in beery enthusiasm. The services +of several of these men were secured as tutors, and one of them, +Pfeiffer, took lodgings with the Biethofens, and paid for bed and board +in music-lessons.</p> + +<p>A new thought is purifying, ideas are hygienic; and already things had +begun to look brighter for the<span class='pagenum'><a name="XIV_Page_236" id="XIV_Page_236">236</a></span> household. It wasn't exactly prosperity, +but Johann had found a place in the band, and was earning as much as +three dollars a week, which amount for two weeks running he brought home +and placed in his wife's lap.</p> + +<p>But things were grievous for young Beethoven: he had two taskmasters, +his father and Pfeiffer. One gave him lessons on the violin in the +morning, and the other took him to a tavern where there was a clavichord +and made him play all the afternoon.</p> + +<p>Then occasionally Johann and Pfeiffer would come home at two o'clock in +the morning from a concert where they had been playing and where the +wine was red and also free, and they would drag the poor child from his +bed to make him play. This was followed up until the boy's mother +rebelled, and on one occasion Pfeiffer and Johann were sent to the +military hospital and dry-docked for repairs.</p> + +<p>On the whole, this man Pfeiffer was kindly and usually capable. In +after-years Beethoven testified to the valuable assistance he had +received from him; and when Pfeiffer had grown old and helpless, +Beethoven sent funds to him by the publishers, Simrock.</p> + +<p>Young Ludwig was a stocky, sturdy youth, decidedly Dutch in his +characteristics, with no nerves to speak of, else he would have laid him +down and died of heart-chill and neglect, as did four of his little +brothers and sisters. But he stood the ordeals, and at parlor, tavern +and beer-garden entertainments where he played, although his<span class='pagenum'><a name="XIV_Page_237" id="XIV_Page_237">237</a></span> cheeks +were often stained with tears, he took a sort of secret pride in being +able to do things which even his father could not. And then he was +always introduced as "Ludvig Biethofen, the grandchild of Ludvig van +Biethofen," and this was no mean introduction. His appearance, even +then, bore strong resemblance to the lost and lamented grandfather; and +Van den Eeden, the Court Organist, in loving remembrance of his Antwerp +friend, took the lad into his keeping and gave him lessons. When Van den +Eeden retired, Neefe, his successor, took a kindly interest in the boy +and even protected him from his father and the zealous Pfeiffer. So well +was the boy thought of that when he was twelve years of age Neefe +established him as his deputy at the chapel organ.</p> + +<p>Shortly after this, the new Elector, Max Friedrich, bestowed on "Louis +van Beethoven, my well-beloved player upon the organ and clavichord, a +stipend of one hundred fifty florins a year, and if his talent doth +increase with his years the amount is to be also increased."</p> + +<p>In token of the Elector's recognition Beethoven wrote three sonatas, the +earliest of his compositions, and dedicated them to Max Friedrich in +Seventeen Hundred Eighty-two.</p> + +<p>In Seventeen Hundred Eighty-four, Elector Max Friedrich died, and Max +Franz was appointed to take his place. His inauguration was the signal +for a renewal of musical and artistic activity. Concerts, shows and<span class='pagenum'><a name="XIV_Page_238" id="XIV_Page_238">238</a></span> +military pageants followed the installation. In a list of court +appointments we find that Louis van Beethoven is put down as "second +organist" with a salary of forty-five pounds a year. Below this is +Johann Beethoven with a salary of thirty pounds a year. And in one of +the court journals mention is made of Johann Beethoven with the added +line, "father of Ludwig Beethoven," showing even then the man's source +of distinction.</p> + +<p>In Seventeen Hundred Eighty-seven, when in his eighteenth year, +Beethoven made a visit to Vienna in company with several musicians from +the Elector's court at Bonn. This visit was a memorable event in the +life of the Master, every detail of which was deeply etched upon his +memory, to be effaced only by death.</p> + +<p>It was on this visit to Vienna that he met Mozart, and played for him. +Mozart gave due attention, and when the player had ceased he turned to +the company and said, "Keep your eye on this youth—he will yet make a +noise in the world!"</p> + +<p>The remark, if closely analyzed, reveals itself as noncommittal; and +although it has been bruited as praise the round world over, it was +probably an electrotyped expression, used daily; for great musicians are +called upon at every turn to listen to prodigies. I once attended +"rhetoricals" where the Honorable Chauncey M. Depew was present. Being +called upon to "make a few remarks," the Senator from New York arose and +referred to one of the speeches given by a certain<span class='pagenum'><a name="XIV_Page_239" id="XIV_Page_239">239</a></span> sophomore as "unlike +anything I ever heard before!" Genius very seldom recognizes genius.</p> + +<p>Beethoven had a self-sufficiency, even at that early time, that stood +him in good stead. He felt his power, and knew his worth. That +steadfast, obstinate quality in his make-up was not in vain. He let +others quote Mozart's remark; but he had matched himself against the +Master, and was not abashed.<span class='pagenum'><a name="XIV_Page_240" id="XIV_Page_240">240</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-051" id="illus-051"></a> +<img src="images/img254.jpg" alt="K" title="" width = "72" height = "80"/> +</div> +<p>inship is a question of spirit and not a matter of blood. How often do +we find persons who, in feeling, are absolutely strangers to their own +brothers and sisters! Occasionally even parents fail to understand their +children. The child may hunger for sympathy and love that the mother +knows nothing of, and cry itself to sleep for a tenderness withheld. +Later this same child may evolve aspirations and ambitions that seem to +the other members of the family mere whims and vagaries to be laughed +down, or stoutly endured, as the mood prompts.</p> + +<p>Knowing these things, do we wonder at the question of long ago, "Who is +my mother, and who are my brethren"? Beethoven was a beautiful brown +thrush in a nest of cuckoos. He could sing and sing divinely, and the +members of his household were glad because it brought an income in which +they all shared.</p> + +<p>About the year Seventeen Hundred Ninety-five, Beethoven went to Vienna, +and as he had been heralded by several persons of influence, his +reception was gracious. Charity has its periods of evolving into a fad, +and at this time the fashion was musical entertainments in aid of this +or that. Slight suspicions exist that these numerous entertainments were +devised by fledgling musicians for their own aggrandizement, and +possibly patrons fanned the philanthropic flame to help on their +proteges. Beethoven was of too simple and guileless a nature to aid his +fortunes with the help of any social jimmy, but<span class='pagenum'><a name="XIV_Page_241" id="XIV_Page_241">241</a></span> we see he was soon in +the full tide of local popularity. His ability as a composer, his virile +presence, and his skill as a player, made his company desired. From +playing first for charity, then at the houses of nobility, and next as a +professional musician, he gradually mounted to the place to which his +genius entitled him.</p> + +<p>Then we find his brothers, Carl and Johann, appearing on the scene, with +a fussy yet earnest intent to take care of the business affairs of their +eccentric and absent-minded brother. Ludwig let himself fall into their +way of thinking—it was easier than to oppose them—and they began to +drive bargains with publishers and managers. Their intent was to sell +for cash and in the highest market; and their strenuous effort after the +Main Chance put their gifted brother in a bad plight before the world of +art. Beethoven's brothers seized his very early and immature +compositions and sold them without his consent or knowledge. So +humiliated was Beethoven by seeing these productions of his childhood +hawked about that he even instituted lawsuits to get them back that he +might destroy them. To boom a genius and cash his spiritual assets is a +grave and delicate task—perhaps it is one of those things that should +be left undone. Much anguish did these rapacious brothers cause the +divinely gifted brown thrush, and when they began to quarrel over the +receipts between themselves, he begged them to go away and leave him in +peace. He finally had to adopt the ruse of going back<span class='pagenum'><a name="XIV_Page_242" id="XIV_Page_242">242</a></span> to Bonn with +them, where he got them established in the apothecary business, before +he dared manage his own affairs. But they were bad angels, and the wind +of their wings withered the great man as they hovered around him down to +the day of his death.<span class='pagenum'><a name="XIV_Page_243" id="XIV_Page_243">243</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-052" id="illus-052"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>hen silence settled down upon Beethoven, and every piano was for him +mute, and he, the maker of sweet sounds, could not hear his own voice, +or catch the words that fell from the lips of those he loved, Fate +seemed to have done her worst.</p> + +<p>And so he wrote: "Forgive me then if you see me turn away when I would +gladly mix with you. For me there is no recreation in human intercourse, +no conversation, no sweet interchange of thought. In solitary exile I am +compelled to live. When I approach strangers a feverish fear takes +possession of me, for I know that I will be misunderstood. * * * But O +God, Thou lookest down upon my inward soul! Thou knowest, and Thou seest +that love for my fellowmen, and all kindly feeling have their abode +here. Patience! I may get better—I may not—but I will endure all until +Death shall claim me, and then joyously will I go!"</p> + +<p>The man who could so express himself at twenty-eight years of age must +have been a right brave and manly man. But art was his solace, as it +should be to every soul that aspires to become.</p> + +<p>Great genius and great love can never be separated—in fact I am not +sure but that they are one and the same thing. But the object of his +love separated herself from Beethoven when calamity lowered. What woman, +young, bright, vigorous and fresh, with her face to the sunrising, would +care to link her fair fate with that of a<span class='pagenum'><a name="XIV_Page_244" id="XIV_Page_244">244</a></span> man sore-stricken by the hand +of God!</p> + +<p>And then there is always a doubt about the genius—isn't he only a fool +after all!</p> + +<p>Art was Beethoven's solace. Art is harmony, beauty and excellence. The +province of art is to impart a sublime emotion. Beethoven's heart was +filled with divine love—and all love is divine—and through his art he +sought to express his love to others.</p> + +<p>But his physical calamity made him the butt and byword of the heedless +wherever he went. Within the sealed-up casements of his soul Beethoven +heard the Heavenly Choir; and as he walked, bareheaded, upon the street, +oblivious to all, centered in his own silent world, he would sometimes +suddenly burst into song. At other times he would beat time, talk to +himself and laugh aloud. His strange actions would often attract a +crowd, and rude persons, ignorant of the man they mocked, would imitate +him or make mirth for the bystanders, as they sought to engage him in +conversation. At such times the Master might be dragged back to earth, +and seeing the coarse faces and knowing the hopelessness of trying to +make himself understood, he would retreat in terror.</p> + +<p>Six months or more of each year were spent in the country in some +obscure village about Vienna. There he could walk the woods and traverse +the fields alone and unnoticed, and there, out under the open sky, much +of his best work was done. The famous "Moonlight<span class='pagenum'><a name="XIV_Page_245" id="XIV_Page_245">245</a></span> Sonata" was shaped on +one of these lonely walks by night across the fields when the Master +could shake his shaggy head, lift up his face to the sky, and cry aloud, +all undisturbed. In the recesses of his imagination he saw the sounds. +There are men to whom sounds are invisible symbols of forms and colors.</p> + +<p>The law of compensation never rests. Everything conspired to drive +Beethoven in upon his art—it was his refuge and retreat. When love +spurned him, and misunderstandings with kinsmen came, and lawsuits and +poverty added their weight of woe, he fell back upon music, and out +under the stars he listened to the sonatas of God. Next day he wrote +them out as best he could, always regretting that his translations were +not quite perfect. He was ever stung with a noble discontent, and in +times of exaltation there ran in his deaf ears the words, "Arise and get +thee hence, for this is not thy rest!"</p> + +<p>And so his work was in a constant ascending scale. Richard Wagner has +acknowledged his indebtedness to Beethoven in several essays, and in +many ways. In fact it is not too much to say that Beethoven was the +spiritual parent of Wagner. From his admiration of Beethoven, Wagner +developed the strong, sturdy, independent quality of his nature that led +to his exile—and his success.</p> + +<p>Behold the face of Ludwig Beethoven—is there not something Titanic +about it? What selfness, what will,<span class='pagenum'><a name="XIV_Page_246" id="XIV_Page_246">246</a></span> what resolve, what power! And those +tear-stained eyes—have they not seen sights of which no tongue can +tell, nor tongue make plain?</p> + +<p>His life of solitude helped foster the independence of his nature, and +kept his mind clear and free from all the idle gossip of the rabble. He +went his way alone, and played court fool to no titled and alleged +nobility. The democracy of the man is not our least excuse for honoring +him. He was one with the plain people of earth, and the only aristocracy +he acknowledged was the aristocracy of intellect.</p> + +<p>In the work done after his fortieth year there is greater freedom, an +ease and an increased strength, with a daring quality which uplifts and +gives you courage. The tragic interest and intense emotionalism are +gone, and you behold a resignation and the success that wins by +yielding. The man is no longer at war with destiny. There is no +struggle.</p> + +<p>We pay for everything we receive—nay, all things can be obtained if we +but pay the price. One of the very few Emancipated Men in America bought +redemption from the bondage of selfish ambition at a terrible price. +Years and years ago he was in the Rocky Mountains, rough, uneducated, +heedless of all that makes for righteousness. This man was caught in a +snowstorm, on the mountainside. He lost his way, became dazed with cold +and fell exhausted in the snow. When found by his companions the next +day, death had nearly claimed him. But skilful<span class='pagenum'><a name="XIV_Page_247" id="XIV_Page_247">247</a></span> help brought him back to +life, yet the frost had killed the circulation in his feet. Both legs +were amputated just below the knees.</p> + +<p>This changed the current of the man's life. Footraces, boxing-matches +and hunting of big game were out of the question. The man turned to +books and art and questions of science and sociology.</p> + +<p>Thirty summers have come and gone. This gentle, sympathetic and loving +man now walks with a cane, and few know of his disability and of his +artificial feet. Speaking of his spiritual rebirth, this man of splendid +intellect said to me, with a smile, "It cost me my feet, but it was +worth the price."</p> + +<p>I shed no maudlin tears over the misfortunes of Beethoven. He was what +he was because of what he endured. He grew strong by bearing burdens. +All things are equalized. By the Cross is the world redeemed. God be +praised, it is all good!<span class='pagenum'><a name="XIV_Page_248" id="XIV_Page_248">248</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="GEORGE_HANDEL" id="GEORGE_HANDEL"></a> +<span class='pagenum'><a name="XIV_Page_249" id="XIV_Page_249">249</a></span> +<h2>GEORGE HANDEL</h2> +</div> + +<div class="figcenter" style="width: 332px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-053" id="illus-053"></a> +<img src="images/img265.jpg" alt="GEORGE HANDEL" title="" width = "332" height = "500"/> +</div> + +<div class="blockquot"><p>When generations have been melted into tears, or raised to +religious fervor—when courses of sermons have been preached, +volumes of criticisms been written, and thousands of afflicted and +poor people supported by the oratorio of "The Messiah"—it becomes +exceedingly difficult to say anything new.<span class='pagenum'><a name="XIV_Page_250" id="XIV_Page_250">250</a></span> Yet no notice of Handel, +however sketchy, should be written without some special tribute of +reverence to this sublime treatment of a sublime subject. Bach, +Graun, Beethoven, Spohr, Rossini and Mendelssohn have all composed +on the same theme. But no one in completeness, in range of effect, +in elevation and variety of conception, has ever approached +Handel's music upon this one subject.</p> + +<p class='author'>—<i>Rev. H. R. Haweis</i></p></div><p><span class='pagenum'><a name="XIV_Page_251" id="XIV_Page_251">251</a></span></p> + +<p><span class='pagenum'><a name="XIV_Page_253" id="XIV_Page_253">253</a></span><span class='pagenum'><a name="XIV_Page_252" id="XIV_Page_252">252</a></span></p> + +<h3>GEORGE HANDEL</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-054" id="illus-054"></a> +<img src="images/img267.jpg" alt="D" title="" width = "72" height = "80"/> +</div> +<p>id you meet Michelangelo while you were in Rome?" asked a good Roycroft +girl of me the other day.</p> + +<p>"No, my dear, no," I answered, and then I gulped hard to keep back some +very foolish tears. "No, I did not meet Michelangelo," I said, "I +expected to, and was always looking for him; but these eyes never looked +into his, for he died just three hundred years before I was born." But +how natural was this question from this bright, country girl! She had +been examining a lot of photographs of the Sistine Chapel, and had seen +pictures of "Il Penseroso," the "Night" and "Morning," the "Moses"; and +then she had seen on my desk a bronze cast of the hand of the +"David"—that imperial hand with the gently curved wrist.</p> + +<p>These things lured her—the splendid strength and suggestion of power in +it all, had caught her fancy, and the heroic spirit of the Master seemed +very near to her. It all meant pulsating life and hope that was +deathless; and the thought that the man who did the work had turned to +dust three centuries ago, never occurred to this naive, budding soul.</p> + +<p>"Did you see Michelangelo while you were in Rome?" No, dear girl, no. +But I saw Saint Peter's that he<span class='pagenum'><a name="XIV_Page_254" id="XIV_Page_254">254</a></span> planned, and I saw the result of his +efforts—things worked out and materialized by his hands—hands that +surely were just like this hand of the "David."</p> + +<p>The artist gives us his best—gives it to us forever, for our very own. +He grows aweary and lies down to sleep—to sleep and wake no more, +deeding to us the mintage of his love. And as love does not grow old, +neither does Art. Fashions change, but hope, aspiration and love are as +old as Fate who sits and spins the web of life. The Artist is one who is +educated in the three H's—head heart and hand. He is God's child—no +less are we—and he has done for us the things we would have liked to do +ourselves.</p> + +<p>The classic is that which does not grow old—the classic is the +eternally true.</p> + +<p>"Did you meet Michelangelo in Rome?" Why, it is the most natural +question in the world! At Stratford I expected to see Shakespeare; at +Weimar I was sure to meet Goethe; Rubens just eluded me at Antwerp; at +Amsterdam I caught a glimpse of Rembrandt; in the dim cloisters of Saint +Mark's at Florence I saw Savonarola in cowl and robe; over Whitehall in +London I beheld the hovering smoke of martyr-fires, and knew that just +beyond the walls Ridley and Latimer were burned; and only a little way +outside of Jerusalem a sign greets the disappointed traveler, thus: "He +is risen—He is not here!"<span class='pagenum'><a name="XIV_Page_255" id="XIV_Page_255">255</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-055" id="illus-055"></a> +<img src="images/img017.jpg" alt="I" title="" width = "72" height = "80"/> +</div> +<p>n one of his delightful talks—talks that are as fine as his feats of +leadership—Walter Damrosch has referred to Handel as a contemporary. +Surely the expression is fitting, for in the realm of truth time is an +illusion and the days are shadows.</p> + +<p>George Frederick Handel was born in Sixteen Hundred Eighty-five, and +died in Seventeen Hundred Fifty-nine. His dust rests in Westminster +Abbey, and above the tomb towers his form cut in enduring marble. There +he stands, serene and poised, accepting benignly the homage of the +swift-passing generations. For over a hundred years this figure has +stood there in its colossal calm, and through the cathedral shrines, the +aisles, and winding ways of dome and tower, Handel's music still peals +its solemn harmonies.</p> + +<p>At Exeter Hall is another statue of Handel, seated, holding in his hand +a lyre. At the Foundling Hospital (which he endowed) is a bust of the +Master, done in Seventeen Hundred Fifty-eight; and at Windsor is the +original of still another bust that has served for a copy of the very +many casts in plaster and clay that are in all the shops.</p> + +<p>There are at least fifty different pictures of Handel, and nearly this +number were brought together, on the occasion of a recent Handel and +Haydn Festival, at South Kensington.</p> + +<p>When Gladstone once referred to Handel as our greatest<span class='pagenum'><a name="XIV_Page_256" id="XIV_Page_256">256</a></span> English +Composer, he refused to take it back even when a capricious critic +carped and sneezed.</p> + +<p>Handel essentially belongs to England, for there his first battles were +fought, and there he won his final victory. To be sure, he did some +preliminary skirmishing in Germany and Italy; but that was only getting +his arms ready for that conflict which was to last for half a century—a +conflict with friends, foes and fools.</p> + +<p>But Handel was too big a man to be undermined by either the fulsome +flattery of friends, or the malice of enemies, who were such only +because they did not understand. And so always to the fore he marched, +zigzagging occasionally, but the Voice said to him, as it did to +Columbus, "Sail on, and on, and on." Like the soul of John Brown, the +spirit of Handel goes marching on. And Sir Arthur Sullivan was right +when he said, "Musical England owes more to Father Handel than to any +other ten men who can be named—he led the way for us all, and cut out a +score that we can only imitate."<span class='pagenum'><a name="XIV_Page_257" id="XIV_Page_257">257</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-056" id="illus-056"></a> +<img src="images/img011.jpg" alt="A" title="" width = "72" height = "80"/> +</div> +<p>t the Court of George of Brunswick, at Hanover, in Seventeen Hundred +Nine, was George Frederick Handel, six feet one, weight one hundred +eighty, rubicund, rosy, and full of romp, aged twenty-four. George of +Brunswick was to have the felicity of being King George the First of +England, and already he was straining his gaze across the Channel.</p> + +<p>At his Court were divers and sundry English noblemen. Handel was a prime +favorite with every one in the merry company. The ladies doted on him. A +few gentlemen, possibly, were slightly jealous of his social prowess, +and yet none pooh-poohed him openly, for only a short time before he had +broken a sword in a street duel with a brother musician, and once had +thrown a basso profundo, who sang off key, through a closed window—all +this to the advantage of a passing glazier, who, being called in, was +paid his fee three times over for repairing the sash. It's an ill wind, +etc.</p> + +<p>Handel played the harpsichord well, but the organ better. In fact, he +played the organ in such a masterly way that he had no competitor, save +a phenomenal yokel by the name of Johann Sebastian Bach. These men were +born just a month apart. Saint Cecilia used to whisper to them when they +were wee babies. For several years they lived near each other, but in +this life they never met.</p> + +<p>Handel was an aristocrat by nature, even if not exactly<span class='pagenum'><a name="XIV_Page_258" id="XIV_Page_258">258</a></span> so by birth, +and so had nothing to do with the modest and bucolic Bach—even going so +far, they do say, as to leave, temporarily, the City of Halle, his +native place, when a contest was suggested between them. Bach was the +supreme culminating flower of two hundred fifty years of musical +ancestors—servants to this Grand Duke or that. But in the tribe of +Handel there was not a single musical trace. George Frederick succeeded +to the art, and at it, in spite of his parents. But never mind that! He +had been offered the post as successor to Buxtehude, and Buxtehude was +the greatest organist of his time. He accepted the invitation to play +for the Buxtehude contingent. A musical jury sat on the case, and +decided to accept the young man, with the proviso that Handel (taught by +Orpheus) should take to wife the daughter of Buxtehude—this in order +that the traditions might be preserved.</p> + +<p>Young Handel declined the proposition with thanks, declaring he was +unworthy of the honor.</p> + +<p>Young Handel had spent two years in Italy, had visited most of the +capitals of Europe, had composed several operas and numerous songs. He +was handsome, gracious and talented. Money may use its jimmy to break +into the Upper Circles; but to Beauty, Grace and Talent that does not +shiver nor shrink, all doors fly open. And now the English noblemen +requested—nay, insisted—that Handel should accompany them back to +Merry England.<span class='pagenum'><a name="XIV_Page_259" id="XIV_Page_259">259</a></span></p> + +<p>He went, and being introduced as Signore Handello, he was received with +salvos of welcome. There is a time to plant, and a time to reap. There +is a time for everything—launch your boat only at full of tide. London +was ripe for Italian Opera. Discovery had recently been made in England +that Art was born in Italy. It had traveled as far as Holland, and so +Dutch artists were hard at work in English manor-houses, painting +portraits of ancestors, dead and living. Music, one branch of Art, had +made its way up to Germany, and here was an Italian who spoke English +with a German accent, or a German who spoke Italian—what boots it, he +was a great musician!</p> + +<p>Handel's Italian opera, "Rinaldo," was given at a theater that stood on +the site of the present Haymarket. The production was an immense +success. All educated people knew Latin (or were supposed to know it), +and Signore Handello announced that his Italian was an improvement on +the Latin. And so all the scholars flocked to see the play, and those +who were not educated came too, and looked knowing. In order to hold +interest, there were English syncopated songs between the acts—ragtime +is a new word, but not a new thing.</p> + +<p>Handel was very wise in this world's affairs. He assured England that it +was the most artistic country on the globe. He wrote melodies that +everybody could whistle. Airs from "Rinaldo" were thrummed on the +harpsichord from Land's End to John O'Groat's. The grand<span class='pagenum'><a name="XIV_Page_260" id="XIV_Page_260">260</a></span> march was +adopted by the Life Guards, and at least one air from that far-off opera +has come down to us—the "Tascie Ch'io Pianga," which is still listened +to with emotion unfeigned. The opera being uncopyrighted, was published +entire by an enterprising Englishman from Dublin by the name of Walsh. +At two o'clock one morning at the "Turk's Head," he boasted he had +cleared over two thousand pounds on the sale of it. Handel was present +and responded, "My friend, the next time you will please write the opera +and I will sell it." Walsh took the hint, they say, and sent his check +on the morrow to the author for five hundred pounds. And the good sense +of both parties is shown in the fact that they worked together for many +years, and both reaped a yellow harvest of golden guineas.</p> + +<p>On the birthday of Queen Anne, Handel inscribed to her an ode, which we +are told was played with a full band. The performance brought the +diplomatic Handel a pension of two hundred pounds a year.</p> + +<p>Next, to celebrate the peace of Utrecht, the famous "Te Deum" and +"Jubilate" were produced, with a golden garter as a slight token of +recognition.</p> + +<p>But Good Queen Anne passed away, as even good queens do, and the +fuzzy-witted George of Hanover came over to be King of England, and +transmit his fuzzy-wuzzy wit to all the Georges. About his first act was +to cut off Handel's pension, "Because," he said, "Handel ran away from +me at Hanover."<span class='pagenum'><a name="XIV_Page_261" id="XIV_Page_261">261</a></span></p> + +<p>A time of obscurity followed for Handel, but after some months, when the +Royal Barge went up the Thames, a band of one hundred pieces boomed +alongside, playing a deafening racket, with horse-pistol accompaniments. +The King made inquiries and found it was "Water-Music," composed by Herr +Handel, and dedicated in loving homage to King George the First.</p> + +<p>When the Royal Barge came back down the river, Herr Handel was aboard, +and accompanied by a great popping of corks was proclaimed Court +Musician, and his back-pension ordered paid.</p> + +<p>The low ebb of art is seen in that, in the various operas given about +this time by Handel, great stress is made in the bills about costumes, +scenery and gorgeous stage-fittings. When accessories become more than +the play—illustrations more than the text—millinery more than the +mind—it is unfailing proof that the age is frivolous. Art, like +commerce and everything else, obeys the law of periodicity. Handel saw +the tendency of the times, and advertised, "The fountain to be seen in +'Amadigi' is a genuine one, the pump real and the dog alive." Three +hours before the doors opened, the throng stood in line, waiting.<span class='pagenum'><a name="XIV_Page_262" id="XIV_Page_262">262</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-057" id="illus-057"></a> +<img src="images/img276.jpg" alt="B" title="" width = "72" height = "80"/> +</div> +<p>ut London is making head. Other good men and true are coming to town. +Handel does not know much about them, or care, perhaps. His wonderful +energy is now manifesting itself in the work of managing theaters and +concerts, giving lessons and composing songs, arias, operas, and +attending receptions where "the ladies refrain from hoops for fear of +the crush," to use the language of Samuel Pepys.</p> + +<p>In shirt-sleeves, in a cheap seat in the pit, at one of Handel's +performances, is a big lout of a fellow, with scars of scrofula on his +neck and cheek. Next to him is a little man, and these two, so chummy +and confidential, suggest the long and short of it. They are countrymen, +recently arrived, empty of pocket, but full of hope. They have a selfish +eye on the stage, for the big 'un has written a play and wants to get it +produced.</p> + +<p>The little man's name is David Garrick; the other is Samuel Johnson.</p> + +<p>They listen to the singing, and finally Samuel turns to his friend and +says, "I say, Davy, music is nothing but a noise that is less +disagreeable than some others." They would go away, would these two, but +they have paid good money to get in, and so sit it out disgustedly, +watching the audience and the play alternately.</p> + +<p>In one of the boxes is a weazened little man, all out of drawing, in a +black velvet doublet, satin breeches and silk stockings. At his side is +a rudimentary sword. The<span class='pagenum'><a name="XIV_Page_263" id="XIV_Page_263">263</a></span> man's face is sallow, and shrewdness and +selfishness are shown in every line. He looks like a baby suddenly grown +old. The two friends in the pit have seen this man before, but they have +never met him face to face, because they do not belong to his set.</p> + +<p>"Do you think God is proud of a work like that?" at last asked Davy, +jerking his thumb toward the bad modeling in courtly black.</p> + +<p>"God never made him." The big man swayed in his seat, and added, "God +had nothing to do with him—he is the child of Beelzebub."</p> + +<p>"Think 'ee so?" asks Davy. "Why, Mephisto has some pretty good traits; +but Alexander Pope is as crooked as an interrogation-point, inside and +out."</p> + +<p>"I hear he wears five pairs of stockings to fill out his shanks, and +sole-leather stays to keep him from flattening out like a devilfish," +said Doctor Johnson.</p> + +<p>"But he makes a lot o' money!"</p> + +<p>"Well, he has to, for he pays an old woman a hundred guineas a year to +dress and undress him."</p> + +<p>"I know, but she writes his heroic couplets, too!"</p> + +<p>"Davy, I fear you are getting cynical—let's change the subject."</p> + +<p>It surely is a case of artistic jealousy. Our friends locate the poet +Gay, a fat little man, who is with his publisher, Rich.</p> + +<p>"They say," says Samuel, again rolling in his seat as if about to have +an apoplectic fit, "they say that<span class='pagenum'><a name="XIV_Page_264" id="XIV_Page_264">264</a></span> Gay has become rich, and Rich has +become gay since they got out that last book." There comes an interlude +in the play, and our friends get up to stretch their legs.</p> + +<p>"How now, Dick Savage?" calls Samuel, as he pushes three men over like +ninepins, to seize a shabby fellow whose neckcloth and hair-cut betray +him as being a poet. "How now, Dick, you said that Italian music was +damnably bad! Why do you come to hear it?"</p> + +<p>"I came to find out how bad it is," replied the literary man. "Eh! your +reverence?" he adds to his companion, a sharp-nosed man with china-blue +eyes, in Church-of-England knee-breeches, high-cut vest, and shovel-hat.</p> + +<p>Dean Swift replies with a knowing smirk, which is the nearest approach +to a laugh in which he ever indulged. Then he takes out his snuffbox and +taps it, which is a sign that he is going to say something worth while. +"Yes, one must go everywhere, and do everything, just to find out how +bad things are. By this means we clergymen are able to intelligently +warn our flocks. But I came tonight to hear that rogue Bononcini—you +know he is from County Down—I used to go to school with him," and the +Dean solemnly passes the snuffbox.</p> + +<p>Garrick here bursts into a laugh, which is broken off short by a +reproving look from the Dean, who has gotten the snuffbox back and is +meditatively tapping it again. The friends listen and hear from the +muttering lips of the Dean, this:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Some say that Signore Bononcini,<br /></span> +<span class="i0">Compared to Handel is a ninny;<br /></span> +<span class="i0">Whilst others vow that to him Handel,<br /></span> +<span class="i0">Is hardly fit to hold a candle.<br /></span> +<span class="i0">Strange all this difference should be<br /></span> +<span class="i0">'Twixt tweedledum and tweedledee.<br /></span> +</div></div> + +<p>The people are tumbling back to their seats as the musicians come +stringing in. Soon there is a general tuning up—scrapings, toots, +snorts, subdued screeches, raspings, and all that busy buzz-fuzz +business of getting ready to play.</p> + +<p>"The first time we came to the opera Doctor Johnson thought this was all +a part of the play, and applauded with unction for an encore," says +Garrick.</p> + +<p>"And I heard nothing finer the whole evening," answers Doctor Johnson, +accepting the defi, and winning by yielding.</p> + +<p>"Why don't they tune up at home, or behind the scenes?" asks some one.</p> + +<p>"I'll tell you why," says Savage, and he relates this: "Handel is a +great man for system—he is a strict disciplinarian, as any man must be +to manage musicians, who are neither men nor women, but a third sex. +Often Handel has to knock their heads together, and once he shook the +Cuzzoni until her teeth chattered."</p> + +<p>"That's the way you have to treat any woman before she will respect +you," interrupts the Dean. Nothing else being forthcoming, Savage +continues: "Handel is absolute master of everything but Death and +Destiny. Now he didn't like all this tuning up before the audience; he +said you might as well expect the prima donna to make her toilet in +front of the curtain"—</p> + +<p>"I like the idea," says Johnson.</p> + +<p>Savage praises the interruption and continues: "And so ordered every man +to tune up his artillery a half-hour before the performance, and carry +his instrument in and lay it on his chair. Then when it came time to +commence, every musician would walk in, take up his instrument, and +begin. The order was given, and all tuned up. Then the players all +adjourned for their refreshments.</p> + +<p>"In the interval a wag entered and threw every instrument out of key.</p> + +<p>"It came time to begin—the players marched in like soldiers. Handel was +in his place. He rapped once—every player seized his instrument as +though it were a musket. At the second rap the music began—and such +music! Some of the strings were drawn so tight that they snapped at the +first touch; others merely flapped; some growled; and others groaned and +moaned or squealed. Handel thought the orchestra was just playing him a +scurvy trick. He leaped upon the stage, kicked a hole in the bass-viol, +and smashed the kettledrum around the neck of the nearest performer. The +players fled before<span class='pagenum'><a name="XIV_Page_265" id="XIV_Page_265">265</a></span> the assault, and he bombarded them with cornets and +French horns as they tumbled down the stairs.</p> + +<p>"The audience roared with delight, and not one in forty guessed that it +was not a specially arranged Italian feature. But since that evening all +tuning-up is done on the stage, and no man lets his instrument get out +of his hands after he gets it right."</p> + +<p>"It's a moving tale, invented as an excuse for a man who writes music so +bad that he gets disgusted with it himself, and flies into wrath when he +hears it," says Johnson.</p> + +<p>A subdued buzz is heard, and the master comes forth, gorgeous in a suit +of purple velvet. His powdered wig and the enormous silver buckles on +his shoes set off his figure with the proper accent. His florid face is +smiling, and Garrick expresses a regret that there are to be no +impromptu tragic events in way of chasing players from the stage.</p> + +<p>"Would you like to meet him?" asks the sharp-nosed Dean.</p> + +<p>Garrick and Johnson have enough of the rustic in them to be +lion-hunters, and they reply to the question as one man, "Yes, indeed!"</p> + +<p>"I'll arrange it," was the answer. The leader raps for attention. +Johnson closes his eyes, sighs, and leans back resignedly.</p> + +<p>The others look and listen with interest as the play proceeds.<span class='pagenum'><a name="XIV_Page_266" id="XIV_Page_266">266</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-058" id="illus-058"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>he other day I read a book by Madame Columbier entitled, "Sara Barnum." +Only a person of worth could draw forth such a fire of hot invective, +biting sarcasm and frenzied vituperation as this volume contains. When I +closed the volume it was with the feeling that Sara Bernhardt is surely +the greatest woman of the age; and I was fully resolved that I must see +her play at the first opportunity, no matter what the cost. And as for +Madame Columbier, why she isn't so bad, either! The flashes of lightning +in her swordplay are highly interesting. The book was born, as all good +books, because its mother could not help it. Behind every page and +between the lines you see the fevered toss of human emotion and hot +ambition—these women were rivals. There were digs and scratches, +bandied epithets in falsetto, and sounds like a piccolo played by a man +in distress, before all this; and these are not explained, so you have +to fill them in with your imagination. But the Bernhardt is the bigger +woman of the two. She goes her splendid pace alone, and all the other +woman can do is to bombard her with a book.</p> + +<p>The excellence of Handel is shown in that he achieved the enmity of some +very good men. Read the "Spectator," and you will find its pages well +peppered with thrusts at "foreigners," and sweeping cross-strokes at +Italian Opera and all "bombastic beaters of the air, who smother harmony +with bursts of discord in the<span class='pagenum'><a name="XIV_Page_267" id="XIV_Page_267">267</a></span> name of music."</p> + +<p>These battles royal between the kings of art are not so far removed from +the battles of the beasts. Rosa Bonheur has pictured a duel to the death +between stallions; and that battle of the stags—horn-locked—with the +morning sun revealing Death as victor, by Landseer, is familiar to us +all. Then Landseer has another picture which he called "The Monarch," +showing a splendid stag, solitary and alone, standing on a cliff, +overlooking the valley. There is history behind this stag. Before he +could command the scene alone, he had to vanquish foes; but in the main, +in some way, you feel that most of his battles have been bloodless and +he commands by divine right. The Divine Right of a King, if he be a +King, has its root in truth.</p> + +<p>One mark of the genius of Handel is shown in the fact that he has +achieved a split and created a ruction in the Society of Scribblers. He +once cut Dean Swift dead at a fashionable gathering—the doughty Dean, +who delighted in making men and women alike crawl to him—and this won +him the admiration of Colley Cibber, who immortalized the scene in a +sonnet. People liked Handel, or they did not, and among the Old Guard +who stood by him, let these names, among others, be remembered: Colley +Cibber, Gay, Arbuthnot, Pope, Hogarth, Fielding and Smollett.</p> + +<p>People who through incapacity are unable to comprehend or appreciate +music, are prone to wax facetious over it—the feeble joke is the last +resort of the man who<span class='pagenum'><a name="XIV_Page_268" id="XIV_Page_268">268</a></span> does not understand.</p> + +<p>The noisy denizens of Grub Street, drinking perdition to that which they +can not comprehend, always getting ready to do great things, seem like +fussy pigmies beside a giant like Handel. See the fifth act ere the +curtain falls on the lives of Oliver Goldsmith, Doctor Johnson, Steele, +Addison and Dean Swift (dead at the top, the last), and the others +unhappily sent into Night; and then behold George Frederick Handel, in +his seventy-fifth year, blind, but with inward vision all aflame, +conducting the oratorio of "Elijah" before an audience of five thousand +people!</p> + +<p>The life of Handel was packed with work and projects too vast for one +man to realize. That he deferred to the London populace and wrote down +to them at first, is true; but the greatness of the man is seen in +this—he never deceived himself. He knew just what he was doing, and in +his heart was ever a shrine to the Ideal, and upon this altar the fires +never died.</p> + +<p>Handel was a man of affairs as well as a musician, and if he had loved +money more than Art, he could have withdrawn from the fray at thirty +years of age, passing rich.</p> + +<p>Three times in his life he risked all in the production of Grand Opera, +and once saw a sum equal to fifty thousand dollars disappear in a week, +through the treachery of Italian artists who were pledged to help him. +At great expense and trouble he had gone abroad and searched Europe for +talent, and, regardless of outlay,<span class='pagenum'><a name="XIV_Page_269" id="XIV_Page_269">269</a></span> had brought singers and performers +across the sea to England. In several notable instances these singers +had, in a short time, been bought up by rivals, and had turned upon +their benefactor.</p> + +<p>But Handel was not crushed by these things. He was philosopher enough to +know that ingratitude is often the portion of the man who does well, and +a fight with a fox you have warmed into life is ever imminent. At +fifty-five, a bankrupt, he makes terms with his creditors and in a few +years pays off every shilling with interest, and celebrates the event by +the production of "Saul," the "Dead March" from which will never die.</p> + +<p>The man had been gaining ground, making head, and at the same time +educating the taste of the English people. But still they lagged behind, +and when the oratorio of "Joshua" was performed, the Master decided he +would present his next and best piece outside of England. Jealousy, a +dangerous weapon, has its use in the diplomatic world.</p> + +<p>Handel set out for Dublin with a hundred musicians, there to present the +"Messiah," written for and dedicated to the Irish people. The oratorio +had been turned off in just twenty-one days, in one of those titanic +bursts of power, of which this man was capable. Its production was a +feat worthy of the Frohmans at their best. The performance was to be for +charity—to give freedom to those languishing in debtors' prisons at +Dublin. What finer than that the "Messiah" should<span class='pagenum'><a name="XIV_Page_270" id="XIV_Page_270">270</a></span> give deliverance?</p> + +<p>The Irish heart was touched. A fierce scramble ensued for seats, +precedence being emphasized in several cases with blackthorns deftly +wielded. The price of seats was a guinea each. Handel's carriage was +drawn through the streets by two hundred students. He was crowned with +shamrock, and given the freedom of the city in a gold box. Freedom even +then, in Ireland, was a word to conjure with. Long before the +performance, notices that no more tickets would be sold were posted. The +doors of the Debtors' Prison were thrown open, and the prisoners given +seats so they could hear the music—thus overdoing the matter in true +Irish style.</p> + +<p>The performance was the supreme crowning event in the life of Handel up +to that time.</p> + +<p>Couriers were dispatched to London to convey the news of Handel's great +triumph to the newspapers; bulletins were posted at the clubs—the +infection caught! On the return of the master a welcome was given him +such as he had never before known—Dublin should not outdo London! When +the "Messiah" was given in London, the scene of furore in Dublin was +repeated. The wild tumult at times drowned the orchestra, and when the +"Hallelujah Chorus" was sung, the audience arose as one man and joined +in the song of praise. And from that day the custom has continued: +whenever in England the "Messiah" is given, the audience arises and +sings in the "Chorus," as its privilege and right. The proceeds<span class='pagenum'><a name="XIV_Page_271" id="XIV_Page_271">271</a></span> of the +first performance of the "Messiah" in England were given to charity, as +in Dublin. This act, with the splendor of the work, subdued the last +lingering touch of obdurate criticism. The man was canonized by popular +acclaim. Many of his concerts were now for charity—"The Foundlings' +Home," "The Seamen's Fund," "Home for the Aged," hospitals and +imprisoned debtors—all came in for their share.</p> + +<p>Handel never married. That remark of Dean Swift's, "I admire +Handel—principally because he conceals his petticoat peccadilloes with +such perfection," does not go. Handel considered himself a priest of +art, and his passion spent itself in his work.</p> + +<p>The closing years of his life were a time of peace and honor. His bark, +after a fitful voyage, had glided into safe and peaceful waters. The +calamity of blindness did not much depress him—"What matters it so long +as I can hear?" he said. And good it is to know that the capacity to +listen and enjoy, to think and feel, to sympathize and love—to live his +Ideals—were his, even to the night of his passing Hence.<span class='pagenum'><a name="XIV_Page_272" id="XIV_Page_272">272</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="GIUSEPPE_VERDI" id="GIUSEPPE_VERDI"></a> +<span class='pagenum'><a name="XIV_Page_273" id="XIV_Page_273">273</a></span> +<h2>GIUSEPPE VERDI</h2> +</div> + +<div class="figcenter" style="width: 373px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-059" id="illus-059"></a> +<img src="images/img291.jpg" alt="" title="GIUSEPPE VERDI" width = "373" height = "500"/> +</div> + +<p> +<span style="margin-left: 1em;">Of all the operas that Verdi wrote,</span><br /> +<span style="margin-left: 2em;">The best, to my taste, is the Trovatore;</span><br /> +<span style="margin-left: 1em;">And Mario can soothe, with a tenor note,</span><br /> +<span style="margin-left: 2em;">The souls in purgatory.</span><br /> +<br /> +<span style="margin-left: 1em;">The moon on the tower slept soft as snow;</span><br /> +<span style="margin-left: 2em;">And who was not thrilled in the strangest way,</span><br /> +<span style="margin-left: 1em;">As we heard him sing while the lights burned low,</span><br /> +<span style="margin-left: 2em;">"Non ti scordar di me"?</span> +</p> +<hr style="width: 25%; Margin-left: 2em; Margin-top: 1em; margin-bottom: 1em;" /> +<p> +<span style="margin-left: 1em;">But O, the smell of that jasmine-flower!</span><br /> +<span style="margin-left: 2em;">And O, the music! and O, the way</span><br /> +<span style="margin-left: 1em;">That voice rang out from the donjon tower,</span><br /> +<span style="margin-left: 1.5em;">"Non ti scordar di me,</span><br /> +<span style="margin-left: 2em;">Non ti scordar di me!"</span><br /> +<span style="margin-left: 8em;">—<i>Bulwer-Lytton</i></span><br /> +<span class='pagenum'><a name="XIV_Page_275" id="XIV_Page_275">275</a></span></p> + +<p><span class='pagenum'><a name="XIV_Page_277" id="XIV_Page_277">277</a></span><span class='pagenum'><a name="XIV_Page_276" id="XIV_Page_276">276</a></span></p> + +<h3>GIUSEPPE VERDI</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-060" id="illus-060"></a> +<img src="images/img148.jpg" alt="H" title="" width = "72" height = "80"/> +</div> +<p>e sort of clung to the iron pickets, did the boy, and pressed his face +through the fence and listened. Some one was playing the piano in the +big house, and the windows with their little diamond panes were<span class='pagenum'><a name="XIV_Page_274" id="XIV_Page_274">274</a></span> flung +open to catch the evening breeze. He listened.</p> + +<p>His big gray eyes were open wide, the pupils dilated—he was trying to +see the music as well as hear it.</p> + +<p>The boy's hair matched the yellow of his face, being one shade lighter, +sun-bleached from going hatless. His clothes were as yellow as the +yellow of his face, and shaded off into the dust that strewed the +street. He was like a quail in a stubble-field—you might have stepped +over him and never seen him at all. He listened. Almost every evening +some one played the piano in the big house. He had discovered the fact a +week before, and now, when the dusk was gathering, he would watch his +chance and slide away from the hut where his parents lived, and run fast +up the hill, and along the shelving roadway to the tall iron fence that +marked the residence of Signore Barezzi. He would creep along under the +stone wall, and crouching there would wait and listen for the music. +Several evenings he had come and waited, and waited, and waited—and not +a note or a voice did<span class='pagenum'><a name="XIV_Page_278" id="XIV_Page_278">278</a></span> he hear.</p> + +<p>Once it had rained and he didn't mind it much, for he expected every +moment the music would strike up, you know—and who cares for cold, or +wet, or even hunger, if one can hear good music! The air grew chill and +the boy's threadbare jacket stuck to his bony form like a postage-stamp +to a letter. Little rivulets of water ran down his hair and streamed off +his nose and cheeks. He waited—he was waiting for the music.</p> + +<p>He might have waited until the water dissolved his insignificant cosmos +into just plain, yellow mud, and then he would have been simply +distributed all along the gutter down to the stream, and down the stream +to the river, and down the river to the ocean; and no one would ever +have heard of him again.</p> + +<p>But Signore Barezzi's coachman came along that night, keeping close to +the fence under the trees to avoid the wet; and the coachman fell over +the boy.</p> + +<p>Now, when we fall over anything we always want to kick it—no matter +what it is, be it cat, dog, stump, stick, stone or human. The coachman +being but clay (undissolved) turned and kicked the boy. Then he seized +him by the collar, and accused him of being a thief. The lad +acknowledged the indictment, and stammeringly tried to explain that it +was only music he was trying to steal; and that it really made no +difference because even if one did fill himself full of the music, there +was just as much left for other people, since music was different from +most things.<span class='pagenum'><a name="XIV_Page_279" id="XIV_Page_279">279</a></span></p> + +<p>The thought was not very well expressed, although the idea was all +right, but the coachman failed to grasp it. So he tingled the boy's bare +legs with the whip he carried, by way of answer, duly cautioning him +never to let it occur again, and released the prisoner on parole.</p> + +<p>But the boy forgot and came back the next night. He sat on the ground +below the wall, intending to keep out of sight; but when the music began +he stood up, and now, with face pressed between the pickets, he +listened.</p> + +<p>The wind sighed softly through the orange-trees; the air was heavy with +the perfume of flowers; the low of cattle came from across the valley, +and on the evening breeze from an open casement rose the strong, +vibrant, yet tender, strains of Beethoven's "Moonlight Sonata." The lad +listened.</p> + +<p>"Do you like music?" came a voice from behind. The boy awoke with a +start, and tried to butt his head through the pickets to escape in that +direction. He thought it was the coachman. He turned and saw the kindly +face of Signore Barezzi himself.</p> + +<p>"Do I like music? Me! No, I mean yes, when it is like that!" he +exclaimed, beginning his reply with a tremolo and finishing bravura.</p> + +<p>"That is my daughter playing; come inside with me." The hand of the +great man reached out, and the urchin clutched at it as if it were +something he had been longing for.</p> + +<p>They walked through the big gates where a stone lion<span class='pagenum'><a name="XIV_Page_280" id="XIV_Page_280">280</a></span> kept guard on each +side. The lions never moved. They walked up the steps, and entering the +parlor saw a young woman seated at the piano.</p> + +<p>"Grazia, dear, here is the little boy we saw the other day—you +remember? I thought I would bring him in." The young woman came forward +and touched the lad on his tawny head with one of her beautiful +hands—the beautiful hands that had just been playing the "Sonata."</p> + +<p>"That's right, little boy, we have seen you outside there before, and if +I had known you were there tonight, I would have gone out and brought +you in; but Papa has done the service for me. Now, you must sit down +right over there where I can see you, and I will play for you. But won't +you tell us your name?"</p> + +<p>"Me?" replied the little boy, "why—why my name is Giuseppe Verdi—I am +ten years old now—going on 'leven—you see, I like to hear you play +because I play myself, a little bit!"<span class='pagenum'><a name="XIV_Page_281" id="XIV_Page_281">281</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-061" id="illus-061"></a> +<img src="images/img297.jpg" alt="F" title="" width = "72" height = "80"/> +</div> +<p>or over a hundred years three-fourths of Italy's population had been on +reduced rations. Starvation even yet crouches just around the corner.</p> + +<p>In his childhood young Verdi used to wear a bit of rope for a girdle, +and when hunger gnawed importunately, he would simply pull his belt one +knot tighter, and pray that the ravens would come and treat him as well +as they did Elijah. His parents were so poor that the question of +education never came to them; but desire has its way, so we find the boy +at ten years of age running errands for a grocer with a musical +attachment. This grocer, at Busseto, Jasquith by name, hung upon the +fringe of art, and made the dire mistake of mixing business with his +fad, for he sold his wares to sundry gentlemen who played in bands. This +led the good man to moralize at times, and he would say to Giuseppe, who +had been promoted from errand-boy to clerk: "You can trust a first +violin, and a 'cello usually pays, but never say yes to a trombone nor +an oboe; and as for a kettle-drum, I wouldn't believe one on a stack of +Bibles!"</p> + +<p>Over the grocer's shop was a little parlor, and in it was a spinet that +young Giuseppe had the use of four evenings a week. In his later years +Verdi used to tell of this, and once said that the idea of prohibition +and limit should be put on every piano—then the pupil would make the +best of his privileges. In those days there was a tax on spinets, and I +believe that this tax has never been<span class='pagenum'><a name="XIV_Page_282" id="XIV_Page_282">282</a></span> rescinded, for you are taxed if +you keep a piano, now, in any part of Italy. Several times the poor +grocer's spinet stood in sore peril from the publicans and sinners, but +the bailiffs were bought off by Signore Barezzi, who came to the rescue.</p> + +<p>The note of thrift was even then in Verdi's score, for he himself has +told how he induced the Barezzi household to patronize the honest grocer +with musical proclivities.</p> + +<p>When twelve years of age Verdi occasionally played the organ in the +village church at Busseto. It will be seen from this that he had +courage, and even then possessed a trace of that pride and self-will +that was to be his disadvantage and then his blessing. Signore Barezzi's +attachment to the boy was very great, and we find the youngster was on +friendly terms with the family, having free use of their piano, with +valuable help and instruction from Signorina Grazia. When he was +seventeen he was easily the first musician in the place, and Busseto had +nothing more to offer in the way of advantages. He thirsted for a wider +career, and cast longing looks out into the great outside world. He had +played at Parma, only a few miles away, and the Bishop there, after +hearing him improvise on the organ, had paid him a doubtful compliment +by saying, "Your playing is surely unlike anything ever before heard in +Parma." Fair fortune smiled when Signore Barezzi secured for young Verdi +a free scholarship at the Conservatory at Milan.<span class='pagenum'><a name="XIV_Page_283" id="XIV_Page_283">283</a></span></p> + +<p>The youth went gaily forth, attended by the blessings of the whole +village, to claim his honors.</p> + +<p>Arriving at the Conservatory, the directors put him through his paces, +after the usual custom, to prove his fitness for the honor that had been +thrust upon him. He played first upon the piano, and the committee +advised together in whispered monotone. Then they asked him to play on +the organ, and there was more consultation, with argument which was +punctuated by rolling adjectives and many picturesque gesticulations. +Then they asked him to play the piano again. He did so, and the great +men retired to deliberate and vote on the issue.</p> + +<p>Their decision was that the youth was self-willed, erratic, and that he +had some absurd mannerisms and tricks of performance that forbade his +ever making a musician. And therefore, they ruled that his admission to +the Conservatory was impossible.</p> + +<p>Barezzi, who was present with his protege, stormed in wrath, and +declared that Verdi was the peer of any of his judges; in fact, was so +much beyond them that they could not comprehend him.</p> + +<p>This only confirmed the powers in the stand they had taken, and they +intimated that a great musician in Busseto was something different in +Milan—Signore Barezzi had better take his young man home and be content +to astonish the villagers with noisy acrobatics. There being nothing +else to do, the advice was first<span class='pagenum'><a name="XIV_Page_284" id="XIV_Page_284">284</a></span> flouted and then followed. They +arrived home, and Grazia and the grocer were informed that the +Conservatory at Milan was a delusion and a snare—"a place where pebbles +were polished and diamonds were dimmed." Shortly after, the townspeople, +to show faith in the home product, had Verdi duly installed as organist +of the village church at a salary equal to forty dollars a year.</p> + +<p>Under the spell of this good fortune, Verdi proposed marriage to the +daughter of Jasquith, the grocer, his friend and benefactor. Gratitude +to the man who had first assisted him had much to do with the alliance; +and in wedding the daughter, Verdi simply complied with what he knew to +be the one ardent desire of the father.</p> + +<p>The girl was a frail creature, of fine instincts, but her intellect had +been starved just as her body had been. Her chief virtue seems to have +been that she believed absolutely in the genius of Verdi.</p> + +<p>The ambition of Verdi began to show itself. He wrote an opera, and +offered it to Merelli, the impresario of "La Scala" at Milan. The +impresario had heard of Verdi, through the fact that the Conservatory +had blackballed him. This of itself would have been no passport to fame, +but the Committee saw fit to defend themselves in the matter by making a +public report of the considerations which had moved them to shut the +doors on the young man from Busseto. This gave the subject a weight and +prominence that simple admission<span class='pagenum'><a name="XIV_Page_285" id="XIV_Page_285">285</a></span> never would have given.</p> + +<p>Merelli, the Major Pond of Milan, saw the expressions "bizarre," +"erratic," "peculiar," "unprecedented," and kept his eye on Verdi. And +so when the opera was written he pounced upon it, thinking possibly a +new star had appeared on the horizon. The opera was accepted. Verdi, +feverish with hope, moved his scanty effects to Milan, and there, with +his frail and beautiful girl-wife and their baby-boy, lived in a garret +just across from the theater.</p> + +<p>Preparations for the performance were going on apace. The night of +November Seventeenth, Eighteen Hundred Thirty-nine came, and the play +was presented. The critics voted it a failure. Merelli, the manager, saw +that it was not strong enough with which to storm the town, and so +decided to abandon it. He liked the young composer, though, and admired +his work; and inasmuch as he had brought him to Milan, he felt a sort of +obligation to help him along. So Verdi was given an order for an opera +bouffe. That's it! Opera bouffe!—the people want comedy—they must be +amused. Even Verdi's serious work ran dangerously close to farce—bouffe +is the thing!</p> + +<p>Merelli's hope was infectious. Verdi began work on the new play that was +to be presented in the Spring. The winter rains began. There was no fire +in the garret where the composer and his frail girl-wife lived. They +were so proud that they did not let the folks at Busseto know where they +were: even Merelli did not know their place<span class='pagenum'><a name="XIV_Page_286" id="XIV_Page_286">286</a></span> of abode. Under an assumed +name Verdi got occasional work as an underling in one of the theaters, +and also played the piano at a restaurant. The wages thus earned were a +pittance, but he managed to take home soup-bones that the baby-boy +sucked on as though they were nectar.</p> + +<p>Another baby was born that winter. The mother was unattended, save by +her husband—no other woman was near. Verdi managed to bring home scraps +of food by stealth from the restaurant where he played, but it was not +the kind that was needed. There was no money to buy goat's milk for the +new-born babe, and the famishing mother, ever hopeful, assured the +husband it wasn't necessary—that the babe was doing well. The child +grew aweary of this world before a month had passed, and slept to wake +no more.</p> + +<p>But the opera bouffe was taking shape. It was rehearsed and hummed by +husband and wife together. They went over it all again and again, and +struck out and added to. It was splendid work—subtle, excruciatingly +funny, and possessed a dash and go that would sweep all carping and +criticism before it.</p> + +<p>Food was still scarce, and there was no fuel even to cook things; but as +there was nothing to cook, it really made no difference. Spring was +coming—it was cold, to be sure, but the buds were swelling on the trees +in the park. Verdi had seen them with his own eyes, and he hastened home +to tell his wife—Spring was coming!<span class='pagenum'><a name="XIV_Page_287" id="XIV_Page_287">287</a></span></p> + +<p>The two-year-old boy didn't seem to thrive on soup-bones. The father +used to hold him in his arms at night to warm the little form against +his own body. He awoke one morning to find the child cold and stiff. The +boy was dead.</p> + +<p>The mother used to lie abed all day now. She wasn't ill she said—just +tired! She never looked so beautiful to her husband. Two bright pink +spots marked her cheeks, and set off the alabaster of her complexion. +Her eyes glowed with such a light as Verdi had never before seen. No, +she was not ill—she protested this again and again. She kept to her bed +merely to be warm; and then if one didn't move around much, less food +was required—don't you see?</p> + +<p>Spring had come. The opera was being rehearsed. The title of the play +was "Un Giorno di Regno." Merelli said he thought it would be a success; +Verdi was sure of it.</p> + +<p>The night of presentation came. After the first act Verdi ran across the +street, leaped up the stairs three steps at a time, and reached the +garret. The play was a success. The worn woman there on her pallet, the +pale moonlight streaming in on her face, knew it would be. She raised +herself on her elbow and tried to call, "Viva Verdi!" But the cough cut +her words short. Verdi kissed her forehead, her hands, her hair, and +hurried back in time to see the curtain ascend on the second act. This +act went without either applause or disapproval.<span class='pagenum'><a name="XIV_Page_288" id="XIV_Page_288">288</a></span> Verdi ran home to say +that the audience was a trifle critical, but the play was all right—it +was a success! He said he would remain at home now, he would not go to +hear the third and last act. He would attend his wife until she got well +and strong. The play was a success!</p> + +<p>She prevailed upon him to leave her and then come back at the finale and +tell her all about it.</p> + +<p>He went away.</p> + +<p>When he returned he stumbled up the stairway and slowly entered the +door.</p> + +<p>The last act had not been completed—the audience had hissed the players +from the stage!</p> + +<p>Upon the ashen face of her husband, the stricken woman read all. She +tried to smile. She reached out one thin hand on which loosely hung a +marriage-ring. The hand dropped before he could reach it. The eyes of +the woman were closed, but upon the long, black lashes glistened two big +tears. The spirit was brave, but the body had given up the great +struggle.<span class='pagenum'><a name="XIV_Page_289" id="XIV_Page_289">289</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-062" id="illus-062"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>he calamities that had come sweeping over Verdi well-nigh broke his +proud heart. He was only twenty-six, but he had had a taste of life and +found it bitter.</p> + +<p>He lost interest in everything. All his musical studies were abandoned, +his excursions into science went by default, and he was quite content to +bang the piano in a concert saloon for enough to secure the bare +necessaries of life. Suicide seemed to present the best method of +solving the problem, and the various ways of shuffling off this mortal +coil were duly considered. Meanwhile he filled in the time reading +trashy novels—anything to forget time and place, and lose self in +poppy-dreams of nothingness.</p> + +<p>Two years of such blankness and blackness followed. He was sure that the +desire to create, to be, to do, would never come again—these were all +of the past. One day on an idle stroll through the park he met Merelli. +As they walked along together, Merelli took from his pocket a book, the +story of "Nabucco," and handing it to Verdi, asked him to look it over, +and see if he thought there was a chance to make an opera out of it. +Verdi responded that he was not in the business of writing operas—he +had quit all such follies. He took the volume, however, but neglected to +look at it for several days. At last he read the pages. He laid the book +down and began to pace the floor. Possibilities of creation were looming +large before him—a rush of thought was upon<span class='pagenum'><a name="XIV_Page_290" id="XIV_Page_290">290</a></span> him. His soul was not +dead—it had only been lying fallow.</p> + +<p>He secured the loan of a piano and set to work. In a month the opera was +completed. Merelli hesitated about accepting it—twice he had lost money +on Verdi. Finally he decided he would put the play on, if Verdi would +waive all royalties for the first three performances, if it were a +success, and then sell the opera outright "at a reasonable price," if +Merelli should chance to want it. The "reasonable price" was assumed to +be about a thousand francs—two hundred dollars—pretty good pay for a +month's work.</p> + +<p>Verdi took no interest in the production of the piece. He had come to +the conclusion that the public was a fickle, foolish thing, and no one +could tell what it would hiss or applaud. Then he remembered the +blackness of the night when only two years before his other opera was +produced.</p> + +<p>He made his way to his dingy little room and went to bed.</p> + +<p>Very early the next morning there was a loud pounding on his door. It +was Merelli. "How much for your opera?" asked the impresario, pushing +his way into the room.</p> + +<p>"Thirty thousand francs," came a voice, loud and clear out of the +bedclothes.</p> + +<p>"Don't be a fool," returned Merelli—"why do you ask such a sum!"</p> + +<p>"Because you are here at five o'clock in the morning—the price will be +fifty thousand this afternoon."</p> + +<p>Ten minutes of parley followed, and then Merelli drew his check for +twenty thousand francs, and Verdi gave his quitclaim, turned over in +bed, and went to sleep again.</p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-063" id="illus-063"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>he success of "Nabucodonosor" was complete. Its author had his twenty +thousand francs, but Merelli made more than that. From Eighteen Hundred +Forty-two to Eighteen Hundred Fifty-one may be called the First Verdi +Period. A dozen successful operas were produced, and simultaneously at +Rome, Naples, Venice, Milan, Genoa and Florence, Verdi's compositions +were being presented. The master was a businessman, as well as an +artist—the combination is not so unusual as was long believed—and knew +how to get the most for the mintage of his mind. Money fairly flowed his +way.</p> + +<p>Verdi married again in Eighteen Hundred Fifty. His life now turns into +what may be called the Second Verdi Period. After this we shall see no +more such curious exhibitions of bad taste as a ballet of forty witches +in "Macbeth," capering nimbly to a syncopated melody, with "Lady +Macbeth" in a needlessly abbreviated skirt singing a drinking-song to an +absent lover. In strenuous efforts to avoid coarseness Verdi may +occasionally give us soft sentimentality, but the change is for the +best.</p> + +<p>His mate was a woman of mind as well as heart. She was his intellectual +companion, his friend, his wife. For nearly fifty years they lived +together. Her dust now lies in the "House of Rest," at Milan, a home for +aged artists, founded by Verdi. This "House of Rest" was a +Love-Offering, dedicated to the woman who had<span class='pagenum'><a name="XIV_Page_291" id="XIV_Page_291">291</a></span> given him, without stint, +of the richness of her nature; who had bestowed rest, and peace, and +hope and gentle love. She had no feverish ambitions and petty plans and +schemes for secretly corralling pleasure, power, place, attention, or +selfish admiration. By giving all, she won all. She devoted herself to +this man in whom she had perfect faith, and he had perfect faith in her. +She ministered to him. They grew great together. When each was over +eighty years of age, Henry James met them at Cremona, at a musical +festival in honor of the birthday of Stradivari. And thus wrote Henry +James: "Verdi and his wife were there, admired above all others. And why +not? Think of whom they are, and what they stand for—nearly a century +of music, and a century of life! The master is tall, straight, proud, +commanding. He has a courtly old-time grace of bearing; and he kissed +his wife's hand when he took leave of her for an hour's stroll. And the +Madame surely is not old in spirit; she is as sprightly as our own Mrs. +John Sherwood, who translated 'Carcassonne' so well that she improved on +the original, because in her heart spring fresh and fragrant every day +the flowers of tender, human, Godlike sympathy."<span class='pagenum'><a name="XIV_Page_292" id="XIV_Page_292">292</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-064" id="illus-064"></a> +<img src="images/img117.jpg" alt="R" title="" width = "72" height = "80"/> +</div> +<p>igoletto," produced in the year Eighteen Hundred Fifty-one at Venice, +is founded on Victor Hugo's "Le Roi s'Amuse"; and the music has all the +dramatic fire that matches the Hugo plot. Verdi's devotion to Victor +Hugo is seen again in the use of "Hernani" for operatic purposes. "Il +Trovatore" and "La Traviata" followed "Rigoletto," and these three +operas are usually put forward as the Verdi masterpieces. The composer +himself regarded them with a favor that may well be pardoned, since he +used to say that he and his wife collaborated in their production—she +writing the music and he looking on. The proportion of truth and poetry +in this statement is not on record. But the simple fact remains that "Il +Trovatore" was always a favorite with Verdi, and even down to his death +he would travel long distances to hear it played. A correspondent of the +"Musical Courier," writing from Paris in Eighteen Hundred Eighty-seven, +says: "Verdi and his wife occupied a box last evening at the Grand Opera +House. The piece was 'Il Trovatore,' and many smiles were caused by the +sight of the author and his spouse seemingly leading the claque as if +they would split their gloves."</p> + +<p>The flaming forth of creative genius that produced the "Rigoletto," "Il +Trovatore," and "La Traviata," subsided into a placid calm.</p> + +<p>The serene happiness of Verdi's married life, the fortune that had come +to him, and the consciousness of having<span class='pagenum'><a name="XIV_Page_293" id="XIV_Page_293">293</a></span> won in spite of great +obstacles, led him to the thought of quiet and well-earned rest. The +master interested himself in politics, and was elected to represent the +district of Parma in the Italian Parliament. He proved himself a man of +power—practical, self-centered and businesslike—and as such served his +country well.</p> + +<p>The sentiment of the man is shown in his buying the property at Busseto, +his old home, which was owned by Signore Barezzi. He removed the high +picket fence, replacing it with a low stone wall; remodeled the house +and turned the conservatory into a small theater, where free concerts +were often given with the help of the villagers. The adjoining grounds +and splendid park were free to the public.</p> + +<p>The master's attention to music was now limited to enjoying it. So +passed the days.</p> + +<p>Ten years of the life of a country gentleman went by, and the Shah of +Persia, who had been on a visit to Italy and met Verdi, sent a command +for an opera. The plot must be laid in the East, the characters Moorish, +and the whole to be dedicated to the immortal Son of the Sun—the Shah.</p> + +<p>It is a little doubtful whether the Shah knew that operas are produced +only in certain moods and can not be done to order as a carpenter builds +a fence. But it was the way that Eastern Royalty had of showing its high +esteem.</p> + +<p>Verdi smiled, and his wife smiled, and they had quite a<span class='pagenum'><a name="XIV_Page_294" id="XIV_Page_294">294</a></span> merry little +time over the matter, calling in the neighbors and friends, and drinking +to the health of a real live Shah who knew a great musical genius when +he found one. But suddenly the matter began to take form in the master's +mind. He set to work, and the result was that in a few weeks "Aida" was +completed. The stories often told of the long preparation for composing +this opera reveal the fine imagination of the men who write for the +newspapers. Verdi seized upon knowledge as a devilfish absorbs its +prey—he learned in the mass.</p> + +<p>"Aida" was first produced at Cairo in Eighteen Hundred Seventy-one, with +a grand setting and the best cast procurable. A new Verdi opera was an +event, and critics went from London, Paris, and other capitals to see +the performance.</p> + +<p>The first thing the knowing ones said was that Verdi was touched with +Wagnerism, and that he had studied "Lohengrin" with painstaking care. If +Verdi was influenced by Wagner it was for good; but there was no servile +imitation in it. The "Aida" is rich in melody, reveals a fine balance +between singers and orchestra, and the "local color" is correct even to +the chorus of Congo slaves that was introduced at the performance in +Cairo.</p> + +<p>All agreed that the rest had done the master good, and the +correspondents wrote, "We will look anxiously for his next." They +thought the stream had started and there would be an overflow.<span class='pagenum'><a name="XIV_Page_295" id="XIV_Page_295">295</a></span></p> + +<p>But they were mistaken. Sixteen years of quiet farming followed. Verdi +was more interested in his flowers than his music, and told Philip Hale, +who made a pious pilgrimage to Busseto in Eighteen Hundred Eighty-three, +that he loved his horses more than all the prima donnas on earth.</p> + +<p>But in Eighteen Hundred Eighty-seven, the artistic and music-loving +world was surprised and delighted with "Otello." This grand performance +made amends for the mangling of "Macbeth." James Huneker says: "The +character-drawing in 'Otello' is done with the burin of a master; the +plot moves in processional splendor; the musical psychology is subtle +and inevitable. At last the genius of Verdi has flowered. The work is +consummate and complete."</p> + +<p>"Falstaff" came next, written by a graybeard of eighty as if just to +prove that the heart does not grow old. It is the work of an +octogenarian who loved life and had seen the world of show and sense +from every side. Old men usually moralize and live in the past—not so +here. The play flows with a laughing, joyous, rippling quality that +disarmed the critics and they apologized for what they had said about +Wagnerian motives. There were no sad, solemn, recurring themes in the +full-ripened fruit of Verdi's genius. When he died, at the age of +eighty-seven, the curtain fell on the career of a great and potent +personality—the one unique singer of the Nineteenth Century.<span class='pagenum'><a name="XIV_Page_296" id="XIV_Page_296">296</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="WOLFGANG_MOZART" id="WOLFGANG_MOZART"></a> +<span class='pagenum'><a name="XIV_Page_297" id="XIV_Page_297">297</a></span> +<h2>WOLFGANG MOZART</h2> +</div> + +<div class="figcenter" style="width: 331px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-065" id="illus-065"></a> +<img src="images/img317.jpg" alt="WOLFGANG MOZART" title="" width = "331" height = "500"/> +</div> +<p><span class='pagenum'><a name="XIV_Page_298" id="XIV_Page_298">298</a></span></p> + +<div class="blockquot"><p>Mozart composed nine hundred twenty-two pieces of which we know. He +is considered the greatest composer the world has ever seen, judged +by the versatility and power of his genius. In every kind of +composition he was equally excellent. Beside being a great composer +he was a great performer, being the most accomplished pianist of +his day. He was also an excellent player on the violin.</p> + +<p class='author'>—<i>Dudley Buck</i></p></div> + +<p><span class='pagenum'><a name="XIV_Page_299" id="XIV_Page_299">299</a></span></p> + +<h3>WOLFGANG MOZART</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-066" id="illus-066"></a> +<img src="images/img011.jpg" alt="A" title="" width = "72" height = "80"/> +</div> +<p>pology: The Mozart "Little Journey" was written, and as over a month +had been taken to do the task, the result was something of which I was +justly proud. It was quite unlike anything ever before written. The +printers were ready to take the work in hand, but I begged them to allow +me two more days for careful revision; and as I was just starting away +to give a lecture at Janesville, Wisconsin, I took the manuscript with +me, intending to do the final work of revision on the train.</p> + +<p>All went well on the journey, the lecture had been given with no special +tokens of disapproval on part of the audience, and I was on board the +early morning train that leaves for Chicago. And as my mind is usually +fairly clear in the early hours, I began work retouching the good +manuscript. We were nearing Beloit when I bethought me to go into the +Buffet-Car for a moment.</p> + +<p>When I returned the manuscript was not to be seen. I looked in various +seats, and under the seats, asked my neighbors, inquired of the +brakeman, and then hunted up the porter and asked him if he had seen my +manuscript. He did not at first understand what I meant by the term +"manuscript," but finally inquired if I referred to a pile of dirty, +dog-eared sheets of paper, all<span class='pagenum'><a name="XIV_Page_300" id="XIV_Page_300">300</a></span> marked up and down and over and +crisscross, ev'ry-which-way.</p> + +<p>I assured him that he understood the case.</p> + +<p>He then informed me that he had "chucked the stuff," that is to say, he +had tossed it out of the window, as he was cleaning up his car, just as +he always did before reaching Chicago.</p> + +<p>I made a frantic reach for the bell-cord, but was restrained. A +sympathetic passenger came forward and explained that five miles back he +had seen the sheets of my precious manuscript sailing across the +prairie. We were going at the rate of a mile a minute and the wind was +blowing fiercely, so there was really no need of backing up the train to +regain the lost goods.</p> + +<p>"I hope dem scribbled papers was no 'count, boss!" said the porter +humbly, as I stood sort of dazed, gazing into vacancy.</p> + +<p>I shook myself into partial sanity. "Oh, they were of no value—I was +looking for them so as to throw them out of the window myself," I +answered.</p> + +<p>"Brush?" said he.</p> + +<p>"Yes," said I.</p> + +<p>I placed the expected quarter in his dusky palm, still pondering on what +I should do.</p> + +<p>To reproduce the matter was impossible, for I have no verbal +memory—something must be written, though. I decided to leave Chicago in +an hour by the Lake Shore Railroad, and have the copy ready for the +Roycroft<span class='pagenum'><a name="XIV_Page_301" id="XIV_Page_301">301</a></span> boys when I reached home.</p> + +<p>This I did, and as I had no reference-books, maps or memoranda to guide +me, the matter seems to lack synthesis. I say seems to lack—but it +really doesn't, for the facts will all be found to be as stated. Still +the form may be said to be slightly colored by the environment, so some +explanation is in order—hence this apology to the Gentle Reader. And +further, if the Reader should find in these pages that, at rare +intervals, I use the personal pronoun, he must bear in mind that I live +in the country, and that it is the privilege and right, established by +long precedent and custom of country folk, to talk about themselves and +their own affairs if they are so minded.<span class='pagenum'><a name="XIV_Page_302" id="XIV_Page_302">302</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-067" id="illus-067"></a> +<img src="images/img127.jpg" alt="C" title="" width = "72" height = "80"/> +</div> +<p>hicago: Talent is usually purchased at a high price, and if the gods +give you a generous supply of this, they probably will be niggardly when +it comes to that. But one thing the artist is usually long on, and that +is whim. Let us all pray to be delivered from whim—it is the poisoner +of our joys, the corrupter of our peace, and Dead-Sea fruit for all +those about us.</p> + +<p>Heaven deliver us from whim!</p> + +<p>I am told by a famous impresario, who gained some valuable experience by +marrying a prima donna, and therefore should know, that whim is purely a +feminine attribute. This, though, is surely a mistake, for there have +lived men, as well as women, who had such an exaggerated sense of their +own worth, that they lost sight, entirely, of the rights and feelings of +everybody else. All through life they kept the stage waiting without +punctilio. These men thought dogs were made to kick, servants to rail +at, the public to be first crawled to and then damned, and all rivals to +be pooh-poohed, cursed or feared, as the mood might prompt. Further than +this they considered all landlords robbers, every railroad-manager a +rogue, and businessmen they bunched as greedy, grasping Shylocks. They +always used the word "commercial" as an epithet.</p> + +<p>Devotees of the histrionic art can lay just claim to having more than +their share of whim, but the musical profession has no reason to be +abashed, for it is a good<span class='pagenum'><a name="XIV_Page_303" id="XIV_Page_303">303</a></span> second. However, the actor's and the +musician's art are often not far separated. In speaking to James McNeil +Whistler of a certain versatile musician, a lady once said, "I believe +he also acts!"</p> + +<p>"Madame, he does nothing else," replied Mr. Whistler.</p> + +<p>Art is not a thing separate and apart—art is only the beautiful way of +doing things. And is it not most absurd to think, because a man has the +faculty of doing a thing well, that on this account he should assume +airs and declare himself exempt along the line of morals and manners? +The expression "artistic temperament" is often an apologetic term, like +"literary sensitiveness," which means that the man has stuck to one task +so long that he is unable to meet his brother men on a respectful +equality.</p> + +<p>The artist is the voluptuary of labor, and his fantastic tricks often +seem to be only Nature's way of equalizing matters, and showing the +world that he is very common clay, after all. To be modest and gentle +and kind, as we all can be, is just as much to God as to be learned and +talented, and yet be a cad.</p> + +<p>Still, instances of great talent and becoming modesty are sometimes +found; and in no great musician was the balance of virtues held more +gracefully than with Mozart. He had humor.</p> + +<p>Ah! that is it—he knew values—had a sense of proportion, and realized +that there is a time to laugh. And a good time to laugh is when you see +a mighty bundle of<span class='pagenum'><a name="XIV_Page_304" id="XIV_Page_304">304</a></span> pretense and affectation coming down the street. +Dignity is the mask behind which we hide our ignorance; and our forced +dignity is what makes the imps of comedy, who sit aloft in the sky, hold +their sides in merriment when they behold us demanding obeisance because +we have fallen heir to tuppence worth of talent.<span class='pagenum'><a name="XIV_Page_305" id="XIV_Page_305">305</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-068" id="illus-068"></a> +<img src="images/img325.jpg" alt="L" title="" width = "72" height = "80"/> +</div> +<p>aporte: Mozart had a sense of humor. He knew a big thing from a little +one. When yet a child the tendency to comedy was strong upon him. When +nine years of age he once played at a private musicale where the +Empress, Maria Theresa, was present. The lad even then was a consummate +violinist. He had just played a piece that contained such a tender, +mournful, minor strain that several of the ladies were in tears. The boy +seeing this, relentingly dashed off into a "barnyard symphony," where +donkeys brayed, hens cackled, pigs squealed and cows mooed, all ending +with a terrific cat-fight on a wood-shed roof. This done, the boy threw +his violin down, ran across the room, climbed into the lap of the +Empress and throwing his arms around the neck of the good lady, kissed +her a resounding smack first on one cheek, then on the other. It was all +very much like that performance of Liszt, who one day, when he was +playing the piano, suddenly shouted, "Pitch everything out of the +windows!" and then proceeded to do it—on the keyboard, of course.</p> + +<p>On the same visit to the palace, when Mozart saluted Maria Theresa in +his playful way, he had the misfortune to slip and fall on the waxed +floor.</p> + +<p>Marie Antoinette, daughter of Maria Theresa, just budding into +womanhood, ran and picked him up and rubbed his knee where it was hurt. +"You are a dear, good lady," said the boy in gratitude, "and when I<span class='pagenum'><a name="XIV_Page_306" id="XIV_Page_306">306</a></span> +grow up I am going to marry you." Liszt never made any such promise as +that. Liszt never offered to marry anybody. But it is too bad that Marie +Antoinette did not hold the lad to his promise. It would have probably +proved a valuable factor for her in the line of longevity; and her +husband's circumstances would have saved her from making that silly +inquiry as to why poor people don't eat cake when they run short of +bread. These moods of merriment continued with Mozart, as they did with +Liszt, all his life—not always manifesting themselves, though, in the +way just described.</p> + +<p>As a companion I would choose Mozart—generous, unaffected, kind—rather +than any other musician who ever played, danced, sang or +composed—excepting, well, say Brahms.<span class='pagenum'><a name="XIV_Page_307" id="XIV_Page_307">307</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-069" id="illus-069"></a> +<img src="images/img051.jpg" alt="S" title="" width = "72" height = "80"/> +</div> +<p>outh Bend: We take an interest in the lives of others because we +always, when we think of another, imagine our relationship to him. "Had +I met Shakespeare on the stairs I would have fainted dead away," said +Thackeray.</p> + +<p>Another reason why we are interested in biography is because, to a +degree, it is a repetition of our own life.</p> + +<p>There are certain things that happen to every one, and others we think +might have happened to us, and may yet. So as we read, we unconsciously +slip into the life of the other man and confuse our identity with his. +To put yourself in his place is the only way to understand and +appreciate him. It is imagination that gives us this faculty of +transmigration of souls; and to have imagination is to be universal; not +to have it is to be provincial. Let me see—wouldn't you rather be a +citizen of the Universe than a citizen of Peoria, Illinois, which modest +town the actors always speak of as being one of the provinces?</p> + +<p>As I read biography I always keep thinking what I would have done in +certain described circumstances, and so not only am I living the other +man's life, but I am comparing my nature with his. Everything is +comparative; that is the only way we realize anything—by comparing it +with something else. As you read of the great man he seems very near to +you. You reach out across the years and touch hands with him, and with +him you hope, suffer, strive and enjoy: your existence is<span class='pagenum'><a name="XIV_Page_308" id="XIV_Page_308">308</a></span> all blurred +and fused with his.</p> + +<p>And through this oneness you come to know and comprehend a character +that has once existed, very much better than the people did who lived in +his day and were blind to his true worth by being ensnared in cliques +that were in competition with him.<span class='pagenum'><a name="XIV_Page_309" id="XIV_Page_309">309</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-070" id="illus-070"></a> +<img src="images/img024.jpg" alt="E" title="" width = "72" height = "80"/> +</div> +<p>lkhart: I intimated a few pages back that I would have liked to have +Mozart for a friend and companion. Mozart needed me no less than I need +him. "Genius needs a keeper," once said I. Zangwill, probably with +himself in mind. We all need friends—and to be your brother's keeper is +very excellent if you do not cease being his friend. And poor Mozart did +so need a friend who could stand between him and the rapacious wolf that +scratched and sniffed at his door as long as he lived. I do not know why +the wolf sniffed, for Mozart really never had anything worth carrying +away. He was so generous that his purse was always open, and so full of +unmixed pity that the beggars passed his name along and made cabalistic +marks on his gateposts. Every seedy, needy, thirsty and ill-appreciated +musician in Germany regarded him as lawful prey. They used to say to +Mozart, "I can not beg and to dig I am ashamed—so grant me a small +loan, I pray thee."</p> + +<p>Yes, Mozart needed me to plan his tours and market his wares. I'm no +genius, and although they say I was an infant terrible, I never was an +infant prodigy. At the tender age of six, Mozart was giving concerts and +astonishing Europe with his subtle skill. At a like age I could catch a +horse with a nubbin, climb his back, and without a saddle or bridle +drive him wherever I listed by the judicious use of a tattered hat. Of +course I took pains to mount only a horse that had arrived at years<span class='pagenum'><a name="XIV_Page_310" id="XIV_Page_310">310</a></span> of +discretion, matronly brood-mares or run-down plow-horses; but this is +only proof of my practical turn of mind. Mozart never learned how to +control either horse or man by means of a tattered hat or diplomacy: +music was his hobby, and it was long years after his death before the +world discovered that his hobby was no hobby at all, but a genuine +automobile that carried him miles and miles, clear beyond all his +competitors: so far ahead that he was really out of shouting distance.</p> + +<p>Indeed, Mozart took such an early start in life and drove his machinery +so steadily, not to say so furiously, that at thirty-five all the +bearings grew hot for lack of rebabbitting, and the vehicle went the way +of the one-horse shay—all at once and nothing first, just as bubbles do +when they burst.</p> + +<p>At the age which Mozart died I had seen all I wanted to of business +life, in fact I had made a fortune, being the only man in America who +had all the money he wanted, and so just turned about and went to +college. This I firmly hold is a better way than to be sent to college +and then go into trade later and forget all you ever learned at school. +I had rather go to college than be sent. Every man should get rich, that +he might know the worthlessness of riches; and every man should have a +college education, just to realize how little the thing is worth.</p> + +<p>Yes, Mozart needed a good friend whose abilities could have rounded out +and made good his deficiencies. Most<span class='pagenum'><a name="XIV_Page_311" id="XIV_Page_311">311</a></span> certainly I could not do the +things that he did, but I should have been his helper, and might, too, +had not a century, one wide ocean, and a foreign language separated us.<span class='pagenum'><a name="XIV_Page_312" id="XIV_Page_312">312</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-071" id="illus-071"></a> +<img src="images/img145.jpg" alt="W" title="" width = "72" height = "80"/> +</div> +<p>aterloo: Friendship is better than love for a steady diet. Suspicion, +jealousy, prejudice and strife follow in the wake of love; and disgrace, +murder and suicide lurk just around the corner from where love coos. +Love is a matter of propinquity; it makes demands, asks for proofs, +requires a token. But friendship seeks no ownership—it only hopes to +serve, and it grows by giving. Do not say, please, that this applies +also to love. Love bestows only that it may receive, and a one-sided +passion turns to hate in a night, and then demands vengeance as its +right and portion.</p> + +<p>Friendship asks no rash promises, demands no foolish vows, is strongest +in absence, and most loyal when needed. It lends ballast to life, and +gives steadily to every venture. Through our friends we are made +brothers to all who live.</p> + +<p>I think I would rather have had Mozart for a friend than to love and be +loved by the greatest prima donna who ever warbled in high C. Friendship +is better than love. Friendship means calm, sweet sleep, clear brain and +a strong hold on sanity. Love I am told is only friendship, plus +something else. But that something else is a great disturber of the +peace, not to say digestion. It sometimes racks the brain until the +world reels. Love is such a tax on the emotions that this way madness +lies. Friendship never yet led to suicide.<span class='pagenum'><a name="XIV_Page_313" id="XIV_Page_313">313</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-072" id="illus-072"></a> +<img src="images/img115.jpg" alt="T" title="" width = "72" height = "80"/> +</div> +<p>oledo: Yes, just at the age when Mozart wrote and played his "Requiem," +getting ready to die, I was going to school and incidentally falling in +love. I was thirty-four and shaved clean because there were gray hairs +coming in my beard. Love has its advantages, of course, and the benefits +of passionate love consist in scarifying one's sensibilities until they +are raw, thus making one able to sympathize with those who suffer. Love +sounds the feelings with a leaden plummet that sinks to the very depths +of one's soul. This once done the emotions can return with ease, and so +this is why no singer can sing, or painter paint, or sculptor model, or +writer write, until love or calamity, often the same thing, has sounded +the depths of his soul. Love makes us wise because it makes room inside +the soul for thoughts and feelings to germinate; but passionate love as +a lasting mood would be hell. Henry Finck says that is why Nature has +fixed a two-year limit on romantic or passionate love. "War is hell," +said General Sherman. "All is fair in Love and War," says the old +proverb. Love and War are one, say I. Love is mad, raging unrest and a +vain, hot, reaching out for nobody knows what. Of course the kind which +I am talking about is the Grand Passion, not the sort of sentiment that +one entertains towards his grandmother.</p> + +<p>"But it is good to fall in love, just as it is well to have the +measles," to quote Schopenhauer. Still, there is this difference: one +only has the measles once, but the man<span class='pagenum'><a name="XIV_Page_314" id="XIV_Page_314">314</a></span> who has loved is never immune, +and no amount of pledges or resolves can ere avail.</p> + +<p>Just here seems a good place to express a regret that the English +language is such a crude affair that we use the same word to express a +man's regard for roast-beef, his dog, child, wife and Deity. There are +those who speedily cry, "Hold!" when one attempts to improve on the +language, but I now give notice that on the first rainy day I am going +to create some distinctions and differentiate for posterity along the +line just mentioned.<span class='pagenum'><a name="XIV_Page_315" id="XIV_Page_315">315</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-073" id="illus-073"></a> +<img src="images/img024.jpg" alt="E" title="" width = "72" height = "80"/> +</div> +<p>lyria: As intimated in a former chapter, I was a successful farmer +before I went to college. I was also a manufacturer, and made a success +in this business, too. I made a fortune of a hundred thousand dollars +before I was thirty, and should have it yet had I sat down and watched +it. If you go into a railroad-car and sit down by the side of your +valise (or manuscript), in an hour your valuables will probably be there +all right.</p> + +<p>But if you leave the valise (or the manuscript) in a seat and go into +another car, when you come back the goods may be there and they may not. +That is the only way to keep money—fasten your eye right on it. If you +leave it in the hands of others, and go away to delve in books, the +probabilities are that, when you get back, certain obese attorneys have +divided your substance among them.</p> + +<p>However, there is good in every exigency of life, and to know that your +fortune is gone is a great relief. When the trial is ended and the +prisoner has received his sentence, he feels a great relief, for it is +only the unknown that fills our souls with apprehension.<span class='pagenum'><a name="XIV_Page_316" id="XIV_Page_316">316</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-074" id="illus-074"></a> +<img src="images/img127.jpg" alt="C" title="" width = "72" height = "80"/> +</div> +<p>leveland: In all the realm of artistic history no record of such +extremes can be found in one life as those seen in the life of Mozart. +The nearest approach to it is found in the career of Rembrandt, who won +fame and fortune at thirty, and then holding the pennant high for ten +years, his powers began to decline. It took twenty-six years of steady +down grade to ditch his destinies in a pauper's grave.</p> + +<p>But Rembrandt, during his lifetime, was scarcely known out of Holland, +whereas Mozart not only won the nod of nobility, and the favor of the +highest in his own land, but he went into the enemy's country and +captured Italy. Mozart's art never languished: he held a firm grip on +sublime verities right to the day of his death. The high-water mark in +Mozart's career was reached in those two years in Italy, when in his +thirteenth and fourteenth years. The arts all go hand in hand, for the +reason that strong men inspire strong men, and each does what he can do +best. In painting, sculpture and music (not to mention Antonio +Stradivari of Cremona) Italy has led the world. A hundred years ago no +musician could hope for the world's acclaim until Italy had placed its +stamp of approval upon him.</p> + +<p>Savants in Milan, Florence, Padua, Rome, Verona, Venice and Naples, +tested the powers of young Mozart to their fullest; and although he had +to overcome doubt and the prejudice arising from being "a barbaric<span class='pagenum'><a name="XIV_Page_317" id="XIV_Page_317">317</a></span> +German," yet the highest honors were at the last ungrudgingly paid him. +He was enrolled as an honorary member of numerous musical societies, old +musicians gave their blessings, proud ladies craved the privilege of +kissing his fair forehead, and the Pope conferred upon the gifted boy +the Order of the Golden Spur, which gave him the right to have his mail +come directed to "The Signor Cavaliere Mozarti."</p> + +<p>At Naples the result of his marvelous playing was ascribed to +enchantment, and this was thought to be centered in a diamond ring that +had been presented to the lad by a fair lady in a mood of ecstasy. To +convince the Neapolitans of their error Mozart was obliged to accept +their challenge and remove the ring. He wrote home to his mother that he +had no time to practise, as in every city where he went artists insisted +on his sitting for his portrait.</p> + +<p>The acme of attention and applause was reached at Milan, where he was +commissioned to write an opera for the Christmas festivities. The +production of this opera at La Scala was the most glorious item in the +life of Mozart. A boy of fourteen conducting an opera of his own +composition before enraptured multitudes is an event that stands to the +credit of Mozart, and Mozart alone. "Evviva the Little Master—Evviva +the Little Master!" cried the audience. "It is music for the stars," and +against all precedent aria after aria had to be repeated. The boy, +always rather small for his age,<span class='pagenum'><a name="XIV_Page_318" id="XIV_Page_318">318</a></span> stood on a chair to wield his baton, +and the flowers that were rained upon him nearly covered the lad from +view.<span class='pagenum'><a name="XIV_Page_319" id="XIV_Page_319">319</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-075" id="illus-075"></a> +<img src="images/img011.jpg" alt="A" title="" width = "72" height = "80"/> +</div> +<p>shtabula: The place of a man's birth does not honor him until after he +is dead, and every man of genius has been distrusted by his intimate +kinsmen. If he is granted recognition by the outside world, those who +have known him from childhood wink slyly and repeat Phineas T. Barnum's +aphorism, a free paraphrase of which the Germans have used since the +days of the Vandals.</p> + +<p>Leopold Mozart returned home with his wonderful boy not much richer than +when he went away. He had left the management of finances to others, and +was quite content to travel in a special carriage, stop at the best +hotels, and have any "label" he might order, just for the asking.</p> + +<p>Reports had reached Germany of the wonderful success of the youthful +Mozart in Italy, but Vienna smiled and Salzburg sneezed.<span class='pagenum'><a name="XIV_Page_320" id="XIV_Page_320">320</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-076" id="illus-076"></a> +<img src="images/img340.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>orth East: It is not so very long ago that all the beautiful things of +earth were supposed to belong to the Superior Class. That is to say, all +the toilers, all the workers in metals, all the bookmakers, authors, +poets, painters, sculptors and musicians, did their work to please this +noble or that. All bands of singers were singers to His Lordship, and if +a man wrote a book he dedicated it to His Royal Highness. At first these +thinkers and doers were veritable slaves, and no court was complete that +did not have its wise man who wore the cap and bells, and made puns, +epigrams and quoted wise saws and modern instances for his board and +keep. This man usually served as a clerk or overseer, during his odd +hours, and only appeared to give a taste of his quality when he was sent +for.</p> + +<p>It was the same with the musicians and singers—they were cooks, waiters +and valets, and when there were guests these performers were notified to +be in readiness to "do something" if called upon. It was the same with +painters—every court had its own. Rubens, as we know, was looked upon +by the Duke of Mantua as his private property, and the artist had to run +away, when the time was ripe, to save his soul alive. Van Dyck was court +painter to Charles the First, and married when he was told to do so.</p> + +<p>There is no such office as "Poet Laureate of England"—the Laureate is +poet to the King, and used to dine<span class='pagenum'><a name="XIV_Page_321" id="XIV_Page_321">321</a></span> with the Master of the Hounds. Later +he was allowed to choose his domicile and live in his own house, like +Saint Paul, the prisoner at Rome. His yearly stipend is yet that tierce +of Canary.<span class='pagenum'><a name="XIV_Page_322" id="XIV_Page_322">322</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-077" id="illus-077"></a> +<img src="images/img051.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>ilver Creek: Leopold Mozart, and the son who caused his name to endure, +were in the employ of the Archbishop of Salzburg. The Archbishop was a +veritable prince, with short breath and a double chin, and no shade of +doubt ever came to him concerning the divinity of his succession. He +ruled by divine right, and everybody and everything were made to +minister to the well-being of his person and estate. The Mozarts were +too poor to escape from the employ of the Archbishop, and he took pains +to warn all interested persons not to harbor, encourage or entice his +servants away on penalty of dire displeasure. Mozart ate with the +servants, and we have his letters written to his sister showing how his +seat was next below that of the coachman. When he was to play before +invited guests he was made to wait in the entry until the footman called +him, and there he often stood for hours, first on one foot, then on t' +other.</p> + +<p>It is easy to ask why a man of such sublime talent should endure such +treatment, but the simple fact is Mozart was gentle, yielding, +kind—immersed in his music—with no power to set his will against the +tide of tendency that 'compassed him round. The Archbishop forbade his +playing at concerts or entertainments, and blocked the way to all +advancement. The Archbishop didn't have a diplomat like Rubens to cope +with, or a fighter like Wagner, or a plotter like Liszt, or a +stiletto-bearing man like Paganini, and so Mozart wrote his<span class='pagenum'><a name="XIV_Page_323" id="XIV_Page_323">323</a></span> music on a +table in one corner of a beer-garden, and waltzed with his wife, +Constance, to keep warm when there was no fire and the weather was cold, +and all the time danced attendance on the Archbishop of Salzburg. All of +his feeble, spasmodic efforts at freedom came to naught, because there +was no persistency behind them.</p> + +<p>Gladly would he have sold his services for three hundred gulden a year, +but even this sum, equal to one hundred fifty dollars a year, was denied +him. He was always composing, always making plans, always seeing the +silver tint in the clouds, but all of his music was taken by this one or +that in whom he foolishly trusted, and only debt and humiliation +followed him.</p> + +<p>When at long intervals a sum would come his way from a generous admirer +touched with pity, all the beggars in the neighborhood seemed to know it +at once. Then it was that music filled the air at the beer-garden, +carking care and unkind fate were for the time forgot, and all went +merry as a wedding-bell.</p> + +<p>Finally the position of Court Musician to the Emperor of Austria fell +vacant, and certain good friends of Mozart secured him the place. But +the Emperor was not like Frederick the Great, for he could not +distinguish one tune from another, and did not consider it any special +virtue so to do. The result was that his musicians were looked after by +his valet, and Mozart found that<span class='pagenum'><a name="XIV_Page_324" id="XIV_Page_324">324</a></span> his position was really no better than +it had been with the Archbishop of Salzburg.</p> + +<p>And still his mind proved infirm of purpose, and he had not the courage +to demand his right, for fear he might lose even the little that he +had.<span class='pagenum'><a name="XIV_Page_325" id="XIV_Page_325">325</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-078" id="illus-078"></a> +<img src="images/img276.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>uffalo: Mozart was in his twentieth year when he met Aloysia Weber. She +was a gifted singer, surely, and was needlessly healthy. She was of that +peculiar, heartless type that finds digression in leading men a merry +chase and then flaunting and flouting them. Young Mozart, the +impressionable, Mozart the delicate and sensitive, Mozart the Æolian +harp, played upon by every passing breeze, loved this bouncing bundle of +pink-and-white tyranny.</p> + +<p>She encouraged the passion, and it gradually grew until it absorbed the +boy and he grew oblivious to all else. He lived in her smile, bathed in +the sunshine of her presence, fed on her words, and as for her singing +in opera it was not so much what her voice was now but what he was sure +it would be.</p> + +<p>His glowing imagination made good her every deficiency. He thought he +loved the girl. It was not the girl at all he loved: he only loved the +ideal that existed in his own heart. His father opposed the mating and +hastily transferred the youth from Vienna to Paris; but who ever heard +of opposition and argument and forced separation curing love? So matters +ran on and letters and messages passed, and finally Mozart made his way +back to Vienna and with breathless haste sought out the object of his +whole heart's love.</p> + +<p>She had recently met a man she liked better, and as she could not hold +them both, treated Mozart as a stranger,<span class='pagenum'><a name="XIV_Page_326" id="XIV_Page_326">326</a></span> and froze him to the marrow.</p> + +<p>He was crushed, undone, and a fit of sickness followed. In his illness, +Constance, a younger sister of Aloysia, came to him in pity and nursed +him as a child. Very naturally, all the love he had felt for Aloysia was +easily and readily transferred to Constance. The tendrils of the heart +ruthlessly uprooted cling to the first object that presents itself.</p> + +<p>And so Wolfgang Amadeus Mozart and Constance Weber were married. And +they were happy ever afterward. It would have been much better if they +had quarreled, but Mozart's gentle, yielding character readily adapted +itself to the weaker nature of his wife. In his music she took a sort of +blind and deaf delight and guessed its greatness because she loved the +man. But when two weak wills combine, the net result is increased +weakness—never strength.</p> + +<p>Constance was as beautiful a specimen of the slipshod housekeeper as +ever piled away breakfast dishes unwashed, or swept dirt under a settee. +If they had money she bought things they did not need, and if there was +no money she borrowed provisions and forgot to return the loan. +Irregularity of living, deprivation and hope deferred, made the woman +ill and she became a chronic sufferer. But she was ever tended with +loving, patient care by the overburdened and underfed husband.</p> + +<p>A biographer tells how Mozart would often arise early in the morning to +set down some melody in music that he had dreamed out during the night. +On such occasions<span class='pagenum'><a name="XIV_Page_327" id="XIV_Page_327">327</a></span> he would leave a little love-letter for his wife on +the stand at the head of the bed, where she would find it on first +awakening. One such note, freely translated, runs as follows: +"Good-morning, Dear Little Wife. I hope you rested well and had sweet +dreams. You were sleeping so peacefully that I dare not kiss your cheek +for fear of disturbing you. It is a beautiful morning and a bird outside +is singing a song that is in my heart. I am going out to catch the +strain and write it down as my own and yours. I shall be back in an +hour."<span class='pagenum'><a name="XIV_Page_328" id="XIV_Page_328">328</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-079" id="illus-079"></a> +<img src="images/img024.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>ast Aurora: Aloysia married the man of her choice—an actor by the name +of Lange. They quarreled right shortly, and soon he used to beat her. +This was endured for a year or more, then she left him. For a while she +lived with Wolfgang and Constance, and Mozart, true to his nature, gave +her from his own scanty store and deprived himself for her benefit. He +stood godfather to one of her children and was a true friend to her to +the last.</p> + +<p>After Aloysia lived to be an old woman, and long after Mozart had passed +out, and the world had begun to utter his praises, she said: "I never +for a moment thought he was a genius—I always considered him just a +nice little man."</p> + +<p>Mozart's soul was filled with melody, and all of his music is faultless +and complete. He possessed the artistic conscience to a degree that is +unique. Careless and heedless in all else, if his mood was not right and +the product was halting, he straightway destroyed the score. He was +always at work, always hearing sweet sounds, always weighing and +balancing them in the delicate scales of his judgment.</p> + +<p>So absorbed was he in his art that he fell an easy victim to the +designing, and never stopped his work long enough to strike off the +shackles that bound him to a vain, selfish and unappreciative court.</p> + +<p>Worn by constant work, worried by his wife's continued illness, dogged +by creditors, and unable to get justice<span class='pagenum'><a name="XIV_Page_329" id="XIV_Page_329">329</a></span> from those who owed it to him, +his nerves at the early age of thirty-five gave way.</p> + +<p>His vitality rapidly declined and at last went out as a candle does when +blown upon by a sudden gust from an open door.</p> + +<p>It was a blustering winter day in December, Seventeen Hundred +Ninety-one, when his burial occurred. A little company of friends +assembled, but no funeral-dirge was played for him, save the blast blown +through the naked branches of the trees, as they hurried the plain pine +coffin to its final resting-place. At the gate of the cemetery the few +friends turned back and left the lifeless clay to the old gravedigger, +who never guessed the honor thus done him.</p> + +<p>It was a pauper's grave that closed over the body of Mozart—coffin +piled on coffin, and no one marked the spot. All we know is, that +somewhere in Saint Mark's Cemetery, Vienna, was buried in a trench the +most accomplished composer and performer the world has ever known. It +was a hundred years afterward before the city made tardy amends by +erecting a fitting monument to his memory.</p> + +<p>His best monument is his work. The melody that once filled his soul is +yours and mine; for by his art he made us heirs to all that wealth of +love that was never requited, and the dreams, that for him never came +true, are our precious and priceless legacy.<span class='pagenum'><a name="XIV_Page_330" id="XIV_Page_330">330</a></span></p> + +<hr class="major" /> +<div style="margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em"> +<a name="JOHANNES_BRAHMS" id="JOHANNES_BRAHMS"></a> +<span class='pagenum'><a name="XIV_Page_331" id="XIV_Page_331">331</a></span> +<h2>JOHANNES BRAHMS</h2> +</div> +<p><span class='pagenum'><a name="XIV_Page_332" id="XIV_Page_332">332</a></span></p> + +<div class="figcenter" style="width: 320px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-080" id="illus-080"></a> +<img src="images/img353.jpg" alt="JOHANNES BRAHMS" title="" width = "320" height = "500"/> +</div> + +<div class="blockquot"><p>What is music? This question occupied my mind for hours last night +before I fell asleep. The very existence of music is wonderful, I +might even say miraculous. Its domain is between thought and +phenomena. Like a twilight mediator, it hovers between spirit and +matter, related to both, yet differing from each. It is spirit, but +spirit subject to the measurement of time; it is matter, but matter +that can dispense with space.</p> + +<p class='author'>—<i>Heine</i></p></div> + +<p><span class='pagenum'><a name="XIV_Page_333" id="XIV_Page_333">333</a></span></p> + +<h3>JOHANNES BRAHMS</h3> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-081" id="illus-081"></a> +<img src="images/img024.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>merson has said that, next to the man who first voices a great truth, +is the one who quotes it.</p> + +<p>Truth is in the air; it belongs to all who can appreciate it; and the +difference between the man who gives a truth expression and the listener +who at once comprehends and repeats it, is very slight. If you +understand what I say, it is because you have thought the same thoughts +yourself—I merely express for you that which you already know. And so +you approve and applaud, not stopping to think that you are applauding +your own thought; and your heart beats fast and you say, "Yes, yes, why +didn't I say that myself!"</p> + +<p>All conversation is a sort of communion—an echoing back and forth of +thoughts, feelings and emotions. We clarify our thoughts by expressing +them—no idea is quite your own until you tell it to another.</p> + +<p>Music is simply one form of expression. Its province is to impart a +sublime emotion. To give himself is the controlling impulse in the heart +of every artist—to impart to others the joy he feels—this is the +dominant motive in his life.</p> + +<p>Hence the poet writes, the artist paints, the sculptor models, the +singer sings, the musician plays—all is<span class='pagenum'><a name="XIV_Page_334" id="XIV_Page_334">334</a></span> expression—a giving voice to +the Silence. But it is all done for others. In ministering to others the +artist ministers to himself. In helping others we help ourselves. We +grow strong through exercise, and only the faculties that are +exercised—that is to say, expressed—become strong. Those not in use +atrophy and fall victims to arrested development.</p> + +<p>Man is the instrument of Deity—through man does Deity create. And the +artist is one who expresses for others their best thoughts and feelings. +He may arouse in men emotions that were dormant, and so were unguessed; +but under the spell of the artist-spirit, these dormant faculties are +awakened from lethargy—they are exercised, and once the thrill of life +is felt through them, they will probably be exercised again and again.</p> + +<p>All art is collaboration between the performer and the partaker—music +is especially a collaboration. It is a oneness of feeling: action and +reaction, an intermittent current of emotion that plays backward and +forward between the player and his audience. The player is the positive +pole, or masculine principle; and the audience the negative pole, or +feminine principle.</p> + +<p>In great oratory the same transposition takes place. Almost every one +can recall occasions when there was an absolute fusion of thought, +feeling and emotion between the speaker and the audience—when one mind +dominated all, and every heart beat in unison with his. The great +musician is the one who feels intensely, and is<span class='pagenum'><a name="XIV_Page_335" id="XIV_Page_335">335</a></span> able to express +vividly, and thus impart his emotion to others.</p> + +<p>Robert Schumann was such a man. In his youth, when he played at parlor +gatherings he could fuse the listeners into an absolute oneness of +spirit. You can not make others feel unless you yourself feel; you can +not make others see unless you yourself see. Robert Schumann saw. He +beheld the moving pictures, and as they passed before him he expressed +what he saw in harmonious sounds. His many admirers say he gave +"portraits" on the piano, and by sounds would describe certain persons, +so others who knew these persons would recognize them and call their +names.</p> + +<p>Sterndale Bennett has told of Schumann's playing Weber's "Invitation to +the Dance," and accompanying it with little verbal explanations of what +he saw, thus: "There," said the player as he struck the opening chords, +"there, he bows, and so does she—he speaks—she speaks, and oh! what a +voice—how liquid! listen—hear the rustle of her gown—he speaks, a +little deeper, you notice—you can not hear the words, only their voices +blending in with the music—now they speak together—they are lovers, +surely—see, they understand—oh! the waltz—see them take those first +steps—they are swaying into time—away!—there they go—look!—you can +not hear their voices now—only see them!"</p> + +<p>Schumann studied law, and had he followed that profession he would have +made a master before a jury.<span class='pagenum'><a name="XIV_Page_336" id="XIV_Page_336">336</a></span> He saw so clearly and felt so deeply, and +was so full of generosity and bubbling good-cheer, that he was +irresistible. As we know, he proved so to Clara Wieck, who left father +and mother and home to cleave to this unknown composer.</p> + +<p>This splendid young woman was nine years younger than Robert, but she +had already made a name and fortune for herself before they were +married.</p> + +<p>In passing it is well enough to call attention to the fact that this is +one of the great loves of history. It ranks with the mating of Robert +Browning and Elizabeth Barrett. How strange that such things are so +exceptional that the world takes note of them!</p> + +<p>Yet for quite a number of years after their marriage, Madame Schumann +was at times asked this question: "Is your husband musical?"</p> + +<p>But Robert Schumann, like Robert Browning, was too big a man to be +jealous of his wife. Jealousy is an acknowledgment of weakness and +insecurity. "Robert and Clara," their many dear friends always called +them. They worked together—composed, sang, played, and grew great +together. And as if to refute the carping critics who cry that +domesticity and genius are incompatible, Clara Schumann became the happy +mother of eight children, and not a year passed but she appeared upon +the concert stage, while a nurse held the baby in the wings. Schumann +was very proud of his wife. He was grateful to her for interpreting his +songs in a way<span class='pagenum'><a name="XIV_Page_337" id="XIV_Page_337">337</a></span> he could not. His lavish heart went out to every one who +expressed the happiness and harmony which he felt singing in his soul.</p> + +<p>And so he welcomed all players and all singers, and all who felt the +influence of an upward gravitation. Especially was he a friend of the +young and the unknown. His home at Dusseldorf was a Mecca for the +aspiring—worthy and unworthy—and to these he gave his time, money and +influence. "Genius must have recognition—we will discover and bring +forth these beautiful souls; we will liberate and give them to the +world," he used to say. Not only did he himself express great things, +but he quoted others.</p> + +<p>Among those who had reverenced the Schumanns from afar, came a young man +of twenty, small and fair-haired, from Hamburg. He was received at the +regular "Thursday Night" with various other strangers. These meetings +were quite informal, and everybody was asked to play or sing. On being +invited to play, our young man declined. But on a second visit he sat +down at the piano and played. It was several minutes before the company +ceased the little buzz of conversation and listened—the fledglings were +never taken seriously except by the host and hostess. The youth leaned +over the keyboard, and seemed to gather confidence from the sympathetic +attitude of the listeners, and especially Clara Schumann, who had come +forward and stood at his elbow.</p> + +<p>He played from Schumann's "Carnival," and as he<span class='pagenum'><a name="XIV_Page_338" id="XIV_Page_338">338</a></span> played, freedom came to +him. He surprised himself. When he ceased playing, Robert kissed his +cheek, and the company were vehement in their applause. Next day +Schumann met Albert Dietrich, another disciple who had come from a +distance to bask in the Schumann sunshine, and said with an air of +mystery: "One has come of whom we shall yet hear great things. His name +is Johannes Brahms."<span class='pagenum'><a name="XIV_Page_339" id="XIV_Page_339">339</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-082" id="illus-082"></a> +<img src="images/img145.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>e have at least four separate accounts of Brahms' first appearance and +behavior when he arrived at the city of Dusseldorf. These descriptions +are by Robert and Clara Schumann, Doctor Dieters and Albert Dietrich. +All agree that Johannes Brahms was a most fascinating personality. +Dieters and Dietrich were about the age of Brahms, and were lesser +satellites swinging just outside the Schumann orbit. Very naturally when +a new devotee appeared, they gazed at him askance. Many visitors were +coming and going, and from most of them there was nothing to fear, but +when this short, deep-chested boy with flaxen hair appeared, Dietrich +felt there was danger of losing his place at the right hand of the +Master.</p> + +<p>Brahms carried his chin in, and the crown of his head high. He was +infinitely good-natured, met everybody on an equality, without abasement +or condescension. He was modest, never pushed himself to the front, and +was always ready to listen. A talented performer who can listen well, is +sure to be loved. And yet when Brahms went forward to play, there was +just a suggestion of indifference to his hearers in his manner, and a +half-haughty self-confidence that won before he had sounded a note. We +always believe in people who believe in themselves.</p> + +<p>Young Brahms brought a letter of introduction from Joachim. But that was +nothing—Joachim was always<span class='pagenum'><a name="XIV_Page_340" id="XIV_Page_340">340</a></span> giving letters to everybody. He was like +the men who sign every petition that is presented; or those other good +men who give certificates of character to people they do not know, and +recommendation letters to those for whom they have no use.</p> + +<p>So the letter went for little with Robert Schumann—it was the way +Brahms approached the piano, and settled his hands and great shock-head +over the keyboard, that won.</p> + +<p>"He is no beginner," whispered Clara to Robert before Johannes had +touched a key.</p> + +<p>It didn't take Brahms long to get acquainted—he mixed well. In a few +days he dropped into that half-affectionate way of calling his host and +hostess by their first names, and they in turn called him "Johannes." +And to me this is very beautiful, for, at the last, souls are all of one +age. More and more we are realizing that getting old is only a bad +habit. The only man who is old is the one who thinks he is. Of course +these remarks about age do not exactly apply just here, for no member of +the trinity we are discussing was advanced in years. Robert was +forty-three, Clara was thirty-four, and Johannes was twenty.</p> + +<p>Johannes Brahms was thrice well blest in being well born. His parents +were middle-class people, fairly well-to-do. They proved themselves +certainly more than middle-class in intellect, when they adopted the +plan of being the companions and comrades of their children.<span class='pagenum'><a name="XIV_Page_341" id="XIV_Page_341">341</a></span> Johannes +grew up with no slavish fear of "old folks." He had worked with his +father, studied with him; learned lessons from books with his mother, +and played "four hands" with her at the piano, by the hour, just for +fun.</p> + +<p>Then when Remenyi came that way with his violin, and wanted a pianist, +he took young Brahms. When their lines crossed the line of Liszt, they +played for him at his inn; and then Liszt played for them.</p> + +<p>This Remenyi was our own "Ol' Man Remenyi," who passed over only a year +or so ago. I wonder if he was Ol' Man Remenyi then! He never really was +an old man, and that appellation was more a mark of esteem than anything +else—a sort of diminutive of good-will. I met Remenyi at Chautauqua, +where he spent a month or more in Eighteen Hundred Ninety-three. He gave +me my first introduction to the music of Brahms, of whom he never tired +of talking. He considered Brahms without a rival—the culminating flower +of modern music; and if the Ol' Man slightly exaggerated his own +influence in bringing Brahms out and presenting him to the world, I am +not the one to charge it up against his memory.</p> + +<p>In explaining Brahms and his music, Remenyi used to grow animated, and +when words failed he would say, "Here, it was just like this"—and then +he would seize his violin, the bow would wave through the air, and the +notes would tell you how Brahms transposed Beethoven's<span class='pagenum'><a name="XIV_Page_342" id="XIV_Page_342">342</a></span> "Kreutzer +Sonata" from A to B flat—a feat he never could have performed if +Remenyi had not told him how. It was Remenyi who introduced Brahms to +Joachim, and it was Joachim who introduced Brahms to Schumann, and it +was Schumann's article, "New Paths," in the "Neue Zeitschrift fur +Musik," that placed Brahms on a pedestal before the world. Brahms was +not the great man that Schumann painted, Remenyi thought, but the +idealization caused him to put forth a heroic effort to be what Clara +and Robert considered him. So it was really these two who compelled him +to push on: otherwise he might have relaxed into a mere concert +performer or a leader of some subsidized band.</p> + +<p>Remenyi always seemed to me like a choice antique mosaic, a trifle +weather-worn, set into the present. He used to quote Liszt as if he +lived around the corner, and would criticize Wagner, and tell of +Moescheles, Haertel, the Mendelssohns and the Schumanns, as if they +might all gather tomorrow and play for us at the Hall in the Grove.</p> + +<p>Recently I met dear old Herr Kappes, eighty years young, who knew the +Mendelssohns, and admired Brahms, loved Clara Schumann, and liked +Remenyi—sometimes. They were too much alike, I fear, to like each other +all the time. But the harmony is still in the heart of Herr Kappes. He +gives music-lessons, and lectures, and will explain to you just how and +where Brahms differs from Schumann, and where Schubert<span class='pagenum'><a name="XIV_Page_343" id="XIV_Page_343">343</a></span> separates from +both.</p> + +<p>Herr Kappes can speak five languages, but even with them all he finds +difficulty in making his meaning clear, and at times adopts the Remenyi +plan, and will just turn to the piano and cry, "It's like this, see! +Schumann wrote it in this way"—and then the strong hands will chase the +keys down and back and over and up. "But Brahms took the motif and set +it like this"—and Herr Kappes will strike the bass a thunderous +stroke—pause, look at you, glide back and down, up and over, and you +are carried away in a swirl of sweet sounds, and see a pink face framed +in its beautiful aureole of white hair. You listen but you do not "see" +the fine distinctions, because you do not care—Herr Kappes is all there +is of it, so animated, so gentle, so true, so lovable—because he used +to pay court to Fanny Mendelssohn and then transferred his affections to +Clara Schumann, and now just loves his art, and everybody.<span class='pagenum'><a name="XIV_Page_344" id="XIV_Page_344">344</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-083" id="illus-083"></a> +<img src="images/img051.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>chumann's article, "New Paths," at once determined Brahms' career. He +must either live up to the mark that had been set for him—or else run +away.</p> + +<p>I give below an extract from Robert's estimate of Brahms and his work:</p> + +<div class="blockquot"><p>Ten years have passed away, as many as I formerly devoted to the +publication of this paper—since I have allowed myself to commit my +opinions to this soil so rich in memories. Often in spite of an +overstrained productive activity, I have felt moved to do so; many +new and remarkable talents have made their appearance, and a fresh +musical power seemed about to reveal itself among the many aspiring +artists of the day, even if their compositions were only known to +the few.</p> + +<p>I thought to follow with interest the pathways of these elect; +there would—there must—after such a promise, suddenly appear one +who should utter the highest ideal expression of the times, who +should claim the mastership by no gradual development, but burst +upon us fully equipped, as Minerva sprang from the brain of +Jupiter. And he has come, this chosen youth, over whose cradle the +Graces and Heroes seem to have kept watch.</p> + +<p>His name is Johannes Brahms; he comes from Hamburg, where he has +been working in quiet obscurity, instructed by an excellent, +enthusiastic teacher in the most difficult principles of his art, +and lately introduced to me by an honored and well-known master. +His mere outward appearance assures us that he is one of the +elect.<span class='pagenum'><a name="XIV_Page_345" id="XIV_Page_345">345</a></span></p> + +<p>Seated at the piano, he disclosed wondrous regions. We were drawn +into an enchanted circle. Then came a moment of inspiration which +transformed the piano into an orchestra of wailing and jubilant +voices. There were sonatas, or rather veiled symphonies, songs +whose poetry revealed itself without the aid of words, while +throughout them all ran a vein of deep song-melody, several pieces +of a half-demoniacal character, but of charming form; then sonatas +for piano and violin, string quartets, and each of these creations +so different from the last that they appeared to flow from so many +different sources. Then, like an impetuous torrent, he seemed to +unite these streams into a foaming waterfall; over the tossing +waves the rainbow presently stretches its peaceful arch, while on +the banks butterflies flit to and fro, and the nightingale warbles +her song.</p> + +<p>Whenever he bends his magic wand towards great works, and the +powers of orchestra and chorus lend him their aid, still more +wonderful glimpses of the ideal world will be revealed to us.</p> + +<p>May the Highest Genius help him onward! Meanwhile another +genius—that of modesty—seems to dwell within him. His comrades +greet him at his first step in the world, where wounds may, +perhaps, await him, but the bay and the laurel also; we welcome +this valiant warrior!</p></div> + +<p>Robert Schumann had been before the public as essayist, poet, pianist +and composer for twenty years. He had given himself without stint to +almost every musical enterprise of Germany, and his sympathy was ever on +tap for every needy and aspiring genius. You may give<span class='pagenum'><a name="XIV_Page_346" id="XIV_Page_346">346</a></span> your purse—he +who takes it takes trash—but to give your life's blood and then hope +for a renewal of life's lease, is vain.</p> + +<p>The public man owes to himself and to his Maker the duty of reserve.</p> + +<p>The desert and mountain are very necessary to the individual who gives +himself to the public. That any man should so bestride the narrow world +like a colossus that the multitude must stop to gaze, and thousands feed +upon his words, is an abnormal condition. The only thing that can hold +the balance true is solitude. Relaxation is the first requirement of +strength. Watch the cat, the tiger or the lion asleep. See what complete +absence of intensity—what perfect relaxation! It is all a preparation +for the spring.</p> + +<p>Schumann had not sought the mountain, nor abandoned himself to the woods +in old shoes, corduroys and a flannel shirt. Now he was paying the +penalty of publicity. Virtue had gone out of him; and in the article +just quoted, there are signs that he is clutching for something. He +hails this new star and proclaims him, because in some way he feels that +the ruddy, valiant and youthful Brahms is to consummate his work. Brahms +is an extension of himself. It is a part of that longing for +immortality—we perpetuate ourselves in our children and look for them +to accomplish what we have been unable to do.</p> + +<p>Johannes Brahms was the spiritual son of Robert<span class='pagenum'><a name="XIV_Page_347" id="XIV_Page_347">347</a></span> Schumann.</p> + +<p>In less than a year after Brahms and Schumann first met, there were +ominous signs and evil portents in the air. "Why do you play so fast, +dear Johannes? I beg of you, be moderate!" cried Robert on one occasion. +Brahms turned, and his quick glance caught the ashy face and bloodshot +eyes of a sick man. His reply was a tear and a hand-grasp.</p> + +<p>Soon, to Schumann, all music was going at a gallop, and in his ears +forever rang the sound of A. He could hear naught else. Tenderness, +patience, and even love were of no avail. Indeed, love is not exempt +from penalty—the law of compensation never rests. Nature forever +strives for a right adjustment.</p> + +<p>The richness and intensity of Schumann's life were bought with a price. +The first year after his marriage he composed one hundred thirty-eight +songs. Sonatas, scherzos, symphonies and ballads followed fast, and in +it all his gifted wife had gloried.</p> + +<p>But when, in Eighteen Hundred Fifty-four, Robert had, after sleepless +nights, in a fit of frenzy thrown himself into the Rhine, and had been +rescued, shattered, unable to recognize even his nearest friends—the +loyal and devoted wife saw where she herself had erred.</p> + +<p>Writing to Brahms she says: "I encouraged him in his work, and this +fired his ambition to do and to become. Oh! why did I not restrain that +intensity and send him away into the solitude to be a boy; to do nothing +but frolic and play and bathe in the sunshine, and eat and<span class='pagenum'><a name="XIV_Page_348" id="XIV_Page_348">348</a></span> sleep? The +life of an artist is death. Kill ambition, my Brother!"</p> + +<p>Activity and rest—both are needed. The idea of the "retreat" in the +Catholic Church is founded on stern, hygienic science. Wagner's forced +exile was not without its advantages, and the "retreats" of Paganini and +the "retirements" of Liszt were very useful factors in the devolution of +their art.<span class='pagenum'><a name="XIV_Page_349" id="XIV_Page_349">349</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-084" id="illus-084"></a> +<img src="images/img297.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>or the malady that beset Robert Schumann, there was no cure save death; +his only rest, the grave. When his spirit passed away in Eighteen +Hundred Fifty-six, his devoted wife and the loyal Brahms attended him. +Owing to the insidious creeping of the disease, Schumann's affairs had +got into bad shape; and it was now left to Brahms, more than all others, +to smooth the way of life for the stricken wife and her fatherless +brood.</p> + +<p>The versatility and sturdy commonsense of Brahms were now in evidence. +In business affairs he was ready, decisive and systematic. And the +delicacy, tact and charming good-nature he ever showed, reveal the man +as a most extraordinary figure. Great talent is often bought at a +price—how well we know this, especially with musicians! But Brahms was +sane on all subjects. He could take care of his own affairs, lend a +needed hand with others, but never meddle—smile with that half-sardonic +grimace at all foolish little things, weep with the stricken when +calamity came; yet above it all the little man towered, carrying himself +like the giant that he was. And yet he never made the mistake of taking +himself too seriously. "I am trying to run opposition to Michelangelo's +'Moses,'" he once called to Dietrich, as he leaned out of the window in +the sunshine, and stroked his flowing beard. In his later years many +have testified to this Jovelike quality that Brahms diffused by his +presence. No one could come<span class='pagenum'><a name="XIV_Page_350" id="XIV_Page_350">350</a></span> into his aura and fail to feel his sense of +power. Around such souls is a sacred circle—if you are allowed to come +within this boundary, it is only by sufferance; within this space only +the pure in heart can dwell.<span class='pagenum'><a name="XIV_Page_351" id="XIV_Page_351">351</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-085" id="illus-085"></a> +<img src="images/img115.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>olstoy in "Anna Karenina" speaks of that quiet and constant light to be +seen on the faces of those who are successful—those who know that their +success is acknowledged by the world.</p> + +<p>Brahms was a successful man by temperament, for success (like East +Aurora) is a condition of mind. There is no tragedy for those who do not +accept tragedy; and the treatment we receive from others is only our own +reflected thought.</p> + +<p>Brahms thought well of everybody, if he thought of any one at all. He +reveled in the sunshine, and everywhere made friends of children. "We +saw Brahms on the hotel veranda at Domodossola," wrote a young woman to +me in Eighteen Hundred Ninety-five, "and what do you think?—he was on +all fours, with three children on his back, riding him for a horse!"</p> + +<p>For many years Brahms used to make an annual pilgrimage to Italy, and +often on these tours at fairs he would fall in with Gipsy bands. At such +times he would always stop and listen, and would lustily applaud the +performance. On one such occasion, Dietrich tells, the leader recognized +Brahms, and instantly rapped for silence. He was seen to pass the +whispered word along, and then the band struck up one of Brahms' pieces, +greatly to the delight of the composer.</p> + +<p>He was a man of the people, and I am glad to know that he hated a table +d'hote, smiled a smile of derision at all<span class='pagenum'><a name="XIV_Page_352" id="XIV_Page_352">352</a></span> dress-coats, had small +sympathy with pink teas, loved his friends, doted on babies, and was +never so happy as when in the country walking along grass-grown lanes in +the early summer morning, when the dew was on and the air was melodious +with the song of birds. He had a habit of going bareheaded, carrying his +hat in his hand; and on these country walks, always with bared head, he +would sing or whistle, and unconsciously in his mind the music would be +taking shape that was to be written out later in the quiet of his study.</p> + +<p>Brahms knew the world—not simply one little part of it—he knew it as +thoroughly as any man can, and was interested in it all. He knew the +world of workers—the toilers and bearers of burdens. He knew the weak +and the vicious, and his heart went out to them in sympathy; for he knew +his own heart and realized the narrow margin that separates the +so-called "good" from the alleged "bad." He knew that sin is only a +wrong expression of life, and reacts to the terrible disadvantage of the +sinner.</p> + +<p>He was interested in mechanics—bookbinding, printing, iron-working, +carpentry, and was well acquainted with all new inventions and +labor-saving devices. He knew the methods of farming, the different +breeds of cattle; he knew what soil would produce best a certain crop, +and understood "rotation." He could call the wild birds by name and +imitate their notes, and studied long their haunts and habits. That +excellent man and<span class='pagenum'><a name="XIV_Page_353" id="XIV_Page_353">353</a></span> talented, George Herschel, in a letter to a friend +speaks of walking with Johannes Brahms along the highway, and Brahms +suddenly calling in alarm, "Look out! look out! you may kill it!"</p> + +<p>It was only a tumblebug, but he shrank from putting foot on any living +thing. Brahms reverenced all life, and felt in his heart that he was +brother to that bug in the dust, to the birds that chirruped in the +hedgerows, and to the trees that lifted their outstretching branches to +the sun.</p> + +<p>He was deeply religious—although he never knew it. All music is a hymn +of praise, a song of thanksgiving, a chant of faith. Music is a making +manifest to our dull ears the divine harmony of the universe, and thus +all music is sacred music, and all true musicians are priests, for by +their ministrations we are made to realize our Oneness with the Whole. +Through music we read the Universal.</p> + +<p>Music is the only one of the arts that can not be prostituted to a base +use. We hear of bad books, of the "Index Expurgatorius," and in every +State there are laws against the publication of immoral books and +indecent pictures. We also hear of orders issued by the courts requiring +certain statues to be removed or veiled, but no indictment can be +brought against music. It is the only one of the arts that is always +pure.</p> + +<p>Brahms realized this and felt the dignity of his office, holding high +the standard; and yet he knew that the<span class='pagenum'><a name="XIV_Page_354" id="XIV_Page_354">354</a></span> toilers in the fields were doing +a service to humanity, just as necessary as his own. And possibly this +is why he uncovered, walking with bared head. All is holy, all is +good—it is all God's world, and all the men and women in it are His +children.<span class='pagenum'><a name="XIV_Page_355" id="XIV_Page_355">355</a></span></p> + + +<div class="figleft" style="width: 72px; padding-top: 1em; padding-bottom: 1em"> +<a name="illus-086" id="illus-086"></a> +<img src="images/img297.jpg" alt="" title="" width = "72" height = "80"/> +</div> +<p>or forty-two years Brahms was the devoted friend of Clara Schumann. She +was thirteen years his senior, yet their spirits were as children +together. From the first he was to her, "Johannes," and she was "Clara" +to him. A few of their letters have been published in the "Revue des +deux Mondes," and this woman, who was a great-grandmother, and had sixty +years before captured a world, then in her seventy-fifth year, wrote to +her "Dear Johannes" with all the gentle fervor of a girl of twenty, +congratulating him on some recent success. In reply he writes back to +his "Dear Clara" in gracious banter; mentions rheumatism in his legs as +an excuse for bad penmanship; hopes she is keeping up her practise; +tells of a "Steinway Grand" that some one has sent him, and regrets that +she does not come to try it "four hands," as he has failed utterly to +get out of it alone the melody that he knows is there.</p> + +<p>Brahms never married—the bond between himself and Clara was too sacred +to allow another to sever or share it. And yet the relationship was so +high, so frank, so openly avowed, that no breath of scandal has ever +smirched it.</p> + +<p>The purity and excellence of it all has been its own apology, as love +ever should be its own excuse for being.</p> + +<p>For about three months every year these two friends dwelt near each +other. Together they worked, composed, sang, read, wrote and roamed the +woods. "None of<span class='pagenum'><a name="XIV_Page_356" id="XIV_Page_356">356</a></span> Madame Schumann's children is as young as she is," +wrote Doctor Hanslick, when Clara was sixty and Johannes was +forty-seven. "With the hope of passing for her father, Brahms is +cultivating a patriarchal beard," continues Hanslick.</p> + +<p>In his essay on "Friendship," Emerson speaks of the folly of forcing our +personal presence on the friend we love best, and of the faith that +ideality brings. Something of this thought is shown in the letters of +Madame Schumann to Brahms, and in his to her.</p> + +<p>Often for six months they would not meet, he doing his work in his own +way, she doing hers, but each ever conscious of the life and love of the +other—feeding on the ideal—writing or not writing, but glorying in +each other's triumphs—lives linked first by the love of a third person, +cemented by dire calamity, and then fused by a oneness of hope and +aspiration.</p> + +<p>Brahms' nature was too decidedly masculine, that is to say, one-sided, +to exist without the love of woman; Clara Schumann, gentle, generous, +motherly, plastic, needed Johannes no less than he needed her.</p> + +<p>When Clara's spirit passed away, in May, Eighteen Hundred Ninety-six, +Brahms attended her funeral at Frankfort. Hero that he was in body and +spirit, the shock unnerved him. No rebound came—every bodily faculty +seemed to have lost its buoyancy. The doctors tried to cheer him by +telling him that he had no organic ailment, and that twenty years of +life and work were<span class='pagenum'><a name="XIV_Page_357" id="XIV_Page_357">357</a></span> before him. He knew better, and told them so. Men do +not live any longer than they wish to. "Shall I live to see the +anniversary of her death?" asked Brahms of the doctor in March, Eighteen +Hundred Ninety-seven. "Oh, undoubtedly—you can live many years if you +only will to," was the answer. Three weeks later—on April Third—Max +Kalbrech telegraphed to Widmann, this message, "Brahms fell asleep early +this morning."<span class='pagenum'><a name="XIV_Page_358" id="XIV_Page_358">358</a></span></p> + +<h4>SO HERE ENDETH "LITTLE JOURNEYS TO THE HOMES OF GREAT MUSICIANS," BEING +VOLUME FOURTEEN OF THE SERIES, AS WRITTEN BY ELBERT HUBBARD: EDITED AND +ARRANGED BY FRED BANN; BORDERS AND INITIALS BY ROYCROFT ARTISTS, AND +PRODUCED BY THE ROYCROFTERS, AT THEIR SHOPS, WHICH ARE IN EAST AURORA, +ERIE COUNTY, NEW YORK, MCMXXII<span class='pagenum'><a name="XIV_Page_359" id="XIV_Page_359">359</a></span></h4> + +<hr style="width: 65%;" /> +<h2><br /><br /><a name="INDEX" id="INDEX"></a>INDEX</h2> + +<div class="trans-note"> + Transcriber's Note: The index covers the complete set of the "Little +Journeys" books. Links have been created for this volume. + </div> + + +<p>(<i>Compiled for Wm. H. Wise & Co., by John T. Hoyle, Managing Editor "The +Fra" Magazine.</i>)</p> + +<p> +Abbey, Edwin A., birth of, vi, 305;<br /> +<span style="margin-left: 1em;">evolution of the art of, vi, 312;</span><br /> +<span style="margin-left: 1em;">work of, in the Boston Public Library, vi, 323;</span><br /> +<span style="margin-left: 1em;">studio of, vi, 322;</span><br /> +<span style="margin-left: 1em;">George W. Childs and, vi, 309;</span><br /> +<span style="margin-left: 1em;">Henry James on, vi, 311.</span><br /> +<br /> +Abbotsford, home of Sir Walter Scott, iv, 321.<br /> +<br /> +Abbott, John S. C., iii, 7;<br /> +<span style="margin-left: 1em;">his life of Napoleon, vi, 129.</span><br /> +<br /> +Abbott, Lyman, on H. W. Beecher, vii, 378.<br /> +<br /> +Abildgaard, the painter, Thorwaldsen and, vi, 105.<br /> +<br /> +Ability, a bucolic estimate of, viii, 173.<br /> +<br /> +Abnegation, v, 243.<br /> +<br /> +Abolition, v, 205;<br /> +<span style="margin-left: 1em;">in New England, vii, 408.</span><br /> +<br /> +Abraham, x, 19.<br /> +<br /> +<i>Abraham</i>, Rembrandt's, iv, 63.<br /> +<br /> +Abstinence, v, 248.<br /> +<br /> +<i>Account of the English Poets</i>, Addison, v, 246.<br /> +<br /> +Achievement, the price of, v, 135.<br /> +<br /> +Acton, Lord, i, 60.<br /> +<br /> +<i>Adam Bede</i>, Eliot, i, 59; v, 148.<br /> +<br /> +Adams, Brooks, <i>The Law of Civilization and Decay</i>, xii, 89.<br /> +<br /> +Adams, John, iii, 79, 251, 239;<br /> +<span style="margin-left: 1em;">quoted, iii, 89.</span><br /> +<br /> +Adams, John Quincy, mother of, iii, 143;<br /> +<span style="margin-left: 1em;">marriage of, iii, 145;</span><br /> +<span style="margin-left: 1em;">president, iii, 146;</span><br /> +<span style="margin-left: 1em;">member of Congress, iii, 146;</span><br /> +<span style="margin-left: 1em;">death of, iii, 146;</span><br /> +<span style="margin-left: 1em;">on business, ix, 131;</span><br /> +<span style="margin-left: 1em;">on Thomas Paine, ix, 158.</span><br /> +<br /> +Adams, Maude, i, p xxvii; xii, 169.<br /> +<br /> +Adams, Samuel,<br /> +<span style="margin-left: 1em;">letter of, to Arthur Lee, iii, 78;</span><br /> +<span style="margin-left: 1em;">politics of, iii, 80;</span><br /> +<span style="margin-left: 1em;">part of, in the Boston uprising, iii, 81;</span><br /> +<span style="margin-left: 1em;">member of the Calkers' Club, iii, 85;</span><br /> +<span style="margin-left: 1em;">as a member of the Congress of the Colonies, iii, 91;</span><br /> +<span style="margin-left: 1em;">characteristics of, iii, 94;</span><br /> +<span class='pagenum'><a name="XIV_Page_360" id="XIV_Page_360">360</a></span><span style="margin-left: 1em;">place in history of, iii, 95, 251;</span><br /> +<span style="margin-left: 1em;">typical Puritan, iii, 232;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 240.</span><br /> +<br /> +Adams, Sarah Flower, v, 48.<br /> +<br /> +Addison, Joseph, iii, 60;<br /> +<span style="margin-left: 1em;">birthplace of, v, 239;</span><br /> +<span style="margin-left: 1em;">the perfect English gentleman, v, 239;</span><br /> +<span style="margin-left: 1em;">education of, v, 244;</span><br /> +<span style="margin-left: 1em;">travels of, v, 247;</span><br /> +<span style="margin-left: 1em;">under-secretary of State, v, 252;</span><br /> +<span style="margin-left: 1em;">Parliamentary experience of, v, 252;</span><br /> +<span style="margin-left: 1em;">meeting of, with Steele, v, 254;</span><br /> +<span style="margin-left: 1em;">his connection with the <i>Tatler</i> and the <i>Spectator</i>, v, 254;</span><br /> +<span style="margin-left: 1em;">referred to, v, 294;</span><br /> +<span style="margin-left: 1em;">on Plato, x, 121.</span><br /> +<br /> +Adirondack Murray, vii, 375.<br /> +<br /> +Adler, Felix, ix, 282;<br /> +<span style="margin-left: 1em;">preaching of, vii, 310.</span><br /> +<br /> +Adolescence, Dr. Charcot on, xii, 23.<br /> +<br /> +<i>Adoration of the Magi</i>, Botticelli, vi, 70.<br /> +<br /> +Adversity, uses of, i, 110.<br /> +<br /> +Æschines, disciple of Socrates, viii, 29.<br /> +<br /> +Æschylus, ii, 28.<br /> +<br /> +<i>Æsthetic England</i>, Walter Hamilton, xiii, 272.<br /> +<br /> +Affectation, v, 238.<br /> +<br /> +<i>Africa</i>, Petrarch, xiii, 239.<br /> +<br /> +Agassiz, Louis, xi, 419; xii, 407;<br /> +<span style="margin-left: 1em;">Darwinism and, xii, 230;</span><br /> +<span style="margin-left: 1em;">Thoreau and, viii, 417;</span><br /> +<span style="margin-left: 1em;">compared with Disraeli, v, 338.</span><br /> +<br /> +Age, of enlightenment, viii, 271;<br /> +<span style="margin-left: 1em;">of Herbert Spencer, viii, 354;</span><br /> +<span style="margin-left: 1em;">of Michelangelo, iv, 6;</span><br /> +<span style="margin-left: 1em;">of Rembrandt, iv, 78.</span><br /> +<br /> +<i>Age of Reason, The</i>, Thomas Paine, ix, 157, 160, 179.<br /> +<br /> +Agitators, personality of, vii, 409.<br /> +<br /> +Agnosticism, x, 342.<br /> +<br /> +Agnostic School, the, xii, 327.<br /> +<br /> +Agriculture, Humboldt on, xii, 140.<br /> +<br /> +<i>Aida</i>, Verdi, xiv, <a href='#XIV_Page_294'><b>294</b></a>.<br /> +<br /> +<i>Aids to Reflection</i>, Coleridge, v, 313.<br /> +<br /> +Alameda smile, the, viii, 365.<br /> +<br /> +Alaska, population of, iv, 128.<br /> +<br /> +Albert memorial, i, 314.<br /> +<br /> +Alcibiades, Socrates and, viii, 29;<br /> +<span style="margin-left: 1em;">Nero compared with, viii, 71.</span><br /> +<br /> +Alcott, Bronson, viii, 403;<br /> +<span class='pagenum'><a name="XIV_Page_361" id="XIV_Page_361">361</a></span><span style="margin-left: 1em;">Emerson and, viii, 405; xi, 392;</span><br /> +Socrates compared with, viii, 27.<br /> +<br /> +Alcott, Louisa, on the death of Thoreau, viii, 428.<br /> +<br /> +Alden, John, iii, 135.<br /> +<br /> +Alden, John B., i, p xxxv.<br /> +<br /> +Alderney, island of, i, 195.<br /> +<br /> +Aldus, on the Bellinis, vi, 253.<br /> +<br /> +Alexander the Great, iii, 119; iv, 160;<br /> +<span style="margin-left: 1em;">Aristotle and, viii, 93;</span><br /> +<span style="margin-left: 1em;">Diogenes and, viii, 96.</span><br /> +<br /> +Alexander VI, Pope, vi, 43.<br /> +<br /> +Ali Baba, i, p xv; ii, p x; vii, 189.<br /> +<br /> +Allegri, Antonio, of Correggio, vi, 232.<br /> +<br /> +Allen, Grant, educator, iv, 288;<br /> +<span style="margin-left: 1em;">quoted, viii, 18;</span><br /> +<span style="margin-left: 1em;">on sparrows, viii, 400.</span><br /> +<br /> +<i>All Sorts and Conditions of Men</i>, Besant, i, 262.<br /> +<br /> +Allston, American artist, iv, 318.<br /> +<br /> +<i>Almagest, The</i>, Ptolemy, xii, 99.<br /> +<br /> +Alma-Tadema, painter, vi, 14.<br /> +<br /> +<i>Almighty, The</i>, Rembrandt, iv, 63.<br /> +<br /> +Almsgiving, xi, 15.<br /> +<br /> +Alsatia, reference to, iii, 281.<br /> +<br /> +Alschuler, Sam, ix, 283.<br /> +<br /> +Altgeld, John P., x, 65, 111;<br /> +<span style="margin-left: 1em;">as an orator, vii, 22.</span><br /> +<br /> +Altruistic injury, law of, xi, 390.<br /> +<br /> +Amazons, the, iv, 9.<br /> +<br /> +Ambition, iii, 260; iv, 46.<br /> +<br /> +Ambrosian Library, Milan, vi, 52.<br /> +<br /> +Ambrosius, Bishop Georgius, iii, 101.<br /> +<br /> +<i>Amelia</i>, Fielding, iv, 302.<br /> +<br /> +America, art in, iv, 282;<br /> +<span style="margin-left: 1em;">Ary Scheffer's interest in, iv, 235;</span><br /> +<span style="margin-left: 1em;">Blue Book of, i, p vi;</span><br /> +<span style="margin-left: 1em;">famous paintings in, iv, 142;</span><br /> +<span style="margin-left: 1em;">freedom in, vi, 146;</span><br /> +<span style="margin-left: 1em;">Richard Cobden on, ix, 142;</span><br /> +<span style="margin-left: 1em;">the greatest need of, vii, 38.</span><br /> +<br /> +American institutions, Bruce on, iii, 75.<br /> +<br /> +American natural oil, xi, 371.<br /> +<br /> +American Revolution, Sons of, iii, 95.<br /> +<br /> +American travelers in Ireland, i, 155.<br /> +<br /> +American Undertakers' Association, i, 230.<br /> +<br /> +<i>Americanization of the World, The</i>, W. T. Stead, vi, 341.<br /> +<br /> +<i>American Note-Book</i>, Dickens, viii, 297.<br /> +<br /> +Americans in England, ii, 95.<br /> +<br /> +Amiel's Journal, vi, 273.<br /> +<br /> +Anabasis, Xenophon, iii, 119.<br /> +<br /> +Ananias and Sapphira referred to, ii, 217.<br /> +<br /> +<i>Anatomy Lesson, The</i>, Rembrandt, iv, 59.<br /> +<br /> +Anaxagoras, Greek philosopher, xii, 98, 369;<br /> +<span style="margin-left: 1em;">pupil of Pythagoras, x, 71;</span><br /> +<span style="margin-left: 1em;">teacher of Pericles, vii, 17;</span><br /> +<span class='pagenum'><a name="XIV_Page_362" id="XIV_Page_362">362</a></span><span style="margin-left: 1em;">work of, i, 343.</span><br /> +<br /> +Anaximander, Greek philosopher, xii, 368.<br /> +<br /> +Ancestor worship, x, 19, 59.<br /> +<br /> +<i>Ancient Mariner, The</i>, Coleridge, v, 305.<br /> +<br /> +Andersen, Hans Christian, on Thorwaldsen, vi, 93.<br /> +<br /> +Anderson, Mary, vi, 321.<br /> +<br /> +<i>Anecdotes of Painting</i>, Walpole, iv, 101.<br /> +<br /> +<i>Angelus, The</i>, Millet, iv, 281; vi, 215.<br /> +<br /> +Anglican church, Voltaire on the, viii, 297.<br /> +<br /> +Animality, vi, 71.<br /> +<br /> +<i>Animal Kingdom, The</i>, Swedenborg, viii, 194.<br /> +<br /> +Animal magnetism, x, 342.<br /> +<br /> +<i>Annabel Lee</i>, Edgar Allan Poe, xiii, 256.<br /> +<br /> +<i>Anna Karenina</i>, Tolstoy, xiv, <a href='#XIV_Page_351'><b>351</b></a>.<br /> +<br /> +<i>Ansidei</i>, Raphael, vi, 29.<br /> +<br /> +Anthony, Susan B., ii, 52;<br /> +<span style="margin-left: 1em;">Dr. Buckley's opinion of, i, 135.</span><br /> +<br /> +Anti-Corn-Law League, the, ix, 147, 236.<br /> +<br /> +Anti-Masonic party, iii, 266.<br /> +<br /> +Antisthenes, the Cynic, friend of Socrates, viii, 28.<br /> +<br /> +Antoninus, Roman emperor, character of, viii, 120.<br /> +<br /> +Antony, Mark, Cleopatra and, vii, 63;<br /> +<span style="margin-left: 1em;">Cæsar and, vii, 54;</span><br /> +<span style="margin-left: 1em;">oration of, vii, 59;</span><br /> +<span style="margin-left: 1em;">death of, vii, 76.</span><br /> +<br /> +Antwerp, Spanish influence in, iv, 81;<br /> +<span style="margin-left: 1em;">Venice compared with, xiv, <a href='#XIV_Page_224'><b>224</b></a>.</span><br /> +<br /> +A. P. A., the, iii, 265.<br /> +<br /> +Apollo referred to, i, 279.<br /> +<br /> +Apostle of negation, the American, v, 27.<br /> +<br /> +Apostle of the ugly, Beardsley, vi, 31.<br /> +<br /> +Apostolic succession, i, 114; v, 289.<br /> +<br /> +Appleton, Daniel, American publisher, ix, 58.<br /> +<br /> +Appreciation, vi, 238.<br /> +<br /> +Approbation, xiv, <a href='#XIV_Page_81'><b>81</b></a>.<br /> +<br /> +Aquarellists, the, vi, 320.<br /> +<br /> +Archbold, John D., xi, 379.<br /> +<br /> +Architecture, Middle Ages in, v, 14.<br /> +<br /> +Ariosto, Ludovico, sonnet to Gian Bellini, vi, 254.<br /> +<br /> +Aristides the Just, iii, 244;<br /> +<span style="margin-left: 1em;">friend of Socrates, viii, 28.</span><br /> +<br /> +Aristocracy, iv, 242.<br /> +<br /> +Aristophanes, i, 342;<br /> +<span style="margin-left: 1em;">on the Pythagorean philosophy, x, 73;</span><br /> +<span style="margin-left: 1em;">on Cheropho, viii, 27;</span><br /> +<span style="margin-left: 1em;">quoted, vii, 32;</span><br /> +<span style="margin-left: 1em;">of heaven, Heine's estimate of, i, 147.</span><br /> +<br /> +Aristotle, xii, 99, 224, 370;<br /> +<span style="margin-left: 1em;">quoted, viii, 93;</span><br /> +<span style="margin-left: 1em;">the world's first naturalist, i, 341;</span><br /> +<span style="margin-left: 1em;">on happiness, viii, 82;</span><br /> +<span style="margin-left: 1em;">Leonardo compared with, viii, 91;</span><br /> +<span class='pagenum'><a name="XIV_Page_363" id="XIV_Page_363">363</a></span><span style="margin-left: 1em;">influence of, viii, 109;</span><br /> +<br /> +Kant compared with, viii, 154;<br /> +<span style="margin-left: 1em;">Alexander the Great and, viii, 93;</span><br /> +<span style="margin-left: 1em;">the Stagirite, viii, 86;</span><br /> +<span style="margin-left: 1em;">Plato and, viii, 88; x, 114;</span><br /> +<span style="margin-left: 1em;">the world's first scientist, xii, 265;</span><br /> +<span style="margin-left: 1em;">John Ray on, xii, 275;</span><br /> +<span style="margin-left: 1em;">Moses compared with, x, 13;</span><br /> +<span style="margin-left: 1em;">on science, xi, 386.</span><br /> +<br /> +Armour, Philip D., father of the packing-house industry, xi, 178;<br /> +<span style="margin-left: 1em;">boyhood of, xi, 167;</span><br /> +<span style="margin-left: 1em;">epigrams of, xi, 183;</span><br /> +<span style="margin-left: 1em;">David Swing and, xi, 186;</span><br /> +<span style="margin-left: 1em;">Joseph Leiter and, xi, 200;</span><br /> +<span style="margin-left: 1em;">Nelson Morris and, xi, 189;</span><br /> +<span style="margin-left: 1em;">Robert Collyer and, xi, 185;</span><br /> +<span style="margin-left: 1em;">in California, xi, 174;</span><br /> +<span style="margin-left: 1em;">business ideals of, xi, 199.</span><br /> +<br /> +Armstrong, Gen. Samuel C., founder of Hampton Institute, x, 198.<br /> +<br /> +Arnold, Matthew, quoted, v, 148; viii, 267;<br /> +<span style="margin-left: 1em;">Frederic Chopin and, xiv, <a href='#XIV_Page_103'><b>103</b></a>;</span><br /> +<span style="margin-left: 1em;">Tennyson and, v, 80;</span><br /> +<span style="margin-left: 1em;">in America, x, 220;</span><br /> +<span style="margin-left: 1em;">home of, i, 218.</span><br /> +<br /> +Arnold of Brescia, x, 223.<br /> +<br /> +Arnold, Sir Edwin, as a lecturer, vii, 377.<br /> +<br /> +Arnold, Thomas, a teacher of teachers, x, 222;<br /> +<span style="margin-left: 1em;">education of, x, 226;</span><br /> +<span style="margin-left: 1em;">as head master of Rugby, x, 231;</span><br /> +<span style="margin-left: 1em;">Judge Lindsey compared with, x, 241;</span><br /> +<span style="margin-left: 1em;">parents of, x, 225;</span><br /> +<span style="margin-left: 1em;">the genius of, x, 234;</span><br /> +<span style="margin-left: 1em;">Thomas Jefferson compared with, x, 241.</span><br /> +<br /> +Arouet, Francois Marie, birthname of Voltaire, viii, 275.<br /> +<br /> +Arrested development, v, 72; vi, 175.<br /> +<br /> +Art, iv, 135; v, 183, 215;<br /> +<span style="margin-left: 1em;">definition of, i, p xl; vi, 17;</span><br /> +<span style="margin-left: 1em;">Venetian school of, vi, 255;</span><br /> +<span style="margin-left: 1em;">Wagner on, xiv, <a href='#XIV_Page_22'><b>22</b></a>;</span><br /> +<span style="margin-left: 1em;">laws of, viii, 99;</span><br /> +<span style="margin-left: 1em;">for art's sake, i, 281;</span><br /> +<span style="margin-left: 1em;">roguery in, i, 241;</span><br /> +<span style="margin-left: 1em;">of the ugly, vi, 73;</span><br /> +<span style="margin-left: 1em;">of mentation, Spencer, viii, 355;</span><br /> +<span style="margin-left: 1em;">Wagner's essay on, iv, 260;</span><br /> +<span style="margin-left: 1em;">controlled by fad and fashion, iv, 220;</span><br /> +<span style="margin-left: 1em;">the Bible in, iv, 58;</span><br /> +<span style="margin-left: 1em;">the mintage of the soul, vi, 156;</span><br /> +<span style="margin-left: 1em;">evolution and, iv, 159;</span><br /> +<span style="margin-left: 1em;">the seven immortals of, vi, 244;</span><br /> +<span style="margin-left: 1em;">in the Middle Ages, vi, 17;</span><br /> +<span style="margin-left: 1em;">patriotism and, vi, 321;</span><br /> +<span style="margin-left: 1em;">sublimity and, x, 38.</span><br /> +<br /> +Artist, the, described, i, 132;<br /> +<span style="margin-left: 1em;">illustrator and, difference between, iv, 329;</span><br /> +<span style="margin-left: 1em;">Whistler on the, vi, 353;</span><br /> +<span style="margin-left: 1em;">personality of the true, vi, 178.</span><br /> +<br /> +Artistic conscience, the, iv, 133; vi, 177; x, 363.<br /> +<br /> +Artistic jealousy, vi, 176, 275.<br /> +<br /> +Artistic roustabouts, vi, 300.<br /> +<br /> +Artists, two classes of, iv, 49;<br /> +<span class='pagenum'><a name="XIV_Page_364" id="XIV_Page_364">364</a></span><span style="margin-left: 1em;">as teachers, iv, 53.</span><br /> +<br /> +Asbury, Francis, Methodist missionary, ix, 50.<br /> +<br /> +Asceticism, v, 105, 124, 235;<br /> +<span style="margin-left: 1em;">sensuality and, vi, 91.</span><br /> +<br /> +Aspasia, wife of Pericles, vii, 26;<br /> +<span style="margin-left: 1em;">Socrates and, vii, 32; viii, 20.</span><br /> +<br /> +Asser, father of English history, x, 139.<br /> +<br /> +<i>Assumption, The</i>, Titian, iv, 151, 167.<br /> +<br /> +Astor, John Jacob, boyhood of, xi, 205;<br /> +<span style="margin-left: 1em;">as a fur-trader, xi, 211;</span><br /> +<span style="margin-left: 1em;">prophecies of, xi, 213;</span><br /> +<span style="margin-left: 1em;">marriage of, xi, 214;</span><br /> +<span style="margin-left: 1em;">Thomas Jefferson and, xi, 221;</span><br /> +<span style="margin-left: 1em;">Fitz-Greene Halleck and, xi, 227.</span><br /> +<br /> +Astoria, history of, xi, 221.<br /> +<br /> +Astrology as a profession, xii, 184;<br /> +<span style="margin-left: 1em;">astronomy and, xii, 97;</span><br /> +<span style="margin-left: 1em;">Dean Swift's ridicule of, i, 149.</span><br /> +<br /> +Astronomy, Chinese, xii, 97;<br /> +<span style="margin-left: 1em;">the study of, xii, 176.</span><br /> +<br /> +Astuteness, John Fiske on, viii, 250.<br /> +<br /> +<i>As You Like It</i>, Shakespeare, v, 119.<br /> +<br /> +Atavism, vi, 97.<br /> +<br /> +Athens, i, 321; iv, 13;<br /> +<span style="margin-left: 1em;">climate of, viii, 28;</span><br /> +<span style="margin-left: 1em;">decline of, iii, 232.</span><br /> +<br /> +Atterbury, Bishop, reference to, i, 124.<br /> +<br /> +Attila, i, 238.<br /> +<br /> +Auburn, village of, i, 283.<br /> +<br /> +Audubon, the naturalist, v, 133.<br /> +<br /> +Augustus, age of, ix, 94;<br /> +<span style="margin-left: 1em;">the boast of, viii, 48.</span><br /> +<br /> +Austen, Jane, novels of, ii, 247;<br /> +<span style="margin-left: 1em;">family of, ii, 243;</span><br /> +<span style="margin-left: 1em;">home of, ii, 249;</span><br /> +<span style="margin-left: 1em;">friends of, ii, 254;</span><br /> +<span style="margin-left: 1em;">characters of, ii, 253;</span><br /> +<span style="margin-left: 1em;">referred to, v, 294.</span><br /> +<br /> +Austin, Hon. James T., attorney-general of Massachusetts, vii, 407.<br /> +<br /> +Australia, animals of, xii, 388.<br /> +<br /> +Authors, favorite, vi, 244;<br /> +<span style="margin-left: 1em;">troubles of, v, 308.</span><br /> +<br /> +Autobiography, xiii, 313.<br /> +<br /> +<i>Autobiography</i>, J. S. Mill, xiii, 153.<br /> +<br /> +Avon, the river, i, 301.<br /> +<br /> +Aztecs, the, vi, 70.<br /> +<br /> +<br /> +Babel, tower of, iv, 115.<br /> +<br /> +Bacchus, Michelangelo's statue of, iv, 19.<br /> +<br /> +Bachelors, classification of, viii, 290;<br /> +<span style="margin-left: 1em;">two kinds of, xi, 325.</span><br /> +<br /> +Bach, Johann Sebastian, xiv, <a href='#XIV_Page_137'><b>137</b></a>;<br /> +<span style="margin-left: 1em;">home life of, xiv, <a href='#XIV_Page_155'><b>155</b></a>;</span><br /> +<span style="margin-left: 1em;">Michelangelo compared with, xiv, <a href='#XIV_Page_137'><b>137</b></a>.</span><br /> +<br /> +Bacon, Lord, referred to, iii, 37;<br /> +<span style="margin-left: 1em;">Shakespeare and, vi, 47.</span><br /> +<br /> +Baedeker's description of Stratford, i, 312;<br /> +<span class='pagenum'><a name="XIV_Page_365" id="XIV_Page_365">365</a></span><span style="margin-left: 1em;">description of London, ii, 118.</span><br /> +<br /> +Baer, Karl von, xii, 371.<br /> +<br /> +<i>Ballad of Boullabaisse</i>, Thackeray, i, 241.<br /> +<br /> +Ball family, the, xi, 404.<br /> +<br /> +Ballou, Hosea, and Thomas Paine compared, ix, 184.<br /> +<br /> +Balmoral, home of Queen Victoria, iv, 324.<br /> +<br /> +Baltimore and Ohio Railroad Company, formation of, xi, 247.<br /> +<br /> +Balzac and Madame De Berney, xiii, 282;<br /> +<span style="margin-left: 1em;">Napoleon and, xiii, 279;</span><br /> +<span style="margin-left: 1em;">on literary reputation, xiii, 209;</span><br /> +<span style="margin-left: 1em;">Victor Hugo on, xiii, 308;</span><br /> +<span style="margin-left: 1em;"><i>Contes Drolatiques</i>, iv, 338.</span><br /> +<br /> +Banbury Cross, i, 301.<br /> +<br /> +Bancroft, historian, quoted, iii, 48.<br /> +<br /> +Bandello and Leonardo, vi, 50.<br /> +<br /> +Baptists, Hook-and-Eye, v, 236.<br /> +<br /> +Barbarelli, Giorgio, vi, 258.<br /> +<br /> +Barbary pirates, the, iv, 295.<br /> +<br /> +Barbecue defined, vii, 247.<br /> +<br /> +Barbers' university, a, iii, 237.<br /> +<br /> +Barbizon, hills of, iv, 339;<br /> +<span style="margin-left: 1em;">school, the, vi, 189;</span><br /> +<span style="margin-left: 1em;">village of, iv, 278.</span><br /> +<br /> +Barnabee, Henry Clay, i, p xxvii.<br /> +<br /> +Barnum and Bailey Circus, iii, 194.<br /> +<br /> +Barnum of Science, the, i, 163.<br /> +<br /> +Barnum of Theology, the, i, 163.<br /> +<br /> +Barnum, Phineas T., iv, 344; xii, 383; xiv, <a href='#XIV_Page_90'><b>90</b></a>, 319.<br /> +<br /> +Barons, age of the, xi, 306.<br /> +<br /> +Barrett, Elizabeth, ii, 239; v, 58.<br /> +<br /> +Barrie, James, xiii, 11;<br /> +<span style="margin-left: 1em;">on the Scotch, xi, 263.</span><br /> +<br /> +Barr, Robert, i, p xxvii.<br /> +<br /> +Bartenders, American, vii, 214.<br /> +<br /> +Bartol, Dr. C. A., on Starr King, vii, 313.<br /> +<br /> +Bartolomeo, the friend of Raphael, vi, 23.<br /> +<br /> +Bartolomeo, the friend of Savonarola, vi, 24.<br /> +<br /> +Bashfulness, Emerson on, v, 248.<br /> +<br /> +Bashkirtseff, Marie, diary of, vi, 273.<br /> +<br /> +Bastile, iii, 72.<br /> +<br /> +Bates, Joshua, on Starr King, vii, 317.<br /> +<br /> +Bath, English watering-place, xii, 167.<br /> +<br /> +<i>Battle of Wad Ras</i>, Fortuny, iv, 219.<br /> +<br /> +Bayreuth, home of Wagner, xiv, <a href='#XIV_Page_35'><b>35</b></a>.<br /> +<br /> +Beaconsfield, Earl of, quoted, v, 41.<br /> +<br /> +Bear-baiting, v, 238.<br /> +<br /> +Beard, Dr. Charles, description of Luther's trial, vii, 145.<br /> +<br /> +Beardsley, Aubrey, iv, 159; vi, 73;<br /> +<span style="margin-left: 1em;">the apostle of the ugly, vi, 81.</span><br /> +<br /> +<i>Beata Beatrix</i>, Rossetti, xiii, 270.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_366" id="XIV_Page_366">366</a></span>Beau Brummel, ii, 197.<br /> +<br /> +Beaumont, Sir George, and the Wordsworths, i, 215.<br /> +<br /> +Beau Nash, xiii, 412;<br /> +<span style="margin-left: 1em;">"the King of Bath," vi, 141.</span><br /> +<br /> +Beauty, v, 237; xiv, <a href='#XIV_Page_26'><b>26</b></a>;<br /> +<span style="margin-left: 1em;">intellect and, x, 277;</span><br /> +<span style="margin-left: 1em;">Greek idealization of, iv, 9.</span><br /> +<br /> +Beecher, Henry Ward, vi, 148; xi, 258;<br /> +<span style="margin-left: 1em;">boyhood of, vii, 352;</span><br /> +<span style="margin-left: 1em;">influence of, vii, 345;</span><br /> +<span style="margin-left: 1em;">a man's preacher, vii, 356;</span><br /> +<span style="margin-left: 1em;">ministries of, vii, 356;</span><br /> +<span style="margin-left: 1em;">parents of, vii, 348;</span><br /> +<span style="margin-left: 1em;">preaching of, viii, 173;</span><br /> +<span style="margin-left: 1em;">wife of, vii, 368;</span><br /> +<span style="margin-left: 1em;">Lyman Abbott and, vii, 378;</span><br /> +<span style="margin-left: 1em;">Dr. E. H. Chapin and, vii, 320;</span><br /> +<span style="margin-left: 1em;">Robert Ingersoll and, vii, 357;</span><br /> +<span style="margin-left: 1em;">Lincoln and, vii, 379;</span><br /> +<span style="margin-left: 1em;">Lincoln compared with, vii, 348;</span><br /> +<span style="margin-left: 1em;">Major Pond and, vii, 360;</span><br /> +<span style="margin-left: 1em;">Talmage compared with, vii, 359;</span><br /> +<span style="margin-left: 1em;">the Tiltons and, vii, 364;</span><br /> +<span style="margin-left: 1em;">Rufus Choate on, vii, 359;</span><br /> +<span style="margin-left: 1em;">on elocution, viii, 54; vi, 187;</span><br /> +<span style="margin-left: 1em;">on the human heart, vii, 344;</span><br /> +<span style="margin-left: 1em;">on Henry Thoreau, viii, 424.</span><br /> +<br /> +Beecher, Lyman, logician, vii, 348;<br /> +<span style="margin-left: 1em;">W. L. Garrison and, vii, 395.</span><br /> +<br /> +Beecher, Sarah Porter, vii, 351.<br /> +<br /> +Beechers, the, ii, 115.<br /> +<br /> +Beef-eaters, the, v, 46.<br /> +<br /> +Beethoven, Ludwig van, xiv, <a href='#XIV_Page_234'><b>234</b></a>;<br /> +<span style="margin-left: 1em;">blindness of, viii, 346;</span><br /> +<span style="margin-left: 1em;">influence of, on Wagner, xiv, <a href='#XIV_Page_245'><b>245</b></a>.</span><br /> +<br /> +<i>Beggar, A</i>, Rembrandt, iv, 63.<br /> +<br /> +<i>Beggar's Opera, The</i>, Gay, viii, 295.<br /> +<br /> +Beilhart, Jacob, ix, 283.<br /> +<br /> +Bellamy, Edward, iii, 261; x, 117.<br /> +<br /> +Bellini, Gentile, vi, 252;<br /> +<span style="margin-left: 1em;">Giovanni and, iv, 156;</span><br /> +<span style="margin-left: 1em;">the Turkish Sultan and, vi, 261.</span><br /> +<br /> +Bellini, Gian, vi, 252;<br /> +<span style="margin-left: 1em;">Mrs. Oliphant's estimate of, vi, 248;</span><br /> +<span style="margin-left: 1em;">pupils of, vi, 254.</span><br /> +<br /> +Bellini, Giovanni, vi, 256.<br /> +<br /> +Bellini, Jacopo, iv, 60, 99; vi, 252.<br /> +<br /> +<i>Bells and Pomegranates</i>, Browning, v, 58.<br /> +<br /> +Benedictines, ii, 23;<br /> +<span style="margin-left: 1em;">industry of the, x, 318.</span><br /> +<br /> +Bentham, Jeremy, jurist, xi, 34;<br /> +<span style="margin-left: 1em;">Mill on, v, 289.</span><br /> +<br /> +Bergerac, Cyrano de, quoted, xi, 200.<br /> +<br /> +Berlitz method, the, ii, 245.<br /> +<br /> +Bernhardt, Sara, viii, 278; xiv, <a href='#XIV_Page_266'><b>266</b></a>.<br /> +<br /> +Besant, Annie, Theosophist, x, 342;<br /> +<span style="margin-left: 1em;">Charles Bradlaugh and, ix, 266.</span><br /> +<br /> +Besant, Walter, i, 262; iii, 189.<br /> +<br /> +Bessemer, Sir Henry, xi, 278.<br /> +<br /> +Beveridge, Sen. Albert J., xi, 24.<br /> +<br /> +Bible, Dore's illustrations of, iv, 388;<br /> +<span style="margin-left: 1em;">in art, iv, 58.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_367" id="XIV_Page_367">367</a></span>Bibliotheke, the, i, p xxvi.<br /> +<br /> +Bigelow, Poultney, and Herbert Spencer, viii, 189.<br /> +<br /> +Bigotry, vii, 30.<br /> +<br /> +Billingsgate fish market, i, 259.<br /> +<br /> +Biographies, machine-made, ii, 17;<br /> +<span style="margin-left: 1em;">the writing of, vi, 129.</span><br /> +<br /> +Biography, Edmund Gosse on, vii, 346;<br /> +<span style="margin-left: 1em;">James Anthony Froude on, vii, 347;</span><br /> +<span style="margin-left: 1em;">writers of, ii, 17.</span><br /> +<br /> +Biology, Humboldt on, xii, 140.<br /> +<br /> +Birrell, Augustine, the English essayist, quoted, i, 143; v, 176, 218;<br /> +<span style="margin-left: 1em;">on George Henry Lewes, viii, 339;</span><br /> +<span style="margin-left: 1em;">on Ruskin, vi, 126.</span><br /> +<br /> +<i>Birth of Venus, The</i>, Botticelli, vi, 69.<br /> +<br /> +Bishop of outsiders, Henry George, ix, 69.<br /> +<br /> +Bispham, David, i, p xxvii.<br /> +<br /> +<i>Blacksmith, The</i>, Whistler, vi, 177.<br /> +<br /> +Blackstone, xii, 179;<br /> +<span style="margin-left: 1em;">Burke and, vii, 164;</span><br /> +<span style="margin-left: 1em;"><i>Commentaries</i>, i, 295;</span><br /> +<span style="margin-left: 1em;">referred to, i, 295.</span><br /> +<br /> +Blaine, James G., Roscoe Conkling and, vii, 23;<br /> +<span style="margin-left: 1em;">compared with Henry Clay, iii, 222.</span><br /> +<br /> +Blair, John, v, 163.<br /> +<br /> +Blake, Admiral, and Oliver Cromwell, ix, 332.<br /> +<br /> +Blake, Harrison, friend of Thoreau, viii, 424.<br /> +<br /> +Blake, William, birth of, ii, 124.<br /> +<br /> +Blanc, Louis, i, 56.<br /> +<br /> +Blenheim, battle of, v, 250.<br /> +<br /> +<i>Blessed Damozel, The</i>, D. C. Rossetti, ii, 123; iv, 51; v, 16; xiii, 255.<br /> +<br /> +Blessington, Lady, and Lord Byron, v, 21.<br /> +<br /> +<i>Blithedale Romance</i>, Hawthorne, viii, 402.<br /> +<br /> +"Bloody Monday" at Harvard, i, 192.<br /> +<br /> +Bloomington, Ill., birthplace of Republican Party, iii, 287.<br /> +<br /> +Blue Book of America, i, p vi.<br /> +<br /> +Blue-coat school, ii, 218.<br /> +<br /> +Blue Grass Aristocracy, iii, 212.<br /> +<br /> +Boarding-schools, viii, 369;<br /> +<span style="margin-left: 1em;">English, ix, 135.</span><br /> +<br /> +Boccaccio and Petrarch, xiii, 232.<br /> +<br /> +<i>Body and Mind</i>, Maudsley, viii, 191.<br /> +<br /> +Boer war, the, vii, 35.<br /> +<br /> +Boleyn, Anne, ii, 198.<br /> +<br /> +Bolingbroke, Viscount, vii, 168.<br /> +<br /> +Bonaparte, Joseph, i, 185.<br /> +<br /> +Bonaparte, Napoleon, ii, 267.<br /> +<br /> +Bonheur, Rosa, v, 107; xiii, 22; xiv, <a href='#XIV_Page_267'><b>267</b></a>;<br /> +<span style="margin-left: 1em;">father of, ii, 155;</span><br /> +<span style="margin-left: 1em;">birth of, ii, 155;</span><br /> +<span style="margin-left: 1em;">Paris home of, ii, 156;</span><br /> +<span style="margin-left: 1em;">success of, ii, 150;</span><br /> +<span style="margin-left: 1em;">home of, at By, ii, 147; vi, 213;</span><br /> +<span class='pagenum'><a name="XIV_Page_368" id="XIV_Page_368">368</a></span><span style="margin-left: 1em;">the Barbizon School and, vi, 213.</span><br /> +<br /> +Book-agents, Joseph Cannon on, viii, 349.<br /> +<br /> +Book-collectors, v, 44.<br /> +<br /> +Bookmaking, early, iv, 55.<br /> +<br /> +Book of Rules, St. Benedict, x, 324.<br /> +<br /> +Bookplate, Washington's, iii, 8.<br /> +<br /> +Bookplates, iv, 120.<br /> +<br /> +Books, illumination of, i, p xxv;<br /> +<span style="margin-left: 1em;">Charles Lamb's love of, iv, 140;</span><br /> +<span style="margin-left: 1em;">Turner's opinion of, i, 132.</span><br /> +<br /> +Boone, Daniel, iii, 216.<br /> +<br /> +Borgia, Cesare, and Leonardo, vi, 43.<br /> +<br /> +Borgia, Lucrezia, i, 75; v, 216; vi, 43.<br /> +<br /> +Bossism, political, v, 186.<br /> +<br /> +Boston Ideal Opera Company, i, p xxvii.<br /> +<br /> +Boston, founding of, ix, 337;<br /> +<span style="margin-left: 1em;">Washington at, iii, 19.</span><br /> +<br /> +Boston Massacre, iii, 114.<br /> +<br /> +Boston Public Library, vi, 323.<br /> +<br /> +Boston Thursday Lecture, ix, 358.<br /> +<br /> +Boswell, i, 259; iv, 8; ix, 164; xii, 179;<br /> +<span style="margin-left: 1em;">biographer of Samuel Johnson, v, 145;</span><br /> +<span style="margin-left: 1em;">Goldsmith's characterization of, viii, 26;</span><br /> +<span style="margin-left: 1em;">Garrick's characterization of, viii, 26;</span><br /> +<span style="margin-left: 1em;">Reynolds and, iv, 299;</span><br /> +<span style="margin-left: 1em;">Vasari compared with, vi, 19;</span><br /> +<span style="margin-left: 1em;">quoted, i, 294.</span><br /> +<br /> +Botany, science of, xii, 268.<br /> +<br /> +Botticelli, Sandro, iv, 28; vi, 12, 69;<br /> +<span style="margin-left: 1em;"><i>Adoration of the Magi</i>, vi, 70;</span><br /> +<span style="margin-left: 1em;">appearance of, vi, 70;</span><br /> +<span style="margin-left: 1em;">Burne-Jones and, vi, 71;</span><br /> +<span style="margin-left: 1em;">George Eliot on, vi, 69;</span><br /> +<span style="margin-left: 1em;">Goldsmith compared with, vi, 70;</span><br /> +<span style="margin-left: 1em;">influence of, iv, 159;</span><br /> +<span style="margin-left: 1em;">Rembrandt compared with, vi, 69;</span><br /> +<span style="margin-left: 1em;">Simonetta and, vi, 83;</span><br /> +<span style="margin-left: 1em;"><i>Spring</i> of, vi, 78;</span><br /> +<span style="margin-left: 1em;"><i>Birth of Venus</i> of, vi, 69;</span><br /> +<span style="margin-left: 1em;">Walter Pater on, vi, 65.</span><br /> +<br /> +"Bottled Hate," i, 240.<br /> +<br /> +Bouncers described, i, 218.<br /> +<br /> +Bow-legs, vi, 308.<br /> +<br /> +Boyd, Hugh Stuart, ii, 21.<br /> +<br /> +Boys, Elbert Hubbard's love for, vi, 102.<br /> +<br /> +Bradlaugh, Charles, Annie Besant and, ix, 266;<br /> +<span style="margin-left: 1em;">Gladstone and, ix, 268;</span><br /> +<span style="margin-left: 1em;">Henry Labouchere and, ix, 266;</span><br /> +<span style="margin-left: 1em;">Mark Marsden and, ix, 246;</span><br /> +<span style="margin-left: 1em;">J. S. Mill and, xiii, 171;</span><br /> +<span style="margin-left: 1em;">John Morley and, ix, 271;</span><br /> +<span style="margin-left: 1em;">biography of, ix, 243;</span><br /> +<span style="margin-left: 1em;">Paine and Ingersoll compared with, ix, 243;</span><br /> +<span style="margin-left: 1em;">law practise of, ix, 256;</span><br /> +<span style="margin-left: 1em;">on the clergy, xii, 154;</span><br /> +<span style="margin-left: 1em;">services of, ix, 243;</span><br /> +<span style="margin-left: 1em;">wife of, ix, 255.</span><br /> +<br /> +Brahms, Johannes, and the Schumanns, xiv, <a href='#XIV_Page_337'><b>337</b></a>.<br /> +<br /> +Brain power described, i, 342.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_369" id="XIV_Page_369">369</a></span>Brain versus Brawn, vi, 51.<br /> +<br /> +Bramante, Italian architect, iv, 26.<br /> +<br /> +Brann the Iconoclast, ix, 97.<br /> +<br /> +Brantwood, i, 88.<br /> +<br /> +Brashear, John, maker of telescopes, xii, 178.<br /> +<br /> +Breathing habit, the, viii, 159.<br /> +<br /> +Breeds in birds and animals, ix, 275.<br /> +<br /> +Breton, Jules, ix, 198.<br /> +<br /> +Bridge of Sighs, Venice, iv, 150; v, 200.<br /> +<br /> +Bright, John, Robert Owen and, ix, 226;<br /> +<span style="margin-left: 1em;">Richard Cobden and, ix, 149, 231;</span><br /> +<span style="margin-left: 1em;">Gladstone on, ix, 238;</span><br /> +<span style="margin-left: 1em;">on the Corn Laws, ix, 216;</span><br /> +<span style="margin-left: 1em;">Sir Robert Peel on, ix, 238;</span><br /> +<span style="margin-left: 1em;">on taxation, ix, 228.</span><br /> +<br /> +Bright, Dr. Richard, physician, ix, 224.<br /> +<br /> +Bright's Disease, iii, 123.<br /> +<br /> +Brisbane, Arthur, x, 338.<br /> +<br /> +British Museum, origin of, i, 124.<br /> +<br /> +Broadway, the village of, vi, 319.<br /> +<br /> +Brockway methods, viii, 72.<br /> +<br /> +Bronco-busting, viii, 328.<br /> +<br /> +Bronte, Charlotte, ii, 239;<br /> +<span style="margin-left: 1em;">father of, ii, 98;</span><br /> +<span style="margin-left: 1em;">mother of, ii, 99;</span><br /> +<span style="margin-left: 1em;">death of, ii, 99;</span><br /> +<span style="margin-left: 1em;">home of, ii, 107;</span><br /> +<span style="margin-left: 1em;">sisters of, ii, 108;</span><br /> +<span style="margin-left: 1em;">works of, ii, 112;</span><br /> +<span style="margin-left: 1em;">Thackeray and, i, 240;</span><br /> +<span style="margin-left: 1em;">referred to, v, 294.</span><br /> +<br /> +Bronze, casting of, vi, 274.<br /> +<br /> +Brooke, Lord, referred to, i, 303.<br /> +<br /> +Brooke, Stopford, quoted, v, 78.<br /> +<br /> +Brook Farm, viii, 402; x, 319;<br /> +<span style="margin-left: 1em;">influence of the, viii, 402;</span><br /> +<span style="margin-left: 1em;">Theodore Parker and, ix, 293.</span><br /> +<br /> +Brookfield and Alfred Tennyson, v, 76.<br /> +<br /> +Brooklyn, Washington at, iii, 24.<br /> +<br /> +Brooks, Phillips, preaching of, vii, 309.<br /> +<br /> +Brooks, Shirley, i, 236.<br /> +<br /> +Brotherhood, of Fine Minds, the, v, 304;<br /> +<span style="margin-left: 1em;">of Latter-Day Swine, i, 71;</span><br /> +<span style="margin-left: 1em;">of man, ix, 133;</span><br /> +<span style="margin-left: 1em;">of Saint Luke, Antwerp, iv, 173.</span><br /> +<br /> +Brougham, Lord, i, 108; ii, 83:<br /> +<span style="margin-left: 1em;">Byron and, v, 218.</span><br /> +<br /> +Brown, Dr. John, xi, 264.<br /> +<br /> +Brown, Ford Madox, ii, 125; v, 18; vi, 11;<br /> +<span style="margin-left: 1em;">his description of Elizabeth Eleanor Siddal, xiii, 261.</span><br /> +<br /> +Brown, John, vii, 409;<br /> +<span style="margin-left: 1em;">Theodore Parker and, ix, 300;</span><br /> +<span style="margin-left: 1em;">Major Pond and, vii, 360.</span><br /> +<br /> +Brown, Osawatomie, vi, 148.<br /> +<br /> +Browning, Elizabeth B., date of birth, ii, 17;<br /> +<span style="margin-left: 1em;">early years of, ii, 19;</span><br /> +<span style="margin-left: 1em;">mother of, ii, 19;</span><br /> +<span style="margin-left: 1em;">father of, ii, 20;</span><br /> +<span style="margin-left: 1em;">education of, ii, 21;</span><br /> +<span style="margin-left: 1em;">London home of, ii, 27;</span><br /> +<span style="margin-left: 1em;">friends of, ii, 30;</span><br /> +<span class='pagenum'><a name="XIV_Page_370" id="XIV_Page_370">370</a></span><span style="margin-left: 1em;">meeting of, with Robert Browning, ii, 35;</span><br /> +marriage of, ii, 37;<br /> +<span style="margin-left: 1em;">Italian home of, ii, 38;</span><br /> +<span style="margin-left: 1em;">favorite book of, ix, 376;</span><br /> +<span style="margin-left: 1em;">grave of, v, 64;</span><br /> +<span style="margin-left: 1em;">influence of, on William Morris and Burne-Jones, v, 12;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 5.</span><br /> +<br /> +Browning, Robert, i, 96, 236; ii, 109; v, 97;<br /> +<span style="margin-left: 1em;">appearance of, v, 40;</span><br /> +<span style="margin-left: 1em;">his ancestry, v, 41;</span><br /> +<span style="margin-left: 1em;">grave of, v, 43;</span><br /> +<span style="margin-left: 1em;">parents of, v, 44;</span><br /> +<span style="margin-left: 1em;">life of, by Mrs. Sutherland Orr, v, 40;</span><br /> +<span style="margin-left: 1em;">habits of, v, 42;</span><br /> +<span style="margin-left: 1em;">love for Lizzie Flower, v, 48;</span><br /> +<span style="margin-left: 1em;">gipsy life of, v, 51;</span><br /> +<span style="margin-left: 1em;">his friendship for Fanny Haworth, v, 56;</span><br /> +<span style="margin-left: 1em;">his meeting with Elizabeth Barrett, ii, 35; v, 58;</span><br /> +<span style="margin-left: 1em;">his marriage, v, 61;</span><br /> +<span style="margin-left: 1em;">death of, v, 65;</span><br /> +<span style="margin-left: 1em;">homage rendered his memory, v, 66;</span><br /> +<span style="margin-left: 1em;">Elizabeth Barrett and, xiv, <a href='#XIV_Page_125'><b>125</b></a>;</span><br /> +<span style="margin-left: 1em;">John Stuart Mill compared with, xiii, 170;</span><br /> +<span style="margin-left: 1em;">Rembrandt compared with, vi, 67;</span><br /> +<span style="margin-left: 1em;">Wordsworth compared with, i, 222;</span><br /> +<span style="margin-left: 1em;">on spiritual advisers, viii, 174;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 41; v, 62;</span><br /> +<span style="margin-left: 1em;">love of society, v, 79.</span><br /> +<br /> +Brown-Sequard, Dr., i, 247.<br /> +<br /> +Bruno, Giordano, xii, 47;<br /> +<span style="margin-left: 1em;">Luther and, xii, 54;</span><br /> +<span style="margin-left: 1em;">Sir Philip Sidney and, xii, 51;</span><br /> +<span style="margin-left: 1em;">statue of, ix, 123.</span><br /> +<br /> +Bryant, William Cullen, iv, 51; v, 97; xi, 258.<br /> +<br /> +Bryce, James, on American institutions, iii, 75;<br /> +<span style="margin-left: 1em;">on Parnell, xiii, 204.</span><br /> +<br /> +Buck, Dudley, on Mozart, xiv, <a href='#XIV_Page_298'><b>298</b></a>.<br /> +<br /> +Bucke, Dr., friend of Whitman, i, 166.<br /> +<br /> +Bucke, Richard Maurice, quoted, xiii, 61.<br /> +<br /> +Buckingham, Duke of, iv, 115.<br /> +<br /> +Buckingham, poet, contemporary of Addison, v, 249.<br /> +<br /> +Buckle, Henry Thomas, the historian, v, 196;<br /> +<span style="margin-left: 1em;">grave of, i, 231;</span><br /> +<span style="margin-left: 1em;">noted, iv, 42;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 60; vii, 180;</span><br /> +<span style="margin-left: 1em;">referred to, v, 289.</span><br /> +<br /> +Buckley, Dr., opinion of, regarding Susan B. Anthony, i, 135; ii, 52.<br /> +<br /> +Buddha, quoted, xiii, 84.<br /> +<br /> +Buffalo Bill, i, 119; ii, 149.<br /> +<br /> +Buffalo Normal School, i, p xvii.<br /> +<br /> +Buffon, French naturalist, xii, 370.<br /> +<br /> +Builder's itch, x, 313.<br /> +<br /> +Bull Run, battle of, iii, 200.<br /> +<br /> +Bulwer-Lytton, and Disraeli, v, 333;<br /> +<span style="margin-left: 1em;">on Verdi, xiv, <a href='#XIV_Page_274'><b>274</b></a>.</span><br /> +<br /> +Bunker Hill, battle of, iii, 140.<br /> +<br /> +Bunsen, Robert, German chemist, xii, 351.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_371" id="XIV_Page_371">371</a></span>Bunyan, John, and Oliver Cromwell, ix, 331.<br /> +<br /> +Buonarroti, Michel Agnola, iv, 6.<br /> +<br /> +Burbank, Luther, and Andrew Carnegie, xi, 290.<br /> +<br /> +Burgoyne, British general, iii, 168.<br /> +<br /> +<i>Burial of Sir David Wilkie at Sea, The</i>, Turner's painting, i, 138.<br /> +<br /> +Burke, Edmund, ix, 164; xii, 179;<br /> +<span style="margin-left: 1em;">appearance of, vii, 160;</span><br /> +<span style="margin-left: 1em;">birthplace of, vii, 159;</span><br /> +<span style="margin-left: 1em;">at Bath, xii, 169;</span><br /> +<span style="margin-left: 1em;"><i>English Settlements in North America</i>, vii, 172;</span><br /> +<span style="margin-left: 1em;">Blackstone and, vii, 164;</span><br /> +<span style="margin-left: 1em;">Frances Burney and, vii, 161;</span><br /> +<span style="margin-left: 1em;">Charles Fox and, vii, 179;</span><br /> +<span style="margin-left: 1em;">William Gerard Hamilton and, vii, 174;</span><br /> +<span style="margin-left: 1em;">Warren Hastings and, vii, 161;</span><br /> +<span style="margin-left: 1em;">Samuel Johnson and, v, 162; vii, 165;</span><br /> +<span style="margin-left: 1em;">Hannah More and, vii, 161;</span><br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 173;</span><br /> +<span style="margin-left: 1em;">Reynolds and, iv, 305; vii, 160, 174;</span><br /> +<span style="margin-left: 1em;">Marquis of Rockingham and, vii, 177;</span><br /> +<span style="margin-left: 1em;">Richard Shackleton and, vii, 165;</span><br /> +<span style="margin-left: 1em;">Cicero compared with, vii, 174;</span><br /> +<span style="margin-left: 1em;">Goldsmith compared with, vii, 161;</span><br /> +<span style="margin-left: 1em;">Daniel Webster compared with, iii, 204;</span><br /> +<span style="margin-left: 1em;">influence of Bolingbroke on, vii, 168;</span><br /> +<span style="margin-left: 1em;">Macaulay on, vii, 173;</span><br /> +<span style="margin-left: 1em;">on the Hessians, xi, 149;</span><br /> +<span style="margin-left: 1em;">on the Irish, xi, 335;</span><br /> +<span style="margin-left: 1em;">on Malthus, ix, 11;</span><br /> +<span style="margin-left: 1em;"><i>On the Sublime</i>, vii, 172, 318;</span><br /> +<span style="margin-left: 1em;"><i>The Vindication of Natural Society</i>, vii, 168;</span><br /> +<span style="margin-left: 1em;">on William Pitt, vii, 186;</span><br /> +<span style="margin-left: 1em;">parentage of, vii, 159;</span><br /> +<span style="margin-left: 1em;">wife of, vii, 170;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 48;</span><br /> +<span style="margin-left: 1em;">referred to, i, 280; v, 188.</span><br /> +<br /> +Burke, John, <i>Peerage</i>, iii, 8, 210; iv, 303.<br /> +<br /> +Burne-Jones, Edward, v, 12;<br /> +<span style="margin-left: 1em;">avatar of Giorgione, iv, 158;</span><br /> +<span style="margin-left: 1em;">avatar of Raphael, vi, 12;</span><br /> +<span style="margin-left: 1em;">Botticelli and, vi, 71;</span><br /> +<span style="margin-left: 1em;">influence of, on Morris, v, 15;</span><br /> +<span style="margin-left: 1em;">William Morris and, xiii, 254;</span><br /> +<span style="margin-left: 1em;">marriage of, ii, 125;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 150.</span><br /> +<br /> +Burney, Frances, ii, 183; xii, 183;<br /> +<span style="margin-left: 1em;">Reynolds and, iv, 299;</span><br /> +<span style="margin-left: 1em;">Jane Austen compared with, ii, 247;</span><br /> +<span style="margin-left: 1em;">Edmund Burke and, vii, 161.</span><br /> +<br /> +Burns, James A., ix, 283.<br /> +<br /> +Burns, Robert, worth as a poet, v, 97;<br /> +<span style="margin-left: 1em;">love-affairs of, v, 102;</span><br /> +<span style="margin-left: 1em;">classification of his poems, v, 103;</span><br /> +<span style="margin-left: 1em;">his moral and religious nature, v, 105;</span><br /> +<span style="margin-left: 1em;">main facts in the life of, v, 115;</span><br /> +<span style="margin-left: 1em;">as a farmer, v, 26;</span><br /> +<span style="margin-left: 1em;">Aubrey Beardsley compared with, vi, 73.</span><br /> +<br /> +Burr, Aaron, iv, 193; vii, 191;<br /> +<span style="margin-left: 1em;">member of Washington's family, iii, 166;</span><br /> +<span style="margin-left: 1em;">character of, iii, 175;</span><br /> +<span style="margin-left: 1em;">parentage of, iii, 176;</span><br /> +<span class='pagenum'><a name="XIV_Page_372" id="XIV_Page_372">372</a></span><span style="margin-left: 1em;">attorney-general of N. Y. State, iii, 177;</span><br /> +<span style="margin-left: 1em;">vice-president, iii, 177;</span><br /> +<span style="margin-left: 1em;">quarrel of, with Alexander Hamilton, iii, 177;</span><br /> +<span style="margin-left: 1em;">duel of, with Hamilton, iii, 179;</span><br /> +<span style="margin-left: 1em;">arrest of, iii, 180;</span><br /> +<span style="margin-left: 1em;">death of, iii, 181;</span><br /> +<span style="margin-left: 1em;">U. S. Senator, iii, 177.</span><br /> +<br /> +Burr, Margaret, wife of Gainsborough, vi, 139.<br /> +<br /> +Burroughs, John, x, 249; xii, 273;<br /> +<span style="margin-left: 1em;">Elbert Hubbard and, xii, 376;</span><br /> +<span style="margin-left: 1em;">Rousseau and, ix, 394;</span><br /> +<span style="margin-left: 1em;">Prof. Youmans and, viii, 346;</span><br /> +<span style="margin-left: 1em;">on Henry Thoreau, viii, 423;</span><br /> +<span style="margin-left: 1em;">quoted, v, 108.</span><br /> +<br /> +Bushnell, Uncle Billy, i, p xxv; vii, 189.<br /> +<br /> +Business, as a profession, ix, 130;<br /> +<span style="margin-left: 1em;">success in, xi, 355.</span><br /> +<br /> +Businessman, definition of a, xi, 315.<br /> +<br /> +Butler, Ben, Wendell Phillips and, vii, 388.<br /> +<br /> +Butterbriefe, vii, 126.<br /> +<br /> +<i>Butterfly, The</i>, Wordsworth, i, 214.<br /> +<br /> +Byron, Lord George Gordon, ii, 184, 306; iv, 196; v, 97, 203;<br /> +<span style="margin-left: 1em;">birth of, v, 203;</span><br /> +<span style="margin-left: 1em;">the true Byron, v, 204;</span><br /> +<span style="margin-left: 1em;">father of, v, 206;</span><br /> +<span style="margin-left: 1em;">mother of, v, 206; viii, 57;</span><br /> +<span style="margin-left: 1em;">life of, at Harrow, v, 211;</span><br /> +<span style="margin-left: 1em;">love-affairs of, v, 212;</span><br /> +<span style="margin-left: 1em;">birth of his poetic genius, v, 215;</span><br /> +<span style="margin-left: 1em;">admission to the House of Lords, v, 220;</span><br /> +<span style="margin-left: 1em;">travels of, v, 221;</span><br /> +<span style="margin-left: 1em;">meeting of, with Thomas Moore, v, 224;</span><br /> +<span style="margin-left: 1em;">marriage of, v, 226;</span><br /> +<span style="margin-left: 1em;">death of, v, 231;</span><br /> +<span style="margin-left: 1em;">corsair life of, i, 179;</span><br /> +<span style="margin-left: 1em;">Coleridge and, v, 310;</span><br /> +<span style="margin-left: 1em;">Disraeli and, v, 324;</span><br /> +<span style="margin-left: 1em;">Giorgione and, iv, 165;</span><br /> +<span style="margin-left: 1em;">Shelley and, v, 229;</span><br /> +<span style="margin-left: 1em;">Southey and, v, 281;</span><br /> +<span style="margin-left: 1em;">Thorwaldsen and, vi, 116;</span><br /> +<span style="margin-left: 1em;">Aubrey Beardsley compared with, vi, 73;</span><br /> +<span style="margin-left: 1em;">Shakespeare compared with, v, 204;</span><br /> +<span style="margin-left: 1em;">John Galt's life of, vi, 129;</span><br /> +<span style="margin-left: 1em;">opinion of, on painting, i, 134;</span><br /> +<span style="margin-left: 1em;">quoted, vii, 67; xiii, 226;</span><br /> +<span style="margin-left: 1em;">referred to, v, 50; v, 183;</span><br /> +<span style="margin-left: 1em;">poem of, on Thomas Moore, i, 157.</span><br /> +<br /> +By, village of, ii, 146.<br /> +<br /> +<br /> +Cabbages and cauliflowers, vi, 67.<br /> +<br /> +Cæsar, iv, 193;<br /> +<span style="margin-left: 1em;">character of, vii, 49;</span><br /> +<span style="margin-left: 1em;">Cleopatra and, vii, 44;</span><br /> +<span style="margin-left: 1em;">funeral of, vii, 58;</span><br /> +<span style="margin-left: 1em;">Mark Antony and, vii, 54;</span><br /> +<span style="margin-left: 1em;">Mark Antony on, vii, 49;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 119; v, 185, 201.</span><br /> +<br /> +Cæsar Augustus, nephew of Julius Cæsar, x, 125.<br /> +<br /> +Caine, Hall, ii, 129.<br /> +<br /> +Calamity, vii, 318.<br /> +<br /> +Calcutta, i, 233.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_373" id="XIV_Page_373">373</a></span>Calhoun, John C., iii, 199.<br /> +<br /> +California, ii, 241;<br /> +<span style="margin-left: 1em;">a land of extremes, ix, 71;</span><br /> +<span style="margin-left: 1em;">Southern, ii, 111.</span><br /> +<br /> +Caligula, Roman emperor, ii, 195; viii, 49.<br /> +<br /> +Calvert, William, and the Wordsworths, i, 215.<br /> +<br /> +Calvinism, iii, 80.<br /> +<br /> +Calvin, John, i, 238; ii, 183; ix, 187, 197;<br /> +<span style="margin-left: 1em;">referred to, v, 123;</span><br /> +<span style="margin-left: 1em;">Servetus and, ix, 201;</span><br /> +<span style="margin-left: 1em;">wife of, ix, 210.</span><br /> +<br /> +Cambrai, Archbishop of, ii, 54.<br /> +<br /> +Camden, N. J., description of, i, 168.<br /> +<br /> +<i>Campaign, The</i>, Addison, v, 251.<br /> +<br /> +Canada, boundary-line of, iii, 247.<br /> +<br /> +Cane-rush, a college, viii, 245;<br /> +<span style="margin-left: 1em;">reference to, i, 192.</span><br /> +<br /> +Canned life, vi, 170.<br /> +<br /> +Canning, George, referred to, v, 188.<br /> +<br /> +Cannon, Joseph, on book-agents, viii, 349.<br /> +<br /> +Canova, Antonio, sculptor, vi, 107;<br /> +<span style="margin-left: 1em;">Thorwaldsen and, vi, 108.</span><br /> +<br /> +Canute, king of England, x, 148.<br /> +<br /> +Capitol at Washington, dome of, iv, 35.<br /> +<br /> +Caprera, home of Garibaldi, ix, 121.<br /> +<br /> +<i>Captain, My Captain</i>, Whitman, iv, 262.<br /> +<br /> +Carlile, Mrs. Richard, suffragist, ix, 249.<br /> +<br /> +Carlisle, Lord, and Byron, v, 220.<br /> +<br /> +Carlyle, Thomas, i, 56; ii, 127; iv, 253;<br /> +<span style="margin-left: 1em;">mother of, i, 69;</span><br /> +<span style="margin-left: 1em;">father of, i, 69;</span><br /> +<span style="margin-left: 1em;">education of, i, 70;</span><br /> +<span style="margin-left: 1em;">philosophy of, i, 71;</span><br /> +<span style="margin-left: 1em;">his domestic life, i, 74;</span><br /> +<span style="margin-left: 1em;">home of, in Chelsea, i, 77;</span><br /> +<span style="margin-left: 1em;">statue of, i, 77;</span><br /> +<span style="margin-left: 1em;">Emerson and, ii, 286, vi, 155;</span><br /> +<span style="margin-left: 1em;">Simonne Evrard and, vii, 226;</span><br /> +<span style="margin-left: 1em;">eulogy of Tennyson, v, 80;</span><br /> +<span style="margin-left: 1em;">eulogy of Daniel Webster, iii, 184;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer and, xii, 340;</span><br /> +<span style="margin-left: 1em;">influence of, on John Tyndall, xii, 349;</span><br /> +<span style="margin-left: 1em;"><i>Life of Frederick</i>, viii, 312;</span><br /> +<span style="margin-left: 1em;">on Oliver Cromwell, ix, 305;</span><br /> +<span style="margin-left: 1em;">on Darwin, xii, 230;</span><br /> +<span style="margin-left: 1em;">on death, xi, 407;</span><br /> +<span style="margin-left: 1em;">on John Knox, ix, 213;</span><br /> +<span style="margin-left: 1em;">on J. S. Mill, xiii, 151;</span><br /> +<span style="margin-left: 1em;">on Lord Nelson, xiii, 429;</span><br /> +<span style="margin-left: 1em;">on respectability, xi, 362;</span><br /> +<span style="margin-left: 1em;">Macaulay and, v, 182;</span><br /> +<span style="margin-left: 1em;">Milburn and, vii, 227;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 40, 231; v, 85; xiii, 49;</span><br /> +<span style="margin-left: 1em;">referred to, v, 162;</span><br /> +<span style="margin-left: 1em;">remark concerning George Eliot, xiv, <a href='#XIV_Page_95'><b>95</b></a>;</span><br /> +<span style="margin-left: 1em;">Taine on, viii, 312;</span><br /> +<span style="margin-left: 1em;">Jeannie Welsh and, i, 75;</span><br /> +<span style="margin-left: 1em;">his "House of Lords," ii, 57.</span><br /> +<br /> +Carlyle Society, the, i, 79.<br /> +<br /> +Carman, Bliss, xiv, <a href='#XIV_Page_49'><b>49</b></a>.<br /> +<br /> +Carnegie, Andrew,<br /> +<span style="margin-left: 1em;">beneficences of, xi, 282;</span><br /> +<span style="margin-left: 1em;">boyhood of, xi, 267;</span><br /> +<span style="margin-left: 1em;">governmental experience of, xi, 276;</span><br /> +<span style="margin-left: 1em;">James Anderson and, xi, 281;</span><br /> +<span style="margin-left: 1em;">the Bessemer steel process and, xi, 278;</span><br /> +<span class='pagenum'><a name="XIV_Page_374" id="XIV_Page_374">374</a></span><span style="margin-left: 1em;">Luther Burbank and, xi, 290;</span><br /> +<br /> +Elbert Hubbard and, xi, 284;<br /> +<span style="margin-left: 1em;">Bill Jones and, x, 161;</span><br /> +<span style="margin-left: 1em;">the Pittsburgh bankers and, xi, 322;</span><br /> +<span style="margin-left: 1em;">Thomas A. Scott and, xi, 273;</span><br /> +<span style="margin-left: 1em;">Booker T. Washington and, xi, 290;</span><br /> +<span style="margin-left: 1em;">Lincoln compared with, xi, 295;</span><br /> +<span style="margin-left: 1em;">quoted, xi, 65; xiii, 88;</span><br /> +<span style="margin-left: 1em;">as a telegraph-operator, xi, 273.</span><br /> +<br /> +Carnegie Hall, i, p xxxvii; xi, 282.<br /> +<br /> +Carnegie libraries, xi, 286.<br /> +<br /> +Carnot, president, death of, i, 202.<br /> +<br /> +Carpenter, Edward, quoted, v, 101;<br /> +<span style="margin-left: 1em;">Walt Whitman and, x, 46.</span><br /> +<br /> +Carrara quarries, the, iv, 26.<br /> +<br /> +Cartesian philosophy, the, viii, 226.<br /> +<br /> +Carthage, iii, 232.<br /> +<br /> +Carus, Dr. Paul, xiv, <a href='#XIV_Page_114'><b>114</b></a>;<br /> +<span style="margin-left: 1em;">American exponent of Monism, xii, 260.</span><br /> +<br /> +Casabianca, xiii, 420.<br /> +<br /> +Cassiodorus, vii, 114.<br /> +<br /> +Caste, social, xi, 139.<br /> +<br /> +Castiglione, v, 258.<br /> +<br /> +Castle Garden, iii, 131; xi, 56.<br /> +<br /> +Catholic clergy, celibacy of, i, 153.<br /> +<br /> +Catholicism, ix, 279.<br /> +<br /> +Catholics, Protestant opinions regarding, vi, 13.<br /> +<br /> +<i>Cato</i>, Addison's tragedy of, v, 260.<br /> +<br /> +<i>Cato's Soliloquy</i>, Addison, v, 234.<br /> +<br /> +Cato, suicide of, ii, 164; v, 250.<br /> +<br /> +Cats, Manx, viii, 328.<br /> +<br /> +<i>Cat's Paw</i>, Landseer, iv, 321.<br /> +<br /> +Cauliflowers and cabbages, vi, 67.<br /> +<br /> +Cause and effect, viii, 270.<br /> +<br /> +Caveat emptor, xi, 11.<br /> +<br /> +Cazenovia creek, i, p xxiv.<br /> +<br /> +Cebes, disciple of Socrates, viii, 29.<br /> +<br /> +Celibacy of the Catholic clergy, i, 153.<br /> +<br /> +Cellini, Benvenuto, boyhood of, vi, 277;<br /> +<span style="margin-left: 1em;">Michelangelo and, vi, 281;</span><br /> +<span style="margin-left: 1em;">Tasso and, vi, 282;</span><br /> +<span style="margin-left: 1em;">Torrigiano and, vi, 281;</span><br /> +<span style="margin-left: 1em;">Vasari and, vi, 288;</span><br /> +<span style="margin-left: 1em;">life of, in Pisa, vi, 279;</span><br /> +<span style="margin-left: 1em;">personality of, vi, 273;</span><br /> +<span style="margin-left: 1em;">in prison, vi, 289;</span><br /> +<span style="margin-left: 1em;">The <i>Perseus</i> of, vi, 291.</span><br /> +<br /> +Centennial Exposition, Philadelphia, i, 329.<br /> +<br /> +Central Music Hall, Chicago, i, p xxxvii.<br /> +<br /> +Cerebrum, fatty degeneration of the, vi, 20.<br /> +<br /> +Cervantes, i, 317; vi, 50.<br /> +<br /> +Chaillu, Paul du, xii, 382.<br /> +<br /> +<i>Chains of Slavery, The</i>, Marat, vii, 220.<br /> +<br /> +Chair, the Morris, v, 21.<br /> +<br /> +Chalmers, Hugh, i, p vi.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_375" id="XIV_Page_375">375</a></span>Channel Island boats, i, 195.<br /> +<br /> +Channing, William Ellery, xiii, 238;<br /> +<span style="margin-left: 1em;">Thoreau and, viii, 397.</span><br /> +<br /> +Chapin, Dr. E. H., and Beecher, vii, 320;<br /> +<span style="margin-left: 1em;">on Starr King, vii, 316.</span><br /> +<br /> +Character, Cobden on, ix, 139;<br /> +<span style="margin-left: 1em;">Socrates on, viii, 27.</span><br /> +<br /> +Charcot, Dr., on adolescence, vii, 353;<br /> +<span style="margin-left: 1em;">quoted, xii, 23.</span><br /> +<br /> +Charity, v, 238; xi, 304.<br /> +<br /> +Charles Albert of Piedmont, ix, 118.<br /> +<br /> +Charles I, King of England, iv, 114;<br /> +<span style="margin-left: 1em;">execution of, ix, 332.</span><br /> +<br /> +Charles V, Emperor of Germany, vii, 144.<br /> +<br /> +Charles X, King of France, i, 191.<br /> +<br /> +Charles XII of Sweden, equestrian statue of, vi, 99.<br /> +<br /> +Charlestown, burning of, iii, 140.<br /> +<br /> +Charmides, disciple of Socrates, viii, 29.<br /> +<br /> +Charm of manner, xi, 317; xiii, 42.<br /> +<br /> +Charon, referred to, v, 97.<br /> +<br /> +Charterhouse School, i, 233.<br /> +<br /> +Chateaubriand, quoted, iv, 258.<br /> +<br /> +Chateauneuf, Abbe de, Voltaire and, viii, 278.<br /> +<br /> +Chatham, Lord, referred to, i, 151;<br /> +<span style="margin-left: 1em;">quoted, iii, 93;</span><br /> +<span style="margin-left: 1em;">Daniel Webster compared with, iii, 204.</span><br /> +<br /> +Chatterton, Thomas, v, 97.<br /> +<br /> +Chaucer, i, 110; v, 14.<br /> +<br /> +Chautauqua, i, p xxxviii.<br /> +<br /> +Chavannes, Puvis de, vi, 323.<br /> +<br /> +Chelsea, i, 61; i, 77.<br /> +<br /> +<i>Chemistry of a Sunbeam, The</i>, Youmans, viii, 347.<br /> +<br /> +Cheropho, disciple of Socrates, viii, 26.<br /> +<br /> +Chesterfield, letter of Johnson to, v, 144.<br /> +<br /> +Chiaroscuro, Rembrandt's ideas of, iv, 57.<br /> +<br /> +Chicago, as an art center, iv, 142.<br /> +<br /> +Chicago Convention, nomination of Lincoln at, iii, 304.<br /> +<br /> +Chicago Fair, the, iv, 60.<br /> +<br /> +Chicago fire, the, Fortuny's contribution to the sufferers of, iv, 218.<br /> +<br /> +<i>Childe Harold</i>, Byron, v, 200, 224;<br /> +<span style="margin-left: 1em;"><i>Contarini</i> compared with, v, 332.</span><br /> +<br /> +Child, evolution of the, vi, 196; xii, 279.<br /> +<br /> +Childhood, impressions of, iv, 341.<br /> +<br /> +Child-labor, xi, 23.<br /> +<br /> +Child, Professor, and William Morris, v, 30.<br /> +<br /> +Children, diseases of, xi, 137;<br /> +<span style="margin-left: 1em;">education of, xi, 173; ix, 224;</span><br /> +<span style="margin-left: 1em;">God-given tenants, vi, 313;</span><br /> +<span style="margin-left: 1em;">Macaulay's love of, v, 193;</span><br /> +<span class='pagenum'><a name="XIV_Page_376" id="XIV_Page_376">376</a></span><span style="margin-left: 1em;">sorrows of, x, 157.</span><br /> +<br /> +Childs, George W., vi, 318;<br /> +<span style="margin-left: 1em;">Abbey and, vi, 309.</span><br /> +<br /> +<i>Child's History of England</i>, Dickens, i, 248.<br /> +<br /> +China, astronomers of, xii, 97;<br /> +<span style="margin-left: 1em;">Edward Carpenter on, x, 46;</span><br /> +<span style="margin-left: 1em;">future of, x, 43.</span><br /> +<br /> +Chivalry, v, 249.<br /> +<br /> +Choate, Rufus, on Beecher, vii, 359.<br /> +<br /> +<i>Choir Invisible, The</i>, George Eliot, i, 48.<br /> +<br /> +Chopin, Frederic, Aubrey Beardsley compared with, vi, 73;<br /> +<span style="margin-left: 1em;">Giorgione and, vi, 254;</span><br /> +<span style="margin-left: 1em;">mother of, xiv, <a href='#XIV_Page_88'><b>88</b></a>;</span><br /> +<span style="margin-left: 1em;">Stephen Crane compared with, xiv, <a href='#XIV_Page_81'><b>81</b></a>.</span><br /> +<br /> +<i>Christ at Emmaus</i>, Rembrandt, vi, 66.<br /> +<br /> +Christian astrology, xii, 97.<br /> +<br /> +Christian dogma, Ingersoll on, vii, 257.<br /> +<br /> +Christianity, ii, 195;<br /> +<span style="margin-left: 1em;">evolution in definition of, vi, 146;</span><br /> +<span style="margin-left: 1em;">freethought and, xii, 151;</span><br /> +<span style="margin-left: 1em;">paganism and, vi, 224; vii, 49; ix, 276;</span><br /> +<span style="margin-left: 1em;">primitive, ix, 19.</span><br /> +<br /> +Christian Science, ix, 19; x, 329, 336;<br /> +<span style="margin-left: 1em;">orthodox Christianity and, x, 372;</span><br /> +<span style="margin-left: 1em;">Transcendentalism and, viii, 404.</span><br /> +<br /> +Christian Scientists, characteristics of, x, 329.<br /> +<br /> +Christian Socialists, v, 22.<br /> +<br /> +Christ life, the, ii, 201.<br /> +<br /> +Chromos, v, 33.<br /> +<br /> +Chrysalis, the, v, 175.<br /> +<br /> +Church, divine authority of, i, 111;<br /> +<span style="margin-left: 1em;">Martin Luther on the, vii, 131;</span><br /> +<span style="margin-left: 1em;">a menace, ix, 182;</span><br /> +<span style="margin-left: 1em;">the mother of modern art, iv, 18;</span><br /> +<span style="margin-left: 1em;">State and, xiv, <a href='#XIV_Page_231'><b>231</b></a>.</span><br /> +<br /> +Churches as trysting-places, xiii, 122.<br /> +<br /> +Churchill, Winston, vii, 21.<br /> +<br /> +Cicero, on Mark Antony, vii, 61;<br /> +<span style="margin-left: 1em;">referred to, v, 162, 185;</span><br /> +<br /> +Cigarette habit, the, iv, 108;<br /> +<span style="margin-left: 1em;">x, 204.</span><br /> +<br /> +Cimabue, Giovanni, Florentine painter, vi, 21.<br /> +<br /> +Cincinnatus, Roman patriot, xiii, 85.<br /> +<br /> +Circuit-rider, the, ix, 42.<br /> +<br /> +City slums, ix, 83.<br /> +<br /> +Civilization, ii, 193;<br /> +<span style="margin-left: 1em;">the badge of, xi, 296;</span><br /> +<span style="margin-left: 1em;">English, x, 134; xiii, 52;</span><br /> +<span style="margin-left: 1em;">the problem of, xii, 221;</span><br /> +<span style="margin-left: 1em;">problems of, xii, 155;</span><br /> +<span style="margin-left: 1em;">savagery and, iv, 263.</span><br /> +<br /> +Clairvoyant, the, viii, 174.<br /> +<br /> +<i>Clarissa Harlowe</i>, Richardson, iv, 302.<br /> +<br /> +Clarke, Mary Cowden, ix, 285.<br /> +<br /> +Clarkson, Thomas, and the Wordsworths, i, 215.<br /> +<br /> +Class-day poets, vi, 325.<br /> +<br /> +Classic art, xiv, <a href='#XIV_Page_252'><b>252</b></a>.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_377" id="XIV_Page_377">377</a></span><i>Classification of Animals</i>, Huxley, xii, 327.<br /> +<br /> +Claudius, Roman emperor, viii, 49;<br /> +<span style="margin-left: 1em;">James I compared with, viii, 58.</span><br /> +<br /> +Clay, Henry, iii, 269;<br /> +<span style="margin-left: 1em;">ancestry of, iii, 209;</span><br /> +<span style="margin-left: 1em;">home of, iii, 212;</span><br /> +<span style="margin-left: 1em;">education of, iii, 218;</span><br /> +<span style="margin-left: 1em;">as a lawyer, iii, 219;</span><br /> +<span style="margin-left: 1em;">member of the Fayette County bar, iii, 220;</span><br /> +<span style="margin-left: 1em;">U. S. Senator, iii, 220;</span><br /> +<span style="margin-left: 1em;">speaker of the House, iii, 220;</span><br /> +<span style="margin-left: 1em;">as an agitator, iii, 221;</span><br /> +<span style="margin-left: 1em;">as an orator, iii, 222;</span><br /> +<span style="margin-left: 1em;">monument of, iii, 226.</span><br /> +<br /> +Clemens, Samuel L. (Mark Twain), i, 164;<br /> +<span style="margin-left: 1em;">H. H. Rogers and, x, 110; xi, 389.</span><br /> +<br /> +Clement VII, Pope, iv, 31.<br /> +<br /> +Cleopatra, death of, vii, 77;<br /> +<span style="margin-left: 1em;">Julius Cæsar and, vii, 44;</span><br /> +<span style="margin-left: 1em;">Mark Antony and, vii, 63.</span><br /> +<br /> +Clergymen,<br /> +<span style="margin-left: 1em;">the children of, v, 294;</span><br /> +<span style="margin-left: 1em;">orthodox, iii, 81.</span><br /> +<br /> +Clergy, Voltaire's contempt for, viii, 280.<br /> +<br /> +Cleveland, as an art center, iv, 142.<br /> +<br /> +Cleveland, Grover, xii, 238.<br /> +<br /> +Clinton, De Witt, iii, 239, 263; xiii, 185.<br /> +<br /> +Cobbett, William, and Thomas Paine, ix, 161, 167.<br /> +<br /> +Cobden, Richard, ii, 83; v, 30;<br /> +<span style="margin-left: 1em;">on America, ix, 142;</span><br /> +<span style="margin-left: 1em;">John Bright and, ix, 149, 231;</span><br /> +<span style="margin-left: 1em;">Disraeli's criticism of, ix, 140;</span><br /> +<span style="margin-left: 1em;">influence of, ix, 127;</span><br /> +<span style="margin-left: 1em;">John Morley on, ix, 140; ix, 153;</span><br /> +<span style="margin-left: 1em;">on boarding-schools, ix, 135;</span><br /> +<span style="margin-left: 1em;">on the moral power of England, ix, 126;</span><br /> +<span style="margin-left: 1em;">Lord Palmerston on, ix, 152;</span><br /> +<span style="margin-left: 1em;">Sir Robert Peel and, ix, 150;</span><br /> +<span style="margin-left: 1em;">political life of, ix, 146;</span><br /> +<span style="margin-left: 1em;">Arthur F. Sheldon and, ix, 138.</span><br /> +<br /> +Cobden-Sanderson, T. J.,<br /> +<span style="margin-left: 1em;">partner of William Morris, v, 30;</span><br /> +<span style="margin-left: 1em;">wife of, ix, 234.</span><br /> +<br /> +Code duello, the, i, 276.<br /> +<br /> +Cohen, origin of name, x, 30.<br /> +<br /> +Coke, Sir Edward, ix, 313.<br /> +<br /> +Coleridge, Hartley, v, 274.<br /> +<br /> +Coleridge, Samuel Taylor, ii, 221;<br /> +<span style="margin-left: 1em;">his place as a philosopher, v, 289;</span><br /> +<span style="margin-left: 1em;">birth of, v, 294;</span><br /> +<span style="margin-left: 1em;">parents of, v, 294;</span><br /> +<span style="margin-left: 1em;">precocity of, v, 295;</span><br /> +<span style="margin-left: 1em;">education of, v, 297;</span><br /> +<span style="margin-left: 1em;">fame of, as a poet, v, 301;</span><br /> +<span style="margin-left: 1em;">home of, in the Lake District, v, 303;</span><br /> +<span style="margin-left: 1em;">marriage of, v, 302;</span><br /> +<span style="margin-left: 1em;">friendship of Dorothy Wordsworth for, v, 304;</span><br /> +<span style="margin-left: 1em;">his literary work, v, 307;</span><br /> +<span style="margin-left: 1em;">physical and mental breakdown of, v, 309;</span><br /> +<span style="margin-left: 1em;">death of, v, 310;</span><br /> +<span style="margin-left: 1em;">the creator of the higher criticism, v, 314;</span><br /> +<span style="margin-left: 1em;"><i>Aids to Reflection</i>, v, 313;</span><br /> +<span style="margin-left: 1em;"><i>The Ancient Mariner</i>, v, 305;</span><br /> +<span style="margin-left: 1em;">Byron and, v, 310;</span><br /> +<span style="margin-left: 1em;">Dr. Gillman and, v, 309;</span><br /> +<span style="margin-left: 1em;">Keats and, v, 310;</span><br /> +<span style="margin-left: 1em;">Harriet Martineau and, ii, 83;</span><br /> +<span style="margin-left: 1em;">Shelley and, v, 310;</span><br /> +<span style="margin-left: 1em;">Josiah Wedgwood and, v, 305;</span><br /> +<span class='pagenum'><a name="XIV_Page_378" id="XIV_Page_378">378</a></span><span style="margin-left: 1em;">Mary Wollstonecraft and, xiii, 102;</span><br /> +<span style="margin-left: 1em;">the Wordsworths and, i, 212, 216;</span><br /> +<span style="margin-left: 1em;">cited, ii, 220;</span><br /> +<span style="margin-left: 1em;">Dore's illustrations of the works of, iv, 338;</span><br /> +<span style="margin-left: 1em;">estimate of Jane Austen, ii, 254;</span><br /> +<span style="margin-left: 1em;">Mill on, v, 289;</span><br /> +<span style="margin-left: 1em;">Principal Shairp on, v, 314;</span><br /> +<span style="margin-left: 1em;">Mary Lamb and, ii, 220.</span><br /> +<br /> +Collecting and collectors, iv, 119.<br /> +<br /> +Colleges, in America, xii, 244;<br /> +<span style="margin-left: 1em;">the small college, x, 240;</span><br /> +<span style="margin-left: 1em;">education, worth of, iv, 128;</span><br /> +<span style="margin-left: 1em;">college training, xii, 241;</span><br /> +<span style="margin-left: 1em;">Thoreau on, viii, 397.</span><br /> +<br /> +Collins, William, on Dean Swift, i, 151;<br /> +<span style="margin-left: 1em;">referred to, iii, 37.</span><br /> +<br /> +Collyer, Rev. Robert, James Oliver and, xi, 79;<br /> +<span style="margin-left: 1em;">Philip D. Armour and, xi, 185.</span><br /> +<br /> +<i>Cologne—Evening</i>, Turner's painting, i, 135.<br /> +<br /> +Colonia Agrippina, viii, 67.<br /> +<br /> +Colonial "broadsides," ix, 74.<br /> +<br /> +Colosseum, Rome, i, 317.<br /> +<br /> +<i>Colosseum, The</i>, Corot, vi, 188.<br /> +<br /> +Columbus, Christopher, vi, 50; xii, 144.<br /> +<br /> +Comedy, v, 240.<br /> +<br /> +Come-outers, ii, 189; ix, 318.<br /> +<br /> +Comets, iv, 331.<br /> +<br /> +Commerce, Cobden on, ix, 128;<br /> +<span style="margin-left: 1em;">Emerson on, ix, 130.</span><br /> +<br /> +<i>Common Sense</i>, Thomas Paine, ix, 157.<br /> +<br /> +Communists, classes of, xi, 42.<br /> +<br /> +Companionship, xiv, <a href='#XIV_Page_110'><b>110</b></a>;<br /> +<span style="margin-left: 1em;">spiritual, v, 227.</span><br /> +<br /> +Compasses, proportional, xii, 64.<br /> +<br /> +<i>Compensation</i>, Emerson's essay on, xii, 261.<br /> +<br /> +Compensation, law of, ii, 238; iv, 226; vii, 349; xi, 149; xiv, <a href='#XIV_Page_41'><b>41</b></a>.<br /> +<br /> +Competition, xiii, 247;<br /> +<span style="margin-left: 1em;">co-operation and, v, 23.</span><br /> +<br /> +Complacency, i, 237.<br /> +<br /> +<i>Compromise</i>, Morley, vii, 17.<br /> +<br /> +Comte, Auguste, ii, 86;<br /> +<span style="margin-left: 1em;">marriage of, viii, 250;</span><br /> +<span style="margin-left: 1em;">insanity of, viii, 255;</span><br /> +<span style="margin-left: 1em;">teachings of, ii, 86;</span><br /> +<span style="margin-left: 1em;">Clothilde de Vaux and, viii, 264;</span><br /> +<span style="margin-left: 1em;">Benjamin Franklin and, viii, 246;</span><br /> +<span style="margin-left: 1em;">Harriet Martineau and, viii, 257;</span><br /> +<span style="margin-left: 1em;">John Stuart Mill and, viii, 257;</span><br /> +<span style="margin-left: 1em;">Napoleon and, viii, 242;</span><br /> +<span style="margin-left: 1em;">Saint Simon and, viii, 247, 277;</span><br /> +<span style="margin-left: 1em;">Alexander von Humboldt and, viii, 254.</span><br /> +<br /> +<i>Comus</i>, Milton, v, 137.<br /> +<br /> +Condorcet, Marquis de, viii, 241.<br /> +<br /> +Confessional, the, iv, 339;<br /> +<span style="margin-left: 1em;">need of, v, 86.</span><br /> +<br /> +<i>Confessions</i> of St. Augustine, vi, 273.<br /> +<br /> +<i>Confessions</i>, Rousseau, i, 55; ix, 376.<br /> +<br /> +Confidence, v, 238.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_379" id="XIV_Page_379">379</a></span>Confucius, Emerson compared with, x, 51;<br /> +<span style="margin-left: 1em;">Socrates compared with, x, 50, 60;</span><br /> +<span style="margin-left: 1em;">contemporaries of, x, 44;</span><br /> +<span style="margin-left: 1em;">influence of, x, 43;</span><br /> +<span style="margin-left: 1em;">mother of, x, 59;</span><br /> +<span style="margin-left: 1em;">Lao-tsze and, x, 63.</span><br /> +<br /> +Congregationalism, ix, 279.<br /> +<br /> +Congregational singing, vii, 338.<br /> +<br /> +Congregational societies, ix, 297.<br /> +<br /> +Congreve on Addison, v, 252;<br /> +<span style="margin-left: 1em;">Voltaire and, viii, 295.</span><br /> +<br /> +<i>Coningsby</i>, Disraeli, v, 341.<br /> +<br /> +<i>Conjugal Love</i>, Swedenborg, viii, 191.<br /> +<br /> +Conkling, Roscoe, as an orator, vii, 22.<br /> +<br /> +Conklin, James C., friend of Lincoln, iii, 288.<br /> +<br /> +Connecticut policy, the, v, 173.<br /> +<br /> +Connecticut, Washington on, iii, 27.<br /> +<br /> +<i>Connestabile Madonna</i>, Raphael, vi, 27.<br /> +<br /> +Conotancarius, Indian name of Washington, iii, 17.<br /> +<br /> +Consanguinity, v, 295.<br /> +<br /> +Conscience, the artistic, iv, 133.<br /> +<br /> +Constable, the English painter, iv, 318;<br /> +<span style="margin-left: 1em;">influence of, on Corot, vi, 201.</span><br /> +<br /> +Constant, Benjamin, writer and politician, ii, 178.<br /> +<br /> +Constantine the Great, xi, 131;<br /> +<span style="margin-left: 1em;">composite religion of, ix, 279.</span><br /> +<br /> +<i>Contarini Fleming</i>, Disraeli, v, 324.<br /> +<br /> +<i>Contes Drolatiques</i>, Dore's illustrations of, iv, 338.<br /> +<br /> +Convent life, advantages of, vi, 227.<br /> +<br /> +<i>Conversations</i> of Meissonier, iv, 118, 140.<br /> +<br /> +<i>Conversion of St. Paul</i>, Michelangelo, iv, 34.<br /> +<br /> +Conway, Rev. Moncure D., ix, 243;<br /> +<span style="margin-left: 1em;">life of Thomas Paine by, xi, 100.</span><br /> +<br /> +Cook, Captain, ix, 164; xi, 214.<br /> +<br /> +Cook's tourists, i, 100; v, 284.<br /> +<br /> +Co-operation, ix, 225;<br /> +<span style="margin-left: 1em;">competition and, v, 23.</span><br /> +<br /> +Co-operative stores, xi, 47.<br /> +<br /> +Cooper, Peter, America's first businessman, xi, 233;<br /> +<span style="margin-left: 1em;">as a glue-manufacturer, xi, 244;</span><br /> +<span style="margin-left: 1em;">as an inventor, xi, 245;</span><br /> +<span style="margin-left: 1em;">boyhood of, xi, 237;</span><br /> +<span style="margin-left: 1em;">marriage of, xi, 242;</span><br /> +<span style="margin-left: 1em;">public services of, xi, 253;</span><br /> +<span style="margin-left: 1em;">Benjamin Franklin compared with, xi, 234;</span><br /> +<span style="margin-left: 1em;">Cyrus W. Field and, xi, 235;</span><br /> +<span style="margin-left: 1em;">Matthew Vassar and, xi, 242;</span><br /> +<span style="margin-left: 1em;">R. G. Ingersoll and, xi, 259.</span><br /> +<br /> +Cooper Union, the, xi, 255;<br /> +<span style="margin-left: 1em;">Faneuil Hall compared with, xi, 258.</span><br /> +<br /> +Copernicus, Nicholas, parentage of, xii, 101;<br /> +<span style="margin-left: 1em;">epitaph of, xii, 120;</span><br /> +<span style="margin-left: 1em;">at Frauenburg, xii, 111;</span><br /> +<span class='pagenum'><a name="XIV_Page_380" id="XIV_Page_380">380</a></span><span style="margin-left: 1em;">Columbus and, xii, 107;</span><br /> +<br /> +King Sigismund of Poland and, xii, 112;<br /> +<span style="margin-left: 1em;">Novarra and, xii, 104;</span><br /> +<span style="margin-left: 1em;">Pythagoras compared with, x, 92;</span><br /> +<span style="margin-left: 1em;">the teachings of, xii, 49.</span><br /> +<br /> +Copley, the Boston artist, iv, 304.<br /> +<br /> +Copperheads, definition of, iii, 287.<br /> +<br /> +Coquetry, flirtation and coyness, differentiated, xiii, 235.<br /> +<br /> +Corday, Charlotte, i, 75;<br /> +<span style="margin-left: 1em;">assassination of Marat by, vii, 227.</span><br /> +<br /> +<i>Coriolanus</i>, Shakespeare, i, 317.<br /> +<br /> +Corn Laws, John Bright on the, ix, 216.<br /> +<br /> +Cornwall, Barry, v, 55.<br /> +<br /> +Cornwallis, General, Washington's friendship for, iii, 27;<br /> +<span style="margin-left: 1em;">monument of, i, 314;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 242.</span><br /> +<br /> +Corot, Camille, iv, 339;<br /> +<span style="margin-left: 1em;">early efforts of, vi, 187;</span><br /> +<span style="margin-left: 1em;">compared with other painters of the Barbizon School, vi, 217;</span><br /> +<span style="margin-left: 1em;">good-nature of, vi, 198;</span><br /> +<span style="margin-left: 1em;">friend of Millet, iv, 281;</span><br /> +<span style="margin-left: 1em;">landscapes of, vi, 137;</span><br /> +<span style="margin-left: 1em;">life of, at Barbizon, vi, 212;</span><br /> +<span style="margin-left: 1em;">parents of, vi, 193;</span><br /> +<span style="margin-left: 1em;">poetical character of, vi, 204;</span><br /> +<span style="margin-left: 1em;">style of, vi, 214;</span><br /> +<span style="margin-left: 1em;">Constable, the English painter, and, vi, 201;</span><br /> +<span style="margin-left: 1em;">Claude Lorraine and, vi, 201;</span><br /> +<span style="margin-left: 1em;">Achille Michallon and, vi, 198;</span><br /> +<span style="margin-left: 1em;">Jean Francois Millet and, vi, 213;</span><br /> +<span style="margin-left: 1em;">George Moore and, vi, 205;</span><br /> +<span style="margin-left: 1em;">Turner compared with, vi, 189;</span><br /> +<span style="margin-left: 1em;">Walt Whitman compared with, vi, 190;</span><br /> +<span style="margin-left: 1em;">letter to Stevens Graham, vi, 187, 205;</span><br /> +<span style="margin-left: 1em;">at the siege of Paris, vi, 190;</span><br /> +<span style="margin-left: 1em;">tribute to his mother, vi, 198.</span><br /> +<br /> +Corporal punishment, v, 75.<br /> +<br /> +Correggio, iv, 99;<br /> +<span style="margin-left: 1em;">Leonardo and, vi, 233;</span><br /> +<span style="margin-left: 1em;">John Ruskin and, vi, 222;</span><br /> +<span style="margin-left: 1em;">place of, among artists, vi, 244;</span><br /> +<span style="margin-left: 1em;">"putti" of, vi, 240;</span><br /> +<span style="margin-left: 1em;"><i>The Day</i>, vi, 222;</span><br /> +<span style="margin-left: 1em;">Ludwig Tieck on, vi, 220.</span><br /> +<br /> +Correggio, village of, vi, 236.<br /> +<br /> +Correlation of forces, law of, xii, 272.<br /> +<br /> +Cortelyou, George B., xi, 181.<br /> +<br /> +Corwin, Tom, on Mexico, xi, 149.<br /> +<br /> +Cosmic consciousness, vii, 292.<br /> +<br /> +Cosmic urge, the, x, 304.<br /> +<br /> +<i>Cosmos</i>, Humboldt, xii, 159.<br /> +<br /> +<i>Cotter's Saturday Night</i>, Burns, i, 69; v, 104.<br /> +<br /> +Cotton, Rev. John, ix, 294; ix, 338.<br /> +<br /> +Country, advantages of, ii, 239;<br /> +<span style="margin-left: 1em;">liberty of the, iii, 280;</span><br /> +<span style="margin-left: 1em;">life in the, xi, 171.</span><br /> +<br /> +<i>Country Doctor, The</i>, Balzac, xiii, 276.<br /> +<br /> +Courage, v, 174; vi, 25.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_381" id="XIV_Page_381">381</a></span>Courtesy compared with genius, ii, 49.<br /> +<br /> +<i>Courtier</i>, Castiglione, v, 258.<br /> +<br /> +Covenant, of grace, ix, 346;<br /> +<span style="margin-left: 1em;">of works, ix, 346.</span><br /> +<br /> +Covetousness, v, 238.<br /> +<br /> +Cowden-Clarke, Mary, ii, 233.<br /> +<br /> +Cowley's <i>Elegy on Sir Anthony Van Dyck</i>, iv, 172.<br /> +<br /> +Craik, Dr., Washington's acquaintance with, iii, 26.<br /> +<br /> +Crane, Stephen, ii, 253; xiv, <a href='#XIV_Page_80'><b>80</b></a>;<br /> +<span style="margin-left: 1em;">Aubrey Beardsley compared with, vi, 73;</span><br /> +<span style="margin-left: 1em;">Frederic Chopin compared with, xiv, <a href='#XIV_Page_81'><b>81</b></a>;</span><br /> +<span style="margin-left: 1em;">Chancellor Symms and, v, 300.</span><br /> +<br /> +Cranks, v, 111.<br /> +<br /> +Crapsey, Dr. Algernon S., on truth, xi, 319.<br /> +<br /> +Crassus and Pompey, vii, 50.<br /> +<br /> +Crawford, Captain Jack, x, 249.<br /> +<br /> +Creation, Christian view of, xii, 98.<br /> +<br /> +Cremation, i, 230.<br /> +<br /> +"Cretinous wretch," i, 95.<br /> +<br /> +Crimean war, Dore's illustrations of, iv, 338.<br /> +<br /> +<i>Crisis, The</i>, Winston Churchill, vii, 21.<br /> +<br /> +<i>Crisis, The</i>, Thomas Paine, ix, 159.<br /> +<br /> +Criticism, Johnson on, v, 147.<br /> +<br /> +<i>Critique of Pure Reason</i>, Kant, viii, 169.<br /> +<br /> +Crito and Socrates, viii, 28, 35, 37.<br /> +<br /> +Crivelli, Lucrezia, Leonardo's painting of, vi, 54.<br /> +<br /> +Cromwell, Oliver, i, 81;<br /> +<span style="margin-left: 1em;">at the execution of Sir Walter Raleigh, ix, 309;</span><br /> +<span style="margin-left: 1em;">Thomas Carlyle on, ix, 305;</span><br /> +<span style="margin-left: 1em;">Paul Jones compared with, ix, 331;</span><br /> +<span style="margin-left: 1em;">mother of, ix, 317;</span><br /> +<span style="margin-left: 1em;">Parliamentary experiences of, ix, 313;</span><br /> +<span style="margin-left: 1em;">parents of, ix, 305;</span><br /> +<span style="margin-left: 1em;">referred to, i, 303;</span><br /> +<span style="margin-left: 1em;">rule of, ix, 332;</span><br /> +<span style="margin-left: 1em;">Shakespeare and, ix, 307.</span><br /> +<br /> +Cromwell, Richard, ix, 334.<br /> +<br /> +Crookes tube, viii, 359.<br /> +<br /> +Crosby, Ernest, viii, 53.<br /> +<br /> +<i>Crossing of the Bar</i>, Tennyson, v, 90.<br /> +<br /> +Crotona, Italy, home of the Pythagorean School, x, 84.<br /> +<br /> +<i>Crucifixion of St. Peter</i>, Michelangelo, iv, 34.<br /> +<br /> +<i>Crucifixion, The</i>, Rubens, iv, 102.<br /> +<br /> +Cryptograms, vi, 65.<br /> +<br /> +Culture, vii, 314; ix, 191;<br /> +<span style="margin-left: 1em;">the pursuit of, viii, 104;</span><br /> +<span style="margin-left: 1em;">religion of, ix, 188, 192.</span><br /> +<br /> +Cunningham, Allan, on Gainsborough, vi, 131.<br /> +<br /> +Curie, Madame, Herbert Spencer and, viii, 359.<br /> +<br /> +Curtis, George William, ii, 39, 286; v, 254; vii, 409;<br /> +<span style="margin-left: 1em;">as an orator, vii, 314;</span><br /> +<span class='pagenum'><a name="XIV_Page_382" id="XIV_Page_382">382</a></span><span style="margin-left: 1em;">Brook Farm and, viii, 402;</span><br /> +<br /> +Lincoln and, i, 165;<br /> +<span style="margin-left: 1em;">Lowell on, viii, 87.</span><br /> +<br /> +Custom, tyranny of, v, 205.<br /> +<br /> +Cynicism, i, 240.<br /> +<br /> +<br /> +Dalton, Richard, and Reynolds, iv, 306.<br /> +<br /> +Damascus, iii, 41.<br /> +<br /> +Damocles, the sword of, v, 184.<br /> +<br /> +Damrosch, Walter, xi, 282;<br /> +<span style="margin-left: 1em;">on Handel, xiv, <a href='#XIV_Page_253'><b>253</b></a>;</span><br /> +<span style="margin-left: 1em;">and Wagnerian opera, xiv, <a href='#XIV_Page_26'><b>26</b></a>.</span><br /> +<br /> +Dana, Charles A., v, 254;<br /> +<span style="margin-left: 1em;">and Brook Farm, viii, 402.</span><br /> +<br /> +Dancing, v, 236.<br /> +<br /> +Daniels, George H., i, xxx;<br /> +<span style="margin-left: 1em;">James Oliver and, xi, 82;</span><br /> +<span style="margin-left: 1em;">Rev. Thomas R. Slicer compared with, xi, 83.</span><br /> +<br /> +Dante, i, 113, 317; ii, 61; iv, 23, 120;<br /> +<span style="margin-left: 1em;">referred to, v, 83;</span><br /> +<span style="margin-left: 1em;">on Aristotle, viii, 109;</span><br /> +<span style="margin-left: 1em;">Archdeacon Farrar on, xiii, 138;</span><br /> +<span style="margin-left: 1em;">Galileo on, xii, 60;</span><br /> +<span style="margin-left: 1em;">Longfellow on, xiii, 110;</span><br /> +<span style="margin-left: 1em;">Dore's illustrations of the works of, iv, 338;</span><br /> +<span style="margin-left: 1em;">father of modern literature, xiii, 139;</span><br /> +<span style="margin-left: 1em;">his description of Beatrice, xiii, 120;</span><br /> +<span style="margin-left: 1em;">influence of, on Milton, xiii, 137;</span><br /> +<span style="margin-left: 1em;">meeting of, with Beatrice, xiii, 127;</span><br /> +<span style="margin-left: 1em;">Hamlet compared with, xiii, 126;</span><br /> +<span style="margin-left: 1em;">Walt Whitman compared with, i, 170.</span><br /> +<br /> +Danton, ii, 265;<br /> +<span style="margin-left: 1em;">Marat and, vii, 224;</span><br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 172.</span><br /> +<br /> +Dartmouth College case, iii, 202.<br /> +<br /> +Dart, the almanac-maker, Franklin on, i, 150.<br /> +<br /> +Darwin, Charles, Benjamin Disraeli and, vi, 341;<br /> +<span style="margin-left: 1em;">Asa Gray and, xii, 198;</span><br /> +<span style="margin-left: 1em;">Professor Henslow and, xii, 206;</span><br /> +<span style="margin-left: 1em;">Alfred Russel Wallace and, xii, 223, 372;</span><br /> +<span style="margin-left: 1em;">Emerson compared with, xii, 203;</span><br /> +<span style="margin-left: 1em;">Huxley compared with, xii, 313;</span><br /> +<span style="margin-left: 1em;">Huxley on, xii, 198;</span><br /> +<span style="margin-left: 1em;">Swedenborg compared with, viii, 179;</span><br /> +<span style="margin-left: 1em;">quoted, ii, 97; iv, 46;</span><br /> +<span style="margin-left: 1em;">referred to, v, 174, 289; xi, 370; xiii, 78;</span><br /> +<span style="margin-left: 1em;">on Sir Isaac Newton, xii, 34;</span><br /> +<span style="margin-left: 1em;">voyage in the <i>Beagle</i>, xii, 210;</span><br /> +<span style="margin-left: 1em;">wife of, xii, 216.</span><br /> +<br /> +Darwin, Dr. Erasmus, on the study of medicine, xii, 203.<br /> +<br /> +Daubigny, Charles Francois, French landscape painter, iv, 129, 281.<br /> +<br /> +Daughters of the Revolution, xi, 146.<br /> +<br /> +Daumier, friend of Meissonier, iv, 129.<br /> +<br /> +Davenant, Sir William, and Leonardo compared, vi, 48.<br /> +<br /> +<i>David Copperfield</i>, Dickens, i, 251.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_383" id="XIV_Page_383">383</a></span>David, Jacques Louis, French historical painter, iv, 229.<br /> +<br /> +<i>David</i>, Michelangelo, iv, 23, 102.<br /> +<br /> +Davidson, John, his dedication of a book, vi, 331.<br /> +<br /> +Davis, David, judge, nominator of Lincoln, iii, 288.<br /> +<br /> +Davis, Jefferson, i, 112; iii, 293.<br /> +<br /> +Davitt, Michael, xiii, 185.<br /> +<br /> +Davy, Sir Humphry, vi, 149;<br /> +<span style="margin-left: 1em;">Michael Faraday and, xii, 352;</span><br /> +<span style="margin-left: 1em;">the Wordsworths and, i, 215.</span><br /> +<br /> +<i>Dawn</i>, Michelangelo, vi, 32.<br /> +<br /> +<i>Day, The</i>, masterpiece of Correggio, vi, 222.<br /> +<br /> +Dead Sea, the, iii, 40.<br /> +<br /> +Death, Carlyle on, v, 85;<br /> +<span style="margin-left: 1em;">Johnson's dread of, v, 167;</span><br /> +<span style="margin-left: 1em;">Whitman on, i, 175.</span><br /> +<br /> +Debating societies, iii, 188.<br /> +<br /> +Debs, Eugene, x, 117.<br /> +<br /> +Debtors' Prison, the, i, 253.<br /> +<br /> +Decimal monetary system, iii, 75.<br /> +<br /> +Declaration of Independence, Jefferson's part in, iii, 75.<br /> +<br /> +<i>De Clementia</i>, Seneca, ix, 201.<br /> +<br /> +Dedications, vi, 331.<br /> +<br /> +<i>Defense of Guinevere, The</i>, William Morris, v, 13.<br /> +<br /> +<i>Defense of Idlers, A</i>, Stevenson, xiii, 16.<br /> +<br /> +<i>Defensio Secunda</i>, Milton, v, 128.<br /> +<br /> +Definition, religion by, ix, 188.<br /> +<br /> +Degradation and woman, vi, 74.<br /> +<br /> +De Keyser, rival of Rembrandt, iv, 68.<br /> +<br /> +Delacroix, Ferdinand, French painter, iv, 230.<br /> +<br /> +<i>De l'Allemagne</i>, Madame de Stael, ii, 179.<br /> +<br /> +Delaroche, friend of Millet, iv, 271;<br /> +<span style="margin-left: 1em;">Meissonier and, iv, 136.</span><br /> +<br /> +Delftware, xiii, 52.<br /> +<br /> +Delices, home of Voltaire, viii, 314.<br /> +<br /> +Delilah, i, 75.<br /> +<br /> +Delium, the battle of, viii, 31.<br /> +<br /> +Delsarte, Seneca compared with, viii, 56;<br /> +<span style="margin-left: 1em;">quoted, iii, 121.</span><br /> +<br /> +Democracy, Shakespeare's limitations regarding, i, 179.<br /> +<br /> +Demosthenes, i, 248, 306; iii, 188; v, 162.<br /> +<br /> +Denominations in religion, origin of, ix, 19.<br /> +<br /> +Denslow's dandies, iv, 67.<br /> +<br /> +Dentists, v, 207; vi, 70.<br /> +<br /> +<i>Departure of the Pilgrims, The</i>, Robert Weir, vi, 343.<br /> +<br /> +Depew, Chauncey, on Scotch humor, xiii, 11;<br /> +<span style="margin-left: 1em;">quoted, xiv, <a href='#XIV_Page_238'><b>238</b></a>.</span><br /> +<br /> +De Quincey, life at Dove Cottage, i, 212;<br /> +<span style="margin-left: 1em;">referred to, iii, 130.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_384" id="XIV_Page_384">384</a></span>Descartes' <i>Meditations</i>, viii, 226.<br /> +<br /> +<i>Descent From the Cross</i>, Rubens, iv, 102.<br /> +<br /> +Deschaumes, friend of Meissonier, iv, 129.<br /> +<br /> +<i>Deserted Village</i>, Goldsmith, ii, 232; iii, 256;<br /> +<span style="margin-left: 1em;">selections from, i, 283.</span><br /> +<br /> +Desire, suppression of, xii, 89.<br /> +<br /> +De Stael, Madame, father of, ii, 163;<br /> +<span style="margin-left: 1em;">mother of, ii, 165;</span><br /> +<span style="margin-left: 1em;">appearance of, ii, 168;</span><br /> +<span style="margin-left: 1em;">charm of, ii, 169;</span><br /> +<span style="margin-left: 1em;">marriage of, ii, 171;</span><br /> +<span style="margin-left: 1em;">literary efforts of, ii, 173;</span><br /> +<span style="margin-left: 1em;">religion of, ii, 176;</span><br /> +<span style="margin-left: 1em;">exile of, ii, 181;</span><br /> +<span style="margin-left: 1em;">death of, ii, 182;</span><br /> +<span style="margin-left: 1em;">Swiss home of, ii, 183;</span><br /> +<span style="margin-left: 1em;">conflicts of, with Napoleon, ii, 180;</span><br /> +<span style="margin-left: 1em;">referred to, viii, 216.</span><br /> +<br /> +De Tocqueville, recipe for success, x, 319.<br /> +<br /> +Development, arrested, v, 72.<br /> +<br /> +Devotion, v, 238.<br /> +<br /> +<i>Devotional Exercises</i>, Harriet Martineau, ii, 79.<br /> +<br /> +DeWet, Christian, Boer leader, ix, 107.<br /> +<br /> +Dewey, John, x, 249.<br /> +<br /> +<i>Dial, The</i>, Thoreau's contributions to, viii, 421;<br /> +<span style="margin-left: 1em;">Theodore Parker's contributions to, ix, 293.</span><br /> +<br /> +<i>Dialogue, The</i>, Galileo, xii, 79.<br /> +<br /> +<i>Diana Bathing</i>, Rembrandt, iv, 68.<br /> +<br /> +<i>Diary</i> of John Adams, iii, 81.<br /> +<br /> +<i>Diary</i> of John Quincy Adams, iii, 210.<br /> +<br /> +Diaz, friend of Millet, iv, 281.<br /> +<br /> +Dickens, Charles, i, 57, 236, 248, ii, 119; v, 97;<br /> +<span style="margin-left: 1em;">birthplace of, i, 196;</span><br /> +<span style="margin-left: 1em;">education of, i, 248;</span><br /> +<span style="margin-left: 1em;">early life of, i, 249;</span><br /> +<span style="margin-left: 1em;">as a playwright, i, 249;</span><br /> +<span style="margin-left: 1em;">popularity of, i, 249;</span><br /> +<span style="margin-left: 1em;">American tour of, i, 250;</span><br /> +<span style="margin-left: 1em;">the London of, i, 251;</span><br /> +<span style="margin-left: 1em;">characters of, i, 267;</span><br /> +<span style="margin-left: 1em;">Robert Browning and, v, 55;</span><br /> +<span style="margin-left: 1em;">his idea of betterment, xi, 15;</span><br /> +<span style="margin-left: 1em;">Thackeray's estimate of, i, 228;</span><br /> +<span style="margin-left: 1em;">Voltaire compared with, viii, 283;</span><br /> +<span style="margin-left: 1em;">on the boarding-school, ix, 135;</span><br /> +<span style="margin-left: 1em;">on Oliver Cromwell, ix, 317;</span><br /> +<span style="margin-left: 1em;">on Preraphaelitism, xiii, 252.</span><br /> +<br /> +Diderot, quoted, ii, 174;<br /> +<span style="margin-left: 1em;">on Erasmus, x, 152;</span><br /> +<span style="margin-left: 1em;">on Rousseau, ix, 386.</span><br /> +<br /> +<i>Dido Building Carthage</i>, painting, i, 129.<br /> +<br /> +Diet of Worms, Luther at the, vii, 143.<br /> +<br /> +Dignity, xiv, <a href='#XIV_Page_304'><b>304</b></a>.<br /> +<br /> +Dilettante Society, the, iv, 302.<br /> +<br /> +Dilettante, Whistler on the, vi, 353.<br /> +<br /> +Diminishing returns, law of, x, 308.<br /> +<br /> +Diminutives, use of, iv, 5.<br /> +<br /> +Diodati, friend of Milton, v, 127.<br /> +<br /> +Diogenes, viii, 19;<br /> +<span style="margin-left: 1em;">Alexander the Great and, viii, 96;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 204.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_385" id="XIV_Page_385">385</a></span><i>Diotalevi Madonna</i>, Perugino, vi, 27.<br /> +<br /> +Diplomacy, women and, v, 114.<br /> +<br /> +<i>Dipsy Chanty</i>, Kipling's, ii, 75.<br /> +<br /> +Disagreeable girl, the, described, xiii, 113.<br /> +<br /> +Discipline, Thomas Arnold on, x, 231;<br /> +<span style="margin-left: 1em;">the parental idea of, vi, 160.</span><br /> +<br /> +Discontent, xiv, <a href='#XIV_Page_77'><b>77</b></a>.<br /> +<br /> +Discord, uses of, vi, 329.<br /> +<br /> +Disestablishment, i, 114.<br /> +<br /> +<i>Dispute, The</i>, Raphael, vi, 32.<br /> +<br /> +Disraeli, Benjamin, xii, 199;<br /> +<span style="margin-left: 1em;">ancestry of, v, 322;</span><br /> +<span style="margin-left: 1em;">education of, v, 324;</span><br /> +<span style="margin-left: 1em;">personality of, v, 325;</span><br /> +<span style="margin-left: 1em;">literary efforts of, v, 327;</span><br /> +<span style="margin-left: 1em;">political life of, v, 331;</span><br /> +<span style="margin-left: 1em;">marriage of, v, 338;</span><br /> +<span style="margin-left: 1em;">Chancellor of the Exchequer, v, 340;</span><br /> +<span style="margin-left: 1em;">Prime Minister, v, 340;</span><br /> +<span style="margin-left: 1em;"><i>Coningsby</i>, v, 341;</span><br /> +<span style="margin-left: 1em;"><i>Contarini Fleming</i>, v, 324;</span><br /> +<span style="margin-left: 1em;"><i>Endymion</i>, v, 342;</span><br /> +<span style="margin-left: 1em;"><i>Lothair</i>, v, 342;</span><br /> +<span style="margin-left: 1em;"><i>Sybil</i>, v, 341;</span><br /> +<span style="margin-left: 1em;"><i>Tancred</i>, v, 341;</span><br /> +<span style="margin-left: 1em;"><i>Vivian Gray</i>, v, 324;</span><br /> +<span style="margin-left: 1em;">attitude toward Free Trade, v, 340;</span><br /> +<span style="margin-left: 1em;">Agassiz compared with, v, 338;</span><br /> +<span style="margin-left: 1em;">Mrs. Austen and, v, 327;</span><br /> +<span style="margin-left: 1em;">Lady Blessington and, v, 333;</span><br /> +<span style="margin-left: 1em;">Bulwer-Lytton and, v, 333;</span><br /> +<span style="margin-left: 1em;">Lord Byron and, v, 324;</span><br /> +<span style="margin-left: 1em;">Froude on, v, 326;</span><br /> +<span style="margin-left: 1em;">Mrs. Wyndham Lewis and, v, 333;</span><br /> +<span style="margin-left: 1em;">Macaulay compared with, v, 197;</span><br /> +<span style="margin-left: 1em;">Mephisto compared with, v, 320;</span><br /> +<span style="margin-left: 1em;">Thomas Moore and, v, 333;</span><br /> +<span style="margin-left: 1em;">Lady Morgan and, v, 333;</span><br /> +<span style="margin-left: 1em;">Napoleon compared with, v, 321;</span><br /> +<span style="margin-left: 1em;">O'Connell and, v, 336;</span><br /> +<span style="margin-left: 1em;">Count d'Orsay and, v, 333;</span><br /> +<span style="margin-left: 1em;">Pitt and, v, 331;</span><br /> +<span style="margin-left: 1em;">Voltaire compared with, viii, 295;</span><br /> +<span style="margin-left: 1em;">N. P. Willis on, v, 329;</span><br /> +<span style="margin-left: 1em;">Mrs. Willyums and, v, 344;</span><br /> +<span style="margin-left: 1em;">on Cobden, ix, 140;</span><br /> +<span style="margin-left: 1em;">on Charles Darwin, v, 341;</span><br /> +<span style="margin-left: 1em;">on democracy, xi, 255;</span><br /> +<span style="margin-left: 1em;">on the Established Church, xii, 155;</span><br /> +<span style="margin-left: 1em;">on initiative, xiv, <a href='#XIV_Page_152'><b>152</b></a>;</span><br /> +<span style="margin-left: 1em;">on Dr. Jowett, viii, 351;</span><br /> +<span style="margin-left: 1em;">on love, xiii, 158;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 160; v, 41; xiii, 408.</span><br /> +<br /> +Disraeli, Isaac, v, 322.<br /> +<br /> +Dissection, iv, 59.<br /> +<br /> +<i>Divine Comedy, The</i>, Dante, xiii, 134.<br /> +<br /> +Divine passion, the, ii, 36; iv, 242.<br /> +<br /> +Divine right of kings, ii, 83; v, 291.<br /> +<br /> +Divinity, idea of, vi, 49.<br /> +<br /> +Divinity of business, xi, 14.<br /> +<br /> +Division of labor, iii, 99.<br /> +<br /> +Divorce, i, 111;<br /> +<span style="margin-left: 1em;">Milton on, v, 130;</span><br /> +<span style="margin-left: 1em;">women and, viii, 133;</span><br /> +<span style="margin-left: 1em;">Voltaire on, viii, 290.</span><br /> +<br /> +Dixon, photographer of animals, ii, 125.<br /> +<br /> +<i>Dr. Jekyl and Mr. Hyde</i>, Stevenson, xiii, 27.<br /> +<br /> +Doctors, v, 203;<br /> +<span style="margin-left: 1em;">Kant on, viii, 162.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_386" id="XIV_Page_386">386</a></span><i>Dodo</i>, Edward F. Benson, i, 148.<br /> +<br /> +Dogmatism, vi, 348; x, 292.<br /> +<br /> +Dog-star, influence of, v, 103.<br /> +<br /> +<i>Doll's House</i>, Ibsen, xiii, 112.<br /> +<br /> +Don Juan, referred to, iii, 176;<br /> +<span style="margin-left: 1em;">Byron compared with, v, 221.</span><br /> +<br /> +Donnelly, Ignatius, vi, 65.<br /> +<br /> +Donniges, Helene von, xiii, 363.<br /> +<br /> +Donnybrook Fair, ix, 252;<br /> +<span style="margin-left: 1em;">spirit of, xii, 337.</span><br /> +<br /> +Dore Gallery in London, the, iv, 344.<br /> +<br /> +Dore, Gustave, early life of, iv, 332;<br /> +<span style="margin-left: 1em;">"the child illustrator," iv, 336;</span><br /> +<span style="margin-left: 1em;">life in Paris, iv, 338;</span><br /> +<span style="margin-left: 1em;">love for his mother, iv, 339;</span><br /> +<span style="margin-left: 1em;">ability as a musician, iv, 340;</span><br /> +<span style="margin-left: 1em;">decorated with the Cross of the Legion of Honor, iv, 340;</span><br /> +<span style="margin-left: 1em;">characteristics of his art, iv, 341;</span><br /> +<span style="margin-left: 1em;">his visit to England, iv, 344;</span><br /> +<span style="margin-left: 1em;">presented to Queen Victoria, iv, 345;</span><br /> +<span style="margin-left: 1em;">death of, iv, 346.</span><br /> +<br /> +Dorset, poet, contemporary of Addison, v, 249.<br /> +<br /> +Douglas, Fred, vii, 409.<br /> +<br /> +Draco, laws of, ii, 20.<br /> +<br /> +Drake, Edwin L., xi, 370.<br /> +<br /> +Drake, English admiral, iv, 81.<br /> +<br /> +Draper, J. W., historian, v, 94.<br /> +<br /> +<i>Dream of Fair Women, A</i>, Tennyson, v, 78.<br /> +<br /> +<i>Dream of John Ball, A</i>, William Morris, v, 23.<br /> +<br /> +<i>Droll Stories</i>, Balzac, xiii, 300.<br /> +<br /> +Drummond, Henry, referred to, v, 290.<br /> +<br /> +<i>Drum-Taps</i>, Whitman, i, 175.<br /> +<br /> +Drunkard's home, the, xiv, <a href='#XIV_Page_234'><b>234</b></a>.<br /> +<br /> +Dryden, Addison and, v, 246;<br /> +<span style="margin-left: 1em;">Shakespeare and, i, 124;</span><br /> +<span style="margin-left: 1em;">his opinion of Shakespeare, i, 134.</span><br /> +<br /> +Duality of the human mind, i, 113.<br /> +<br /> +Duane, James, New York's first Continental Mayor, iii, 238.<br /> +<br /> +Dumas, Alexandre, iv, 249;<br /> +<span style="margin-left: 1em;">friend of Meissonier, iv, 126;</span><br /> +<span style="margin-left: 1em;">a negro, x, 205;</span><br /> +<span style="margin-left: 1em;">on Garibaldi, ix, 115.</span><br /> +<br /> +<i>Dunciad</i>, Pope, i, 179; vi, 329.<br /> +<br /> +Dunkards, the, ii, 189.<br /> +<br /> +Duplicity, evils of, vii, 371.<br /> +<br /> +Durer, Albrecht, xii, 119; vi, 259;<br /> +<span style="margin-left: 1em;">Martin Luther and, vii, 139;</span><br /> +<span style="margin-left: 1em;">Moses compared with, x, 37;</span><br /> +<span style="margin-left: 1em;">on Erasmus, x, 157.</span><br /> +<br /> +Duse, Eleanor, xiv, <a href='#XIV_Page_127'><b>127</b></a>.<br /> +<br /> +Dutch, industry of, iv, 42.<br /> +<br /> +Dyer, Mary, execution of, ix, 365;<br /> +<span style="margin-left: 1em;">Governor Endicott and, ix, 363;</span><br /> +<span style="margin-left: 1em;">Anne Hutchinson and, ix, 359.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_387" id="XIV_Page_387">387</a></span>Dynamic force, iv, 193.<br /> +<br /> +<br /> +Earth, early notions regarding the, xii, 92.<br /> +<br /> +East Aurora, home of Vice-Pres. Fillmore in, iii, 270;<br /> +<span style="margin-left: 1em;">racetracks of, xi, 291;</span><br /> +<span style="margin-left: 1em;">village of, i, p xxiv; ii, p ix.</span><br /> +<br /> +East India Company, the, v, 189.<br /> +<br /> +Eastlake, Sir Charles, the artist, grave of, i, 231.<br /> +<br /> +East, religion of the, ii, 18.<br /> +<br /> +<i>Ecce Labora</i>, motto of St. Benedict, x, 318.<br /> +<br /> +Eccentricities of genius, i, 97.<br /> +<br /> +Ecclesiastes, Book of, compared with Meissonier's <i>Conversations</i>, iv, 141.<br /> +<br /> +Economics, v, 94;<br /> +<span style="margin-left: 1em;">religion and, ix, 192.</span><br /> +<br /> +Economy, blessings of, iv, 289.<br /> +<br /> +<i>Economy of the Universe, The</i>, Swedenborg, viii, 194.<br /> +<br /> +Ecstasy, x, 208;<br /> +<span style="margin-left: 1em;">an essential of genius, iv, 253.</span><br /> +<br /> +Eddy, Mary Baker, characteristics of, x, 336;<br /> +<span style="margin-left: 1em;">founder of Christian Science, x, 329;</span><br /> +<span style="margin-left: 1em;">marriages of, x, 333;</span><br /> +<span style="margin-left: 1em;">Julius Cæsar compared with, x, 360;</span><br /> +<span style="margin-left: 1em;">Hypatia compared with, x, 280;</span><br /> +<span style="margin-left: 1em;">Jesus compared with, x, 361;</span><br /> +<span style="margin-left: 1em;">Shakespeare compared with, x, 338;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer and, viii, 189;</span><br /> +<span style="margin-left: 1em;">Swedenborg and, x, 355;</span><br /> +<span style="margin-left: 1em;">Swedenborg compared with, viii, 190.</span><br /> +<br /> +Eden, Garden of, ii, 111; iii, 282.<br /> +<br /> +Edgeworth, Miss, Jane Austen compared with, ii, 245.<br /> +<br /> +Edison, Thomas A., ii, 238; xi, 196; xii, 21;<br /> +<span style="margin-left: 1em;">prophecy of, regarding 20th century, i, 320;</span><br /> +<span style="margin-left: 1em;">mother of, i, 321;</span><br /> +<span style="margin-left: 1em;">birthplace of, i, 323;</span><br /> +<span style="margin-left: 1em;">early life of, i, 324;</span><br /> +<span style="margin-left: 1em;">first invention of, i, 325;</span><br /> +<span style="margin-left: 1em;">success of, i, 328;</span><br /> +<span style="margin-left: 1em;">some inventions of, i, 329;</span><br /> +<span style="margin-left: 1em;">appearance of, i, 330;</span><br /> +<span style="margin-left: 1em;">humor of, i, 337;</span><br /> +<span style="margin-left: 1em;">position of, in history, i, 341;</span><br /> +<span style="margin-left: 1em;">age of, i, 345;</span><br /> +<span style="margin-left: 1em;">Leonardo compared with, vi, 41;</span><br /> +<span style="margin-left: 1em;">on science, xi, 386;</span><br /> +<span style="margin-left: 1em;">quoted, vi, 41.</span><br /> +<br /> +Editors, managing, characterized, vi, 315.<br /> +<br /> +Educated man, the, xii, 127.<br /> +<br /> +Educated men, the five greatest, i, 341.<br /> +<br /> +Education, v, 11; vii, 314; viii, 203;<br /> +<span style="margin-left: 1em;">of children, ix, 224;</span><br /> +<span style="margin-left: 1em;">definition of, i, 341;</span><br /> +<span style="margin-left: 1em;">formula of, x, 202;</span><br /> +<span style="margin-left: 1em;">getting an, vii, 285;</span><br /> +<span style="margin-left: 1em;">Hegel on, vii, 322;</span><br /> +<span style="margin-left: 1em;">Victor Hugo on, xi, 203;</span><br /> +<span style="margin-left: 1em;">Charles Lamb on, ii, 214;</span><br /> +<span style="margin-left: 1em;">object of, x, 200;</span><br /> +<span style="margin-left: 1em;">science of, viii, 100;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer on, viii, 324; xi, 171;</span><br /> +<span style="margin-left: 1em;">John Tyndall on, xii, 346.</span><br /> +<br /> +Edwards, Rev. Jonathan, iii, 176;<br /> +<span style="margin-left: 1em;">influence of, vii, 237;</span><br /> +<span class='pagenum'><a name="XIV_Page_388" id="XIV_Page_388">388</a></span><span style="margin-left: 1em;">theology of, viii, 179.</span><br /> +<br /> +Egotism, v, 242; vi, 25.<br /> +<br /> +Egotism in literature, vi, 273.<br /> +<br /> +Egotist, the, vi, 49.<br /> +<br /> +Egyptian civilization, x, 17.<br /> +<br /> +Egypt, the cradle of mystery and miracle, x, 75;<br /> +<span style="margin-left: 1em;">in the time of the Pharaohs, x, 17.</span><br /> +<br /> +<i>Eighteen Hundred Seven</i>, Meissonier, iv, 142.<br /> +<br /> +Elba, Napoleon's exile in, ii, 181.<br /> +<br /> +<i>Elective Affinities</i>, Goethe, xiii, 228.<br /> +<br /> +Electricity, Edison regarding future of, i, 320;<br /> +<span style="margin-left: 1em;">Spencer's discoveries in, viii, 359.</span><br /> +<br /> +Electric pen, invention of, i, 329.<br /> +<br /> +<i>Elegy on Sir Anthony Van Dyck</i>, Cowley, iv, 172.<br /> +<br /> +<i>Elegy, The</i>, Gray, v, 126.<br /> +<br /> +Elemental conditions, v, 88.<br /> +<br /> +<i>Elementary Physiology</i>, Huxley, xii, 327.<br /> +<br /> +Elgin marbles, iv, 318; vi, 13; vii, 13.<br /> +<br /> +Eliot, George, ii, 239; v, 49;<br /> +<span style="margin-left: 1em;">early life of, i, 50;</span><br /> +<span style="margin-left: 1em;">birthplace of, i, 52;</span><br /> +<span style="margin-left: 1em;">acquaintance of, with Herbert Spencer, i, 56;</span><br /> +<span style="margin-left: 1em;">marriage, i, 57;</span><br /> +<span style="margin-left: 1em;">appearance of, i, 63;</span><br /> +<span style="margin-left: 1em;">home of, i, 63;</span><br /> +<span style="margin-left: 1em;">grave of, i, 64;</span><br /> +<span style="margin-left: 1em;">estimate of Jane Austen, ii, 254;</span><br /> +<span style="margin-left: 1em;">on Botticelli, vi, 69;</span><br /> +<span style="margin-left: 1em;">favorite book of, ix, 376;</span><br /> +<span style="margin-left: 1em;">on the art life of Florence, vi, 90.</span><br /> +<br /> +Elizabeth, Queen of England, iv, 81;<br /> +<span style="margin-left: 1em;">visit at Kenilworth, i, 304.</span><br /> +<br /> +Elks, Order of, x, 77.<br /> +<br /> +Ellis, Charles M., and Theodore Parker, ix, 297.<br /> +<br /> +Ellis, F. S., and William Morris, v, 29.<br /> +<br /> +Ellsworth, Oliver, chief justice, iii, 248.<br /> +<br /> +Elocution, H. W. Beecher on, vi, 187; viii, 54.<br /> +<br /> +Elzevirs, the, publishers, iv, 55, 65.<br /> +<br /> +Emancipated men, xiv, <a href='#XIV_Page_246'><b>246</b></a>.<br /> +<br /> +Emancipation of women, ii, 70.<br /> +<br /> +Embankment, the London, i, 77.<br /> +<br /> +Emerald Isle, the, ii, 95.<br /> +<br /> +Emerson, Ralph Waldo, and the Brook Farm, viii, 402;<br /> +<span style="margin-left: 1em;">and Concord, viii, 405;</span><br /> +<span style="margin-left: 1em;">Bronson Alcott and, xi, 392;</span><br /> +<span style="margin-left: 1em;">Carlyle and, ii, 286; vi, 155;</span><br /> +<span style="margin-left: 1em;">Carlyle's letter to, iii, 184;</span><br /> +<span style="margin-left: 1em;">Darwin compared with, xii, 203;</span><br /> +<span style="margin-left: 1em;"><i>Essay on Compensation</i>, xii, 261;</span><br /> +<span style="margin-left: 1em;">Confucius compared with, x, 51;</span><br /> +<span style="margin-left: 1em;">favorite book of, ix, 376;</span><br /> +<span style="margin-left: 1em;">Hypatia compared with, x, 280;</span><br /> +<span style="margin-left: 1em;">influence of, on John Tyndall, xii, 349;</span><br /> +<span style="margin-left: 1em;">as a lecturer, v, 26;</span><br /> +<span class='pagenum'><a name="XIV_Page_389" id="XIV_Page_389">389</a></span><span style="margin-left: 1em;">Mazzini compared with, ix, 94; William Morris' estimate of, v, 32;</span><br /> +<span style="margin-left: 1em;">on astronomy, xii, 116;</span><br /> +<span style="margin-left: 1em;">on beauty, xiii, 211;</span><br /> +<span style="margin-left: 1em;">on commerce, ix, 130;</span><br /> +<span style="margin-left: 1em;">on eloquence, ix, 104;</span><br /> +<span style="margin-left: 1em;">on knowledge, vii, 322;</span><br /> +<span style="margin-left: 1em;">on Nature, x, 306;</span><br /> +<span style="margin-left: 1em;">on originality, xii, 407;</span><br /> +<span style="margin-left: 1em;">on Theodore Parker, ix, 301;</span><br /> +<span style="margin-left: 1em;">on Wendell Phillips, vii, 413;</span><br /> +<span style="margin-left: 1em;">on place and power, vi, 168;</span><br /> +<span style="margin-left: 1em;">on plain living, xiii, 251;</span><br /> +<span style="margin-left: 1em;">on Plato, viii, 31;</span><br /> +<span style="margin-left: 1em;">on slavery, vii, 393;</span><br /> +<span style="margin-left: 1em;">on the soul, viii, 403;</span><br /> +<span style="margin-left: 1em;">on Swedenborg, viii, 177;</span><br /> +<span style="margin-left: 1em;">on Thoreau, viii, 408;</span><br /> +<span style="margin-left: 1em;">on truth, xiv, <a href='#XIV_Page_333'><b>333</b></a>;</span><br /> +<span style="margin-left: 1em;">Robert Owen and, xii, 349;</span><br /> +<span style="margin-left: 1em;">Theodore Parker compared with, ix, 279, 292;</span><br /> +<span style="margin-left: 1em;">Theodore Parker's lecture on, ix, 274;</span><br /> +<span style="margin-left: 1em;">Wendell Phillips on, xiii, 171;</span><br /> +<span style="margin-left: 1em;">quoted, i, 242, 267, 341; ii, 76, 285; iii, 108; iv, 7, 128, 259; v, 12, 79, 98, 158, 248; vi, 65, 95; vii, 309; viii, 305; ix, 61;</span><br /><span style="margin-left: 3em;">x, 339; xi, 14; xiii, 89;</span><br /> +<span style="margin-left: 1em;">referred to, i, p vi; i, 55, 90, 223; iv, 253; v, 294;</span><br /> +<span style="margin-left: 1em;">Seneca compared with, viii, 56;</span><br /> +<span style="margin-left: 1em;">Shelley compared with, ii, 287;</span><br /> +<span style="margin-left: 1em;">Socrates and, viii, 16;</span><br /> +<span style="margin-left: 1em;">Thoreau and, viii, 397;</span><br /> +<span style="margin-left: 1em;">George Francis Train on, vii, 325.</span><br /> +<br /> +<i>Emile</i>, Rousseau, vii, 207; ix, 371; xiii, 85.<br /> +<br /> +Emilian Highway, the, vi, 226.<br /> +<br /> +Emmett, Robert, Southey to, v, 264.<br /> +<br /> +Empire State Express, i, p xxx.<br /> +<br /> +Endless punishment as a doctrine, viii, 357.<br /> +<br /> +<i>Endymion</i>, Disraeli, v, 342.<br /> +<br /> +Enemies, the uses of, xii, 18.<br /> +<br /> +Energy, example of, i, 339.<br /> +<br /> +Energy, universal, v, 123.<br /> +<br /> +England, colonies of, x, 131;<br /> +<span style="margin-left: 1em;">freedom in, vi, 146;</span><br /> +<span style="margin-left: 1em;">freedom of speech in, ix, 175;</span><br /> +<span style="margin-left: 1em;">Greece compared with, vii, 35;</span><br /> +<span style="margin-left: 1em;">the heart of, i, 308;</span><br /> +<span style="margin-left: 1em;">a nation of shop-keepers, ii, 207;</span><br /> +<span style="margin-left: 1em;">the people of, x, 130;</span><br /> +<span style="margin-left: 1em;">rural, ii, 240;</span><br /> +<span style="margin-left: 1em;">settlement of, by the Engles and Saxons, x, 132;</span><br /> +<span style="margin-left: 1em;">of Shakespeare, i, 301;</span><br /> +<span style="margin-left: 1em;">Spain and, in the 16th century, iv, 81.</span><br /> +<br /> +<i>English Bards and Scotch Reviewers</i>, Byron, v, 218; vi, 329.<br /> +<br /> +<i>English Idylls</i>, Tennyson, v, 81.<br /> +<br /> +<i>English Literature</i>, Taine, xiii, 171.<br /> +<br /> +<i>English Note-Book</i>, Voltaire, viii, 297.<br /> +<br /> +<i>English Settlements in North America</i>, Burke, vii, 172.<br /> +<br /> +<i>English Traits</i>, Emerson, viii, 297.<br /> +<br /> +Enlightenment, age of, viii, 271.<br /> +<br /> +<i>Enquiry Into the Present State of Polite</i> <i>Learning in Europe</i>,<br /> +<span class='pagenum'><a name="XIV_Page_390" id="XIV_Page_390">390</a></span><span style="margin-left: 2.5em;">Goldsmith's first book, i, 293.</span><br /> +<br /> +Entail, law of, v, 70.<br /> +<br /> +Enthusiasm, vii, 319; x, 242.<br /> +<br /> +Environment, ii, 189; iii, 56; xiii, 215;<br /> +<span style="margin-left: 1em;">force of, iv, 332;</span><br /> +<span style="margin-left: 1em;">influence of, xi, 335.</span><br /> +<br /> +Epictetus, viii, 119;<br /> +<span style="margin-left: 1em;">compared with Walt Whitman, i, 170.</span><br /> +<br /> +Epigram, definition of, x, 52.<br /> +<br /> +Epitaphs, i, 158; iv, 86; v, 159.<br /> +<br /> +Epochs in life, three great, ix, 66.<br /> +<br /> +Epworth League, referred to, ii, 137.<br /> +<br /> +Epworth parsonage, birthplace of John Wesley, ix, 16.<br /> +<br /> +Equanimity, x, 58; xiii, 84.<br /> +<br /> +Erasmus, i, 248; x, 117; xiv, <a href='#XIV_Page_40'><b>40</b></a>;<br /> +<span style="margin-left: 1em;">an authority on books and printing, x, 175;</span><br /> +<span style="margin-left: 1em;">the Bishop of Cambray and, x, 161;</span><br /> +<span style="margin-left: 1em;">Froben, the publisher, and, x, 173;</span><br /> +<span style="margin-left: 1em;">Melanchthon and, x, 172;</span><br /> +<span style="margin-left: 1em;">Sir Thomas More and, x, 170;</span><br /> +<span style="margin-left: 1em;">Lord Mountjoy and, x, 169;</span><br /> +<span style="margin-left: 1em;">Luther compared with, x, 152;</span><br /> +<span style="margin-left: 1em;">Diderot on, x, 152;</span><br /> +<span style="margin-left: 1em;">Albrecht Durer on, x, 157;</span><br /> +<span style="margin-left: 1em;"><i>In Praise of Folly</i>, x, 177;</span><br /> +<span style="margin-left: 1em;">intellectual pivot of the Renaissance, x, 150;</span><br /> +<span style="margin-left: 1em;">on preaching, x, 150;</span><br /> +<span style="margin-left: 1em;">quoted, vi, 46;</span><br /> +<span style="margin-left: 1em;">reference to, i, 124; v, 123;</span><br /> +<span style="margin-left: 1em;">travels of, x, 161.</span><br /> +<br /> +Erfurt, university of, vii, 119.<br /> +<br /> +Esoteric and exoteric, vii, 133.<br /> +<br /> +Esoterics, v, 96.<br /> +<br /> +<i>Essay on Education</i>, Herbert Spencer, viii, 324.<br /> +<br /> +<i>Essay on Human Understanding</i>, Locke, xiii, 85.<br /> +<br /> +<i>Essay on Mind</i>, E. B. Browning, ii, 29.<br /> +<br /> +<i>Essay on the Sublime</i>, Burke, vii, 318.<br /> +<br /> +<i>Essays of Elia</i>, Charles Lamb, ii, 214; v, 297.<br /> +<br /> +Etching, iv, 55, 315.<br /> +<br /> +<i>Etching and Dry Points</i>, Whistler, vi, 351.<br /> +<br /> +Etiquette, books on, v, 239.<br /> +<br /> +Etruria, home of Wedgwood pottery, xiii, 75.<br /> +<br /> +Euclid of Megara, disciple of Socrates, viii, 29.<br /> +<br /> +Eugenics of Plato, x, 118.<br /> +<br /> +Eugenie, Empress, and Rosa Bonheur, ii, 159.<br /> +<br /> +Euripides, referred to, v, 185.<br /> +<br /> +Eusebius on Aristotle, viii, 109.<br /> +<br /> +Eve, guilt of, iv, 83.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_391" id="XIV_Page_391">391</a></span>Everett, Edward, xi, 258.<br /> +<br /> +Evolution, doctrine of, i, 135; v, 290; vi, 196; viii, 341; xii, 215.<br /> +<br /> +<i>Excursion, The</i>, Wordsworth, i, 219.<br /> +<br /> +Executive, an, defined, xi, 361.<br /> +<br /> +Exile, advantages of, viii, 60; xiv, <a href='#XIV_Page_21'><b>21</b></a>.<br /> +<br /> +Exodus, the Israelitish, x, 38.<br /> +<br /> +Expense-account, working the, vi, 314.<br /> +<br /> +Expression, v, 235; vi, 58;<br /> +<span style="margin-left: 1em;">need of, v, 215.</span><br /> +<br /> +<br /> +<i>Fable for Critics</i>, Lowell, i, 179.<br /> +<br /> +Faddism, xii, 131.<br /> +<br /> +Fagging in English schools, x, 230.<br /> +<br /> +Fairy-tales, uses of, viii, 269.<br /> +<br /> +Faith, v, 238;<br /> +<span style="margin-left: 1em;">Wordsworth on, i, 210.</span><br /> +<br /> +<i>Fall of Wagner, The</i>, Nietzsche, xiv, <a href='#XIV_Page_38'><b>38</b></a>.<br /> +<br /> +Falmouth, Lord, quoted, vi, 13.<br /> +<br /> +Falstaff compared with Johnson, v, 168.<br /> +<br /> +<i>Falstaff</i>, Verdi, xiv, <a href='#XIV_Page_295'><b>295</b></a>.<br /> +<br /> +Fanaticism, ix, 182.<br /> +<br /> +Faneuil Hall, and Cooper Union compared, xi, 258;<br /> +<span style="margin-left: 1em;">Wendell Phillips' speech in, vii, 414.</span><br /> +<br /> +Faraday, Michael, and Sir Humphry Davy, xii, 352;<br /> +<span style="margin-left: 1em;">John Tyndall and, xii, 352;</span><br /> +<span style="margin-left: 1em;">John Tyndall on, xii, 334.</span><br /> +<br /> +Farrar, Canon, on Claudius and James I, viii, 58;<br /> +<span style="margin-left: 1em;">on Darwin, xii, 234.</span><br /> +<br /> +Fashionable society, vi, 170.<br /> +<br /> +Fate, ii, 89, 163;<br /> +<span style="margin-left: 1em;">masters of, ii, 17.</span><br /> +<br /> +Father of lies, the, i, 291.<br /> +<br /> +Faulkner, Charles Joseph, designer, v, 20.<br /> +<br /> +<i>Faust</i>, Goethe, v, 249.<br /> +<br /> +Faustus and Disraeli compared, v, 320.<br /> +<br /> +Favoritism, iii, 256.<br /> +<br /> +Fay, Amy, biographer of Liszt, xiv, <a href='#XIV_Page_207'><b>207</b></a>.<br /> +<br /> +Fear, v, 173; xii, 89.<br /> +<br /> +Federal Constitution, adoption of, iii, 245.<br /> +<br /> +Fellowship, William Morris on, vi, 332.<br /> +<br /> +Fenelon, ii, 49;<br /> +<span style="margin-left: 1em;">Madame Guyon and, xiii, 350;</span><br /> +<span style="margin-left: 1em;">Thomas Jefferson compared with, xiii, 353;</span><br /> +<span style="margin-left: 1em;">on justice, xiv, <a href='#XIV_Page_77'><b>77</b></a>.</span><br /> +<br /> +Ferguson, Charles, on the simple life, x, 108.<br /> +<br /> +Ferney, home of Voltaire, viii, 315.<br /> +<br /> +Feudalism, x, 320.<br /> +<br /> +F. F. V., iii, 212.<br /> +<br /> +Field, Cyrus W., xi, 235.<br /> +<br /> +Field, Eugene, xi, 80;<br /> +<span style="margin-left: 1em;">Francis Wilson and, v, 256.</span><br /> +<br /> +Fielding's <i>Amelia</i>, iv, 302.<br /> +<br /> +Field, Kate, ii, 39.<br /> +<br /> +Field, Marshall, xi, 294.<br /> +<br /> +Fields, James T., i, 251; ii, 39.<br /> +<br /> +Fifteenth century, household decorations of the, v, 18.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_392" id="XIV_Page_392">392</a></span>Fighting-man, the eternal, vi, 164.<br /> +<br /> +Fillmore, Vice-President, iii, 270.<br /> +<br /> +Finck, Henry, on passionate love, xiv, <a href='#XIV_Page_313'><b>313</b></a>.<br /> +<br /> +Fiske, John, Louis Agassiz and, xii, 407;<br /> +<span style="margin-left: 1em;">discoveries of, xii, 401;</span><br /> +<span style="margin-left: 1em;">Henry Drummond compared with, xii, 408;</span><br /> +<span style="margin-left: 1em;">early career of, xii, 397;</span><br /> +<span style="margin-left: 1em;">Huxley and, xii, 323;</span><br /> +<span style="margin-left: 1em;">Huxley compared with, xii, 408;</span><br /> +<span style="margin-left: 1em;">Huxley on, xii, 414;</span><br /> +<span style="margin-left: 1em;">John Morley compared with, xii, 412;</span><br /> +<span style="margin-left: 1em;">on astuteness, viii, 250;</span><br /> +<span style="margin-left: 1em;">on Darwinism, xii, 405;</span><br /> +<span style="margin-left: 1em;">on Huxley, xii, 313;</span><br /> +<span style="margin-left: 1em;">on truth, xii, 412;</span><br /> +<span style="margin-left: 1em;">on the uses of religion, xii, 413;</span><br /> +<span style="margin-left: 1em;">scientific work of, xii, 407;</span><br /> +<span style="margin-left: 1em;"><i>Through Nature to God</i>, xii, 396;</span><br /> +<span style="margin-left: 1em;"><i>Outlines of Cosmic Philosophy</i>, xii, 406.</span><br /> +<br /> +Fiske, Minnie Maddern, i, p xxvii.<br /> +<br /> +Fisk Jubilee Singers, i, 113.<br /> +<br /> +Fitzgerald, Lord Edward, and Thomas Paine, ix, 175.<br /> +<br /> +Fitzgerald's <i>Omar Khayyam</i>, v, 149.<br /> +<br /> +Flanders, battle-ground of Europe, iv, 82.<br /> +<br /> +Flanders, dog of, ii, 59, 66.<br /> +<br /> +<i>Flagellant, The</i>, Southey's contributions to, v, 279.<br /> +<br /> +Flattery, v, 216.<br /> +<br /> +Flaubert, Gustave, on marriage, xiv, <a href='#XIV_Page_92'><b>92</b></a>.<br /> +<br /> +Flaxman and Thorwaldsen, vi, 110;<br /> +<span style="margin-left: 1em;">Landseer and, iv, 319.</span><br /> +<br /> +Fleischer, Rabbi, ix, 283.<br /> +<br /> +Flint, Austin, i, 247.<br /> +<br /> +Flirtation, coquetry and coyness, differentiated, xiii, 235.<br /> +<br /> +Floorwalker, rise of the, xi, 345.<br /> +<br /> +Florence, wonders of, iv, 56.<br /> +<br /> +Florida and Sweden contrasted, viii, 182.<br /> +<br /> +Florida cracker, the, ii, 112.<br /> +<br /> +Flowers, transplanted weeds, vi, 234;<br /> +<span style="margin-left: 1em;">John Wesley's love of, ix, 49.</span><br /> +<br /> +<i>Flying Dutchman, The</i>, Wagner, xiv, <a href='#XIV_Page_22'><b>22</b></a>.<br /> +<br /> +Fontainebleau, ii, 57; iv, 278.<br /> +<br /> +Fools of Shakespeare, i, 239.<br /> +<br /> +Forestry, x, 248.<br /> +<br /> +Forgiveness, the joy of, vi, 221.<br /> +<br /> +Forrest, Edwin, actor, xi, 94.<br /> +<br /> +<i>Fors Clavigera</i>, Ruskin, i, 96.<br /> +<br /> +Forster, John, on Oliver Cromwell, ix, 321;<br /> +<span style="margin-left: 1em;">life of Dean Swift by, i, 143.</span><br /> +<br /> +Fortuny, Mariano, early life of, iv, 202;<br /> +<span style="margin-left: 1em;">education of, iv, 208;</span><br /> +<span style="margin-left: 1em;">life of, in Rome, iv, 213;</span><br /> +<span style="margin-left: 1em;">experience of, in Algeria, iv, 213;</span><br /> +<span style="margin-left: 1em;">compared with Meissonier, iv, 218;</span><br /> +<span style="margin-left: 1em;">leader of modern Spanish school of painting, iv, 222;</span><br /> +<span class='pagenum'><a name="XIV_Page_393" id="XIV_Page_393">393</a></span><span style="margin-left: 1em;">pictures by, in America, iv, 218.</span><br /> +<br /> +<i>Forum, The</i>, Corot, vi, 188.<br /> +<br /> +Forum, the Roman, v, 201.<br /> +<br /> +Fourier, Francois, French socialist, xii, 344.<br /> +<br /> +Fourierism, ix, 225; viii, 412.<br /> +<br /> +Four-o'clock, the, i, p xxiii.<br /> +<br /> +Fowler, Professor O. S., x, 274.<br /> +<br /> +Fox, Charles, ix, 164;<br /> +<span style="margin-left: 1em;">on the Hessians, xi, 149;</span><br /> +<span style="margin-left: 1em;">referred to, v, 188.</span><br /> +<br /> +Fox, George, as a leader, ix, 217.<br /> +<br /> +Fox, Richard, and Edmund Burke, vii, 179.<br /> +<br /> +Francesca, Piero Della, Italian painter, vi, 31.<br /> +<br /> +France, the king of, and Elizabeth Fry, ii, 188;<br /> +<span style="margin-left: 1em;">married women in, ii, 173;</span><br /> +<span style="margin-left: 1em;">senility of, iii, 232;</span><br /> +<span style="margin-left: 1em;">villages in, ii, 58.</span><br /> +<br /> +<i>Frankenstein</i>, Mary W. Shelley, ii, 305.<br /> +<br /> +Frank, Henry, ix, 184, 283.<br /> +<br /> +Franklin, Benjamin, birthplace of, iii, 33;<br /> +<span style="margin-left: 1em;">early literary efforts of, iii, 36;</span><br /> +<span style="margin-left: 1em;">in New York, iii, 38;</span><br /> +<span style="margin-left: 1em;">in Philadelphia, iii, 38;</span><br /> +<span style="margin-left: 1em;">meeting of, with Deborah Read, iii, 39;</span><br /> +<span style="margin-left: 1em;">marriage of, iii, 43;</span><br /> +<span style="margin-left: 1em;">public services of, iii, 48;</span><br /> +<span style="margin-left: 1em;">foremost American, iii, 50;</span><br /> +<span style="margin-left: 1em;">writings of, iii, 50;</span><br /> +<span style="margin-left: 1em;">autobiography of, xiii, 313;</span><br /> +<span style="margin-left: 1em;">Comte and, viii, 246;</span><br /> +<span style="margin-left: 1em;">Peter Cooper compared with, xi, 234;</span><br /> +<span style="margin-left: 1em;">Peter Cooper's ideal, xi, 257;</span><br /> +<span style="margin-left: 1em;">founder of the first public library in America, ix, 226;</span><br /> +<span style="margin-left: 1em;">John Jay compared with, iii, 250;</span><br /> +<span style="margin-left: 1em;">on Catholicism, x, 368;</span><br /> +<span style="margin-left: 1em;">on Harvard university, xi, 96;</span><br /> +<span style="margin-left: 1em;">on love, viii, 290;</span><br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 157, 164, 167;</span><br /> +<span style="margin-left: 1em;">peace commissioner, iii, 252;</span><br /> +<span style="margin-left: 1em;">prayer of, iii, 42;</span><br /> +<span style="margin-left: 1em;">prophecy of, regarding Dart, the almanac-maker, i, 150;</span><br /> +<span style="margin-left: 1em;">Ary Scheffer's admiration for, iv, 235;</span><br /> +<span style="margin-left: 1em;"><i>Poor Richard's Almanac</i>, i, 150;</span><br /> +<span style="margin-left: 1em;">referred to, i, 342; vi, 47; xi, 94; xii, 57, 179.</span><br /> +<br /> +Franklin stove, the, iii, 47.<br /> +<br /> +Frankness, v, 174.<br /> +<br /> +Frederick, Elector of Saxony, vii, 143.<br /> +<br /> +Frederick the Great, i, 81;<br /> +<span style="margin-left: 1em;">Voltaire and, viii, 309;</span><br /> +<span style="margin-left: 1em;">on Voltaire, ix, 387.</span><br /> +<br /> +Freedom, ix, 85; xiii, 85;<br /> +<span style="margin-left: 1em;">happiness compared with, ix, 56;</span><br /> +<span style="margin-left: 1em;">Mary Wollstonecraft on, xiii, 104;</span><br /> +<span style="margin-left: 1em;">of speech and action in England, vi, 146.</span><br /> +<br /> +Freeman, Edward, on King Alfred, x, 124.<br /> +<br /> +Freethought, Byron and, v, 205;<br /> +<span style="margin-left: 1em;">Christianity and, xii, 151.</span><br /> +<br /> +Free Trade, i, 114;<br /> +<span style="margin-left: 1em;">Disraeli's attitude toward, v, 340.</span><br /> +<br /> +Fremont, John C., vii, 354.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_394" id="XIV_Page_394">394</a></span><i>French Revolution, The</i>, Carlyle, i, 80.<br /> +<br /> +French Revolution, cause of, ix, 372.<br /> +<br /> +"Friday Afternoon, A," iii, 185.<br /> +<br /> +Friendship, v, 175, 272; ix, 18; xiv, <a href='#XIV_Page_312'><b>312</b></a>;<br /> +<span style="margin-left: 1em;">the desire for, v, 85;</span><br /> +<span style="margin-left: 1em;">Emerson on, ii, 286;</span><br /> +<span style="margin-left: 1em;">ideal, v, 88;</span><br /> +<span style="margin-left: 1em;">Michelangelo and Vittoria Colonna, iv, 36;</span><br /> +<span style="margin-left: 1em;">a religion of, ix, 217;</span><br /> +<span style="margin-left: 1em;">striking instances of, i, 132;</span><br /> +<span style="margin-left: 1em;">wine of, ii, 21.</span><br /> +<br /> +Friends, Society of, ix, 217.<br /> +<br /> +Frobisher, English sea-fighter, iv, 81.<br /> +<br /> +Froebel, Friedrich, debt of, to Rousseau, ix, 371;<br /> +<span style="margin-left: 1em;">Herr Gruner and, x, 254;</span><br /> +<span style="margin-left: 1em;">the Von Holzhausen family and, x, 257;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 204;</span><br /> +<span style="margin-left: 1em;">parents of, x, 247;</span><br /> +<span style="margin-left: 1em;">Pestalozzi and, x, 252;</span><br /> +<span style="margin-left: 1em;">philosophy of, ix, 136;</span><br /> +<span style="margin-left: 1em;">referred to, v, 211.</span><br /> +<br /> +Froude, James Anthony, on biography, vii, 347;<br /> +<span style="margin-left: 1em;">on Benjamin Disraeli, v, 326.</span><br /> +<br /> +Fry, Elizabeth, ancestry of, ii, 198;<br /> +<span style="margin-left: 1em;">religious nature of, ii, 200;</span><br /> +<span style="margin-left: 1em;">marriage of, ii, 202;</span><br /> +<span style="margin-left: 1em;">children of, ii, 202;</span><br /> +<span style="margin-left: 1em;">prison experience of, ii, 206;</span><br /> +<span style="margin-left: 1em;">continental experiences of, ii, 210;</span><br /> +<span style="margin-left: 1em;">friend of humanity, ii, 212;</span><br /> +<span style="margin-left: 1em;">message of, ix, 221;</span><br /> +<span style="margin-left: 1em;">quoted, vii, 28.</span><br /> +<br /> +Fugitive Slave Law, ix, 297.<br /> +<br /> +Fuller, Chief Justice, on damage cases, x, 144.<br /> +<br /> +Fuller, Margaret, and Brook Farm, viii, 402;<br /> +<span style="margin-left: 1em;">quoted, ix, 94.</span><br /> +<br /> +Fulton, Robert, xi, 21, 196, 248.<br /> +<br /> +Fulvia, wife of Mark Antony, vii, 67.<br /> +<br /> +<i>Fundamenta Botanica</i>, Linnæus, xii, 300.<br /> +<br /> +Furniture, William Morris, v, 21;<br /> +<span style="margin-left: 1em;">of the 15th century, v, 18.</span><br /> +<br /> +Furnivall, Dr., v, 40.<br /> +<br /> +<br /> +Gage, General, quoted, iii, 94.<br /> +<br /> +Gainsborough hat, the, vi, 144.<br /> +<br /> +Gainsborough, Thomas, xii, 179;<br /> +<span style="margin-left: 1em;">Margaret Burr and, vi, 138;</span><br /> +<span style="margin-left: 1em;">early life of, vi, 132;</span><br /> +<span style="margin-left: 1em;">Garrick and, vi, 142;</span><br /> +<span style="margin-left: 1em;">independence of, vi, 147;</span><br /> +<span style="margin-left: 1em;">landscapes of, vi, 137;</span><br /> +<span style="margin-left: 1em;">his love of country life, vi, 136;</span><br /> +<span style="margin-left: 1em;">on memory, vi, 140;</span><br /> +<span style="margin-left: 1em;">Reynolds compared with, iv, 287;</span><br /> +<span style="margin-left: 1em;">Sir Joshua Reynolds and, vi, 150;</span><br /> +<span style="margin-left: 1em;">Philip Thicknesse's life of, vi, 129;</span><br /> +<span style="margin-left: 1em;">Benjamin West and, vi, 150;</span><br /> +<span style="margin-left: 1em;">Wiltshire and, vi, 142.</span><br /> +<br /> +Galileo, iv, 85;<br /> +<span style="margin-left: 1em;">Castelli on, xii, 83;</span><br /> +<span style="margin-left: 1em;">Giordano Bruno and, xii, 56;</span><br /> +<span style="margin-left: 1em;">inventions of, xii, 64;</span><br /> +<span style="margin-left: 1em;">Leonardo compared with, xii, 56;</span><br /> +<span style="margin-left: 1em;">John Milton and, xii, 82;</span><br /> +<span style="margin-left: 1em;">"the modern Archimedes," xii, 59;</span><br /> +<span class='pagenum'><a name="XIV_Page_395" id="XIV_Page_395">395</a></span><span style="margin-left: 1em;">Sir Isaac Newton compared with, xii, 37;</span><br /> +<br /> +Pope Urban VIII and, xii, 78.<br /> +<br /> +Gallio, proconsul of Achaia, viii, 46;<br /> +<span style="margin-left: 1em;">St. Paul and, ix, 189.</span><br /> +<br /> +Galton, Sir Francis, quoted, xii, 305.<br /> +<br /> +G. A. R., iii, 258.<br /> +<br /> +Garden of Eden, ii, 111.<br /> +<br /> +Garibaldi, Joseph, ix, 93;<br /> +<span style="margin-left: 1em;">Julius Cæsar compared with, ix, 104;</span><br /> +<span style="margin-left: 1em;">Mazzini and, ix, 94, 101;</span><br /> +<span style="margin-left: 1em;">Savonarola compared with, ix, 124;</span><br /> +<span style="margin-left: 1em;">in South America, ix, 102.</span><br /> +<br /> +<i>Garibaldi the Patriot</i>, Alexandre Dumas, ix, 115.<br /> +<br /> +Garnett and Juliet, iii, p xi.<br /> +<br /> +Garrick, David, v, 155; xii, 179: xiv, <a href='#XIV_Page_260'><b>260</b></a>;<br /> +<span style="margin-left: 1em;">on Boswell, viii, 26;</span><br /> +<span style="margin-left: 1em;">his criticism of Joshua Reynolds, iv, 301;</span><br /> +<span style="margin-left: 1em;">Gainsborough and, vi, 142;</span><br /> +<span style="margin-left: 1em;">Johnson's epitaph on, v, 159.</span><br /> +<br /> +Garrison, William Lloyd, iii, 259; vi, 148; vii, 221, 409;<br /> +<span style="margin-left: 1em;">Lyman Beecher and, vii, 395;</span><br /> +<span style="margin-left: 1em;">Henry George and, ix, 59;</span><br /> +<span style="margin-left: 1em;">Theodore Parker and, ix, 299.</span><br /> +<br /> +Gates, General of U. S. Army, iii, 168.<br /> +<br /> +Gautier, Theophile, i, 192;<br /> +<span style="margin-left: 1em;">Dore's illustrations of the works of, iv, 338;</span><br /> +<span style="margin-left: 1em;">quoted, xiii, 307.</span><br /> +<br /> +Gaynor, Judge, on Whistler, vi, 333.<br /> +<br /> +Genealogy, Icelandic, vi, 97.<br /> +<br /> +Geneva in the 18th century, ix, 385.<br /> +<br /> +Genius, i, 97; ii, p ix;<br /> +<span style="margin-left: 1em;">compared with courtesy, ii, 49;</span><br /> +<span style="margin-left: 1em;">creative, vii, 19;</span><br /> +<span style="margin-left: 1em;">definition of, iv, 329;</span><br /> +<span style="margin-left: 1em;">distinguishing work of, xii, 103;</span><br /> +<span style="margin-left: 1em;">essentially feminine, vi, 250;</span><br /> +<span style="margin-left: 1em;">formula for a, v, 12;</span><br /> +<span style="margin-left: 1em;">of the genus, viii, 250;</span><br /> +<span style="margin-left: 1em;">inspiration and, i, 134;</span><br /> +<span style="margin-left: 1em;">interesting example of, ii, 115;</span><br /> +<span style="margin-left: 1em;">madness and, vi, 286;</span><br /> +<span style="margin-left: 1em;">men of, i, 75;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer on, vii, 316;</span><br /> +<span style="margin-left: 1em;">the stepping-stones of, xii, 191;</span><br /> +<span style="margin-left: 1em;">talent versus, vi, 56.</span><br /> +<br /> +<i>Gentle Art of Making Enemies, The</i>, Whistler, vi, 330, 351.<br /> +<br /> +Gentleman, Addison the best type of, v, 239;<br /> +<span style="margin-left: 1em;">Thomas Arnold's ideal of, x, 239;</span><br /> +<span style="margin-left: 1em;">the true, xii, 184.</span><br /> +<br /> +Geognosy, xii, 139.<br /> +<br /> +<i>Geographical Distribution of Animals, The</i>, Wallace, xii, 389.<br /> +<br /> +George, Henry, xi, 228; xiii, 93;<br /> +<span style="margin-left: 1em;">early life of, ix, 59;</span><br /> +<span style="margin-left: 1em;">life of, in California, ix, 62;</span><br /> +<span style="margin-left: 1em;">lecture of, before the University of California, ix, 71;</span><br /> +<span style="margin-left: 1em;">John Stuart Mill and, ix, 74;</span><br /> +<span class='pagenum'><a name="XIV_Page_396" id="XIV_Page_396">396</a></span><span style="margin-left: 1em;">philosophy of, ix, 57; popularity of, in England, ix, 79;</span><br /> +<span style="margin-left: 1em;"><i>Progress and Poverty</i>, ix, 73;</span><br /> +<span style="margin-left: 1em;">quoted, xiii, 186;</span><br /> +<span style="margin-left: 1em;">Ricardo compared with, ix, 80;</span><br /> +<span style="margin-left: 1em;">Professor Swinton and, ix, 76;</span><br /> +<span style="margin-left: 1em;">E. L. Youmans and, ix, 78;</span><br /> +<span style="margin-left: 1em;">John Russell Young and, ix, 78.</span><br /> +<br /> +George Junior Republic, the, x, 241.<br /> +<br /> +George III and William Pitt, vii, 200.<br /> +<br /> +Germanicus, Roman general, viii, 49.<br /> +<br /> +Germans, virtues of the, xi, 205.<br /> +<br /> +Germany, America's debt to, xii, 241.<br /> +<br /> +<i>Germ, The</i>, chipmunk magazine, ii, 123.<br /> +<br /> +<i>Gertha's Lovers</i>, William Morris, v, 15.<br /> +<br /> +Gettysburg, iii, 296;<br /> +<span style="margin-left: 1em;">speech of Lincoln at, iii, 278.</span><br /> +<br /> +Gettysburg Cyclorama, iv, 344.<br /> +<br /> +Ghetto, the, xi, 128;<br /> +<span style="margin-left: 1em;">Wolfgang Goethe on, xi, 134;</span><br /> +<span style="margin-left: 1em;">Moses Mendelssohn on, viii, 223.</span><br /> +<br /> +Ghirlandajo, the painter, iv, 28; vi, 21.<br /> +<br /> +Giannini's Indians, iv, 67.<br /> +<br /> +Gibbon, Edward, ix, 164; xii, 179;<br /> +<span style="margin-left: 1em;">love-affair of, ii, 165;</span><br /> +<span style="margin-left: 1em;">on the diplomacy of women, viii, 68;</span><br /> +<span style="margin-left: 1em;">on Judaism, xi, 131;</span><br /> +<span style="margin-left: 1em;">on Roman law, viii, 139;</span><br /> +<span style="margin-left: 1em;">on Roman religion, viii, 79;</span><br /> +<span style="margin-left: 1em;">on university education, ix, 21.</span><br /> +<br /> +Gibson girl, the, iv, 67; xiii, 112.<br /> +<br /> +Gilman, Charlotte Perkins, and Mary Wollstonecraft compared, xiii, 92.<br /> +<br /> +Giorgione, iv, 158;<br /> +<span style="margin-left: 1em;">Bellini and, vi, 258;</span><br /> +<span style="margin-left: 1em;">Shelley and Chopin compared with, vi, 254;</span><br /> +<span style="margin-left: 1em;">referred to, v, 323.</span><br /> +<br /> +Gipsy life, v, 51.<br /> +<br /> +Giralda of Seville, i, 317.<br /> +<br /> +Girard college, Philadelphia, iii, 202; xi, 122.<br /> +<br /> +Girardin, pupil of Rousseau, ii, 183.<br /> +<br /> +Girard, Stephen, x, 365; xi, 94;<br /> +<span style="margin-left: 1em;">boyhood of, xi, 101;</span><br /> +<span style="margin-left: 1em;">marriage of, xi, 113;</span><br /> +<span style="margin-left: 1em;">will of, iii, 201;</span><br /> +<span style="margin-left: 1em;">bank of, xi, 120;</span><br /> +<span style="margin-left: 1em;">Benjamin Franklin compared with, xi, 96;</span><br /> +<span style="margin-left: 1em;">at the island of Martinique, xi, 110;</span><br /> +<span style="margin-left: 1em;">Thomas Jefferson and, xi, 96;</span><br /> +<span style="margin-left: 1em;">and Maryland, xi, 321;</span><br /> +<span style="margin-left: 1em;">Thomas Paine and, xi, 97;</span><br /> +<span style="margin-left: 1em;">Walt Whitman compared with, xi, 99.</span><br /> +<br /> +Gladstone, William E., education of, i, 108;<br /> +<span style="margin-left: 1em;">appearance of, i, 109;</span><br /> +<span style="margin-left: 1em;">marriage of, i, 110;</span><br /> +<span style="margin-left: 1em;">influence of, i, 110;</span><br /> +<span style="margin-left: 1em;">home of, i, 119;</span><br /> +<span style="margin-left: 1em;">Charles Bradlaugh and, ix, 268;</span><br /> +<span style="margin-left: 1em;">Huxley and, xii, 199;</span><br /> +<span style="margin-left: 1em;">Huxley on, xii, 318;</span><br /> +<span style="margin-left: 1em;">Macaulay compared with, v, 197;</span><br /> +<span style="margin-left: 1em;">on John Bright, ix, 238;</span><br /> +<span style="margin-left: 1em;">on Benjamin Disraeli, v, 336;</span><br /> +<span style="margin-left: 1em;">on evolution, xii, 230;</span><br /> +<span style="margin-left: 1em;">on Handel, xiv, <a href='#XIV_Page_253'><b>253</b></a>;</span><br /> +<span class='pagenum'><a name="XIV_Page_397" id="XIV_Page_397">397</a></span><span style="margin-left: 1em;">on Irish Home Rule, xiii, 204;</span><br /> +<span style="margin-left: 1em;">on Dr. Jowett, viii, 351;</span><br /> +<span style="margin-left: 1em;">on opportunity, x, 225;</span><br /> +<span style="margin-left: 1em;">on Josiah Wedgwood, xiii, 60;</span><br /> +<span style="margin-left: 1em;">Parnell and, xiii, 184, 198;</span><br /> +<span style="margin-left: 1em;">his reply to Ingersoll, x, 363;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 136;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer and, xii, 230.</span><br /> +<br /> +Glassmaking, art of, iv, 155; vi, 252.<br /> +<br /> +<i>Gleaners</i>, Millet, iv, 281.<br /> +<br /> +<i>Glory</i>, Dore's statue of, iv, 345.<br /> +<br /> +Glucose industry, the, xii, 238.<br /> +<br /> +Glynne, Sir Stephen, i, 110.<br /> +<br /> +<i>God Is Everywhere</i>, Madame Guyon, ii, 42.<br /> +<br /> +Godiva, Lady, i, 51.<br /> +<br /> +Gods in the chrysalis, v, 175.<br /> +<br /> +God, the masterpiece of, vi, 58.<br /> +<br /> +Godwin, William, ii, 291;<br /> +<span style="margin-left: 1em;">Robert Ingersoll compared with, xiii, 87;</span><br /> +<span style="margin-left: 1em;"><i>Political Justice</i>, xiii, 85;</span><br /> +<span style="margin-left: 1em;">Robert Southey and, xiii, 103.</span><br /> +<br /> +Goethe, Wolfgang, i, 63; ii, 184;<br /> +<span style="margin-left: 1em;">Lord Byron compared with, v, 230;</span><br /> +<span style="margin-left: 1em;">Cellini and, vi, 274;</span><br /> +<span style="margin-left: 1em;">and electricity, iii, 47;</span><br /> +<span style="margin-left: 1em;">on the Ghetto, xi, 134;</span><br /> +<span style="margin-left: 1em;">the Von Humboldts and, xii, 125;</span><br /> +<span style="margin-left: 1em;">influence of, on Thackeray, i, 233;</span><br /> +<span style="margin-left: 1em;">on marriage, ix, 383;</span><br /> +<span style="margin-left: 1em;">Mendelssohn and, xiv, <a href='#XIV_Page_153'><b>153</b></a>;</span><br /> +<span style="margin-left: 1em;">Mephisto of, v, 320;</span><br /> +<span style="margin-left: 1em;">Napoleon and, xi, 151;</span><br /> +<span style="margin-left: 1em;">meeting with Napoleon, i, 165;</span><br /> +<span style="margin-left: 1em;">on Platonic love, xiii, 229;</span><br /> +<span style="margin-left: 1em;">referred to, v, 249;</span><br /> +<span style="margin-left: 1em;">Mayer Rothschild and, xi, 134, 145;</span><br /> +<span style="margin-left: 1em;">Schopenhauer and, viii, 371;</span><br /> +<span style="margin-left: 1em;">Christine Vulpius and, vi, 111.</span><br /> +<br /> +Goldsmith, art of the, vi, 274.<br /> +<br /> +Goldsmith, Oliver, father of, i, 281;<br /> +<span style="margin-left: 1em;">early life of, i, 281;</span><br /> +<span style="margin-left: 1em;">home of, i, 283;</span><br /> +<span style="margin-left: 1em;">London life of, i, 291;</span><br /> +<span style="margin-left: 1em;">acquaintance of, with Samuel Richardson, i, 291;</span><br /> +<span style="margin-left: 1em;">death of, i, 297;</span><br /> +<span style="margin-left: 1em;">simplicity of, i, 298;</span><br /> +<span style="margin-left: 1em;">Botticelli compared with, vi, 70;</span><br /> +<span style="margin-left: 1em;">Burke compared with, vii, 161;</span><br /> +<span style="margin-left: 1em;"><i>Deserted Village</i>, iii, 256;</span><br /> +<span style="margin-left: 1em;">on Boswell, viii, 26;</span><br /> +<span style="margin-left: 1em;">on Dr. Johnson, vii, 167;</span><br /> +<span style="margin-left: 1em;">on Richard Brinsley Sheridan, xii, 171;</span><br /> +<span style="margin-left: 1em;">quoted, v, 147;</span><br /> +<span style="margin-left: 1em;">referred to, i, 259, 306; ii, 232; iii, 12; v, 294; xii, 179;</span><br /> +<span style="margin-left: 1em;">Reynolds and, iv, 305, 306.</span><br /> +<br /> +Golgotha, ii, 53, 84.<br /> +<br /> +Gomez, carrying the message to, v, 195.<br /> +<br /> +Gondoliers, superstitions of, iv, 148;<br /> +<span style="margin-left: 1em;">Venetian, vi, 257.</span><br /> +<br /> +Good-cheer, v, 174.<br /> +<br /> +<i>Good-Natured Man, The</i>, Goldsmith, i, 272, 295.<br /> +<br /> +Gosse, Edmund, on biography, vii, 346;<br /> +<span class='pagenum'><a name="XIV_Page_398" id="XIV_Page_398">398</a></span><span style="margin-left: 1em;">on Stevenson, xiii, 42.</span><br /> +<br /> +Government loans, xi, 163.<br /> +<br /> +Graham, Stevens, Corot's letter to, vi, 205.<br /> +<br /> +Grammar, function of, viii, 328.<br /> +<br /> +Grasmere, i, 88, 211.<br /> +<br /> +Grattan, John, Quaker preacher, ix, 226.<br /> +<br /> +Gravitation, the law of, xii, 31.<br /> +<br /> +Gravity, spiritual, v, 241.<br /> +<br /> +Gray, Dr. Asa, xii, 231;<br /> +<span style="margin-left: 1em;">Louis Agassiz and, xii, 408;</span><br /> +<span style="margin-left: 1em;">Charles Darwin to, xii, 198, 232.</span><br /> +<br /> +Gray, Thomas, xiv, <a href='#XIV_Page_51'><b>51</b></a>;<br /> +<span style="margin-left: 1em;"><i>Elegy</i>, iv, 302; v, 126.</span><br /> +<br /> +Great Awakening, the, ix, 41.<br /> +<br /> +Greatness, defined, ix, 369;<br /> +<span style="margin-left: 1em;">the germ of, vi, 175.</span><br /> +<br /> +Greece, the decline of, vii, 37;<br /> +<span style="margin-left: 1em;">education of women in, xii, 173;</span><br /> +<span style="margin-left: 1em;">England compared with, vii, 35;</span><br /> +<span style="margin-left: 1em;">gods of ancient, iv, 18; vii, 17;</span><br /> +<span style="margin-left: 1em;">golden age of, x, 71;</span><br /> +<span style="margin-left: 1em;">Rome and Judea compared with, x, 36;</span><br /> +<span style="margin-left: 1em;">in the time of Pericles, vii, 27.</span><br /> +<br /> +Greed, xii, 89.<br /> +<br /> +Greek art, rise of, vii, 12.<br /> +<br /> +Greek culture, influence of, vi, 14.<br /> +<br /> +<i>Greek Heroes</i>, Kingsley, i, 248.<br /> +<br /> +Greek-letter societies, x, 77.<br /> +<br /> +Greeley, Horace, vii, 409; xiii, 183;<br /> +<span style="margin-left: 1em;">on farming, xi, 387;</span><br /> +<span style="margin-left: 1em;">at Girard College, xi, 123;</span><br /> +<span style="margin-left: 1em;">influence of, vi, 155;</span><br /> +<span style="margin-left: 1em;">in prison, vi, 170;</span><br /> +<span style="margin-left: 1em;">on Sam Staples, viii, 403;</span><br /> +<span style="margin-left: 1em;">quoted, i, 200.</span><br /> +<br /> +Green Mountain Boys, the, xi, 308.<br /> +<br /> +Greenough, Horatio, sculptor, iii, 5.<br /> +<br /> +Gretna Green, i, 67; ii, 38.<br /> +<br /> +Grief, expression of, xiii, 268.<br /> +<br /> +Grimm, Baron, on Rousseau, ix, 386.<br /> +<br /> +Grind, the college, v, 151; viii, 183.<br /> +<br /> +Gross, Samuel Eberly, vi, 275.<br /> +<br /> +Grub Street, referred to, i, 292;<br /> +<span style="margin-left: 1em;">the wrangles of, viii, 249.</span><br /> +<br /> +Guam, isle of, i, p xxv.<br /> +<br /> +Guernsey, island of, i, 195.<br /> +<br /> +Guiccioli, Countess, and Lord Byron, v, 211, 230.<br /> +<br /> +Guilds, i, p xviii.<br /> +<br /> +<i>Gulliver's Travels</i>, referred to, i, 160; vi, 329.<br /> +<br /> +Guyon, Madame, appearance of, ii, 43;<br /> +<span style="margin-left: 1em;">autobiography of, xiii, 312, 315, 329, 351;</span><br /> +<span style="margin-left: 1em;">marriage of, ii, 45;</span><br /> +<span style="margin-left: 1em;">meeting of Fenelon with, ii, 50;</span><br /> +<span style="margin-left: 1em;">philosophy of, ii, 51;</span><br /> +<span style="margin-left: 1em;">home of, ii, 58;</span><br /> +<span style="margin-left: 1em;">portrait of, ii, 64.</span><br /> +<br /> +Gynecocracy, Spartan, vii, 32.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_399" id="XIV_Page_399">399</a></span><i>Gypsy Queen</i>, Rembrandt, iv, 73.<br /> +<br /> +<br /> +Haeckel, Ernst, characteristics of, xii, 246;<br /> +<span style="margin-left: 1em;">Charles Darwin and, xii, 252;</span><br /> +<span style="margin-left: 1em;">Goethe and, xii, 255;</span><br /> +<span style="margin-left: 1em;">Huxley compared with, xii, 248;</span><br /> +<span style="margin-left: 1em;">on monogamy, x, 305;</span><br /> +<span style="margin-left: 1em;"><i>The Natural History of Creation</i>, xii, 249;</span><br /> +<span style="margin-left: 1em;">Major Pond and, xii, 242;</span><br /> +<span style="margin-left: 1em;"><i>The Riddle of the Universe</i>, xii, 249;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer compared with, xii, 257;</span><br /> +<span style="margin-left: 1em;">at the World's Freethought Convention, ix, 123.</span><br /> +<br /> +Hagiology, x, 362.<br /> +<br /> +Hale, Edward Everett, on O. W. Holmes, vii, 327;<br /> +<span style="margin-left: 1em;">on Mill's <i>Autobiography</i>, xiii, 162;</span><br /> +<span style="margin-left: 1em;">preaching of, vii, 309.</span><br /> +<br /> +Hale, Sir Matthew, Chief Justice of England, x, 366.<br /> +<br /> +Hallam, Arthur, v, 77.<br /> +<br /> +Hall, Stanley, x, 249;<br /> +<span style="margin-left: 1em;">on incentive, xii, 59.</span><br /> +<br /> +Hallucination, ix, 182.<br /> +<br /> +Hals, Frans, Dutch painter, iv, 68; vi, 70.<br /> +<br /> +Haman, story of, ii, 210.<br /> +<br /> +Hamerton, Philip Gilbert, vi, 50;<br /> +<span style="margin-left: 1em;">criticism of <i>The Last Judgment</i>, iv, 33;</span><br /> +<span style="margin-left: 1em;">quoted, i, 131, 168; iv, 116, 135.</span><br /> +<br /> +Hamilton, Alexander, birthplace of, iii, 156;<br /> +<span style="margin-left: 1em;">early life of, iii, 157;</span><br /> +<span style="margin-left: 1em;">literary skill of, iii, 157;</span><br /> +<span style="margin-left: 1em;">education of, iii, 158;</span><br /> +<span style="margin-left: 1em;">as an orator, iii, 161;</span><br /> +<span style="margin-left: 1em;">lieutenant-colonel, iii, 167;</span><br /> +<span style="margin-left: 1em;">assistant to Washington, iii, 167;</span><br /> +<span style="margin-left: 1em;">his most important mission, iii, 168;</span><br /> +<span style="margin-left: 1em;">marriage of, iii, 169;</span><br /> +<span style="margin-left: 1em;">quarrel of, with Washington, iii, 169;</span><br /> +<span style="margin-left: 1em;">secretary of the treasury, iii, 171;</span><br /> +<span style="margin-left: 1em;">Aaron Burr and, iii, 175;</span><br /> +<span style="margin-left: 1em;">death of, iii, 180;</span><br /> +<span style="margin-left: 1em;">John Jay compared with, iii, 250;</span><br /> +<span style="margin-left: 1em;">likened to Napoleon, iii, 173;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 252;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 235, 242; iv, 193; vii, 191; xiv, <a href='#XIV_Page_40'><b>40</b></a>.</span><br /> +<br /> +Hamilton, Walter, on Rossetti, xiii, 272.<br /> +<br /> +Hamilton, Sir William, on Aristotle, viii, 109;<br /> +<span style="margin-left: 1em;">on Chinese astronomy, xii, 97.</span><br /> +<br /> +Hamilton, William Gerard, and Edmund Burke, vii, 174.<br /> +<br /> +Hamlet and Dante compared, xiii, 125.<br /> +<br /> +<i>Hamlet</i>, Shakespeare, i, 317;<br /> +<span style="margin-left: 1em;">quotation from, iv, 85.</span><br /> +<br /> +Hamlin Stock Farm, i, p xvii.<br /> +<br /> +Hammersmith, works of William Morris at, v, 27.<br /> +<br /> +Hampden, John, ix, 307.<br /> +<br /> +Hampton Institute, x, 193.<br /> +<br /> +Hancock, John, ancestry of, iii, 102;<br /> +<span style="margin-left: 1em;">early life of, iii, 108;</span><br /> +<span style="margin-left: 1em;">tour of Europe, iii, 108;</span><br /> +<span class='pagenum'><a name="XIV_Page_400" id="XIV_Page_400">400</a></span><span style="margin-left: 1em;">part of, in Boston Massacre, iii, 114;</span><br /> +<span style="margin-left: 1em;">suit against, iii, 115;</span><br /> +<span style="margin-left: 1em;">as an orator, iii, 115;</span><br /> +<span style="margin-left: 1em;">delegate to second congress, iii, 117;</span><br /> +<span style="margin-left: 1em;">signature of, iii, 120;</span><br /> +<span style="margin-left: 1em;">as governor of Massachusetts, iii, 121;</span><br /> +<span style="margin-left: 1em;">as treasurer of Harvard college, iii, 123;</span><br /> +<span style="margin-left: 1em;">widow of, iii, 123;</span><br /> +<span style="margin-left: 1em;">monument of, iii, 124;</span><br /> +<span style="margin-left: 1em;">grave of, iii, 124;</span><br /> +<span style="margin-left: 1em;">social position of, iii, 81.</span><br /> +<br /> +Handel, George Frederick, xiv, <a href='#XIV_Page_253'><b>253</b></a>;<br /> +<span style="margin-left: 1em;">Linnæus and, xii, 300;</span><br /> +<span style="margin-left: 1em;">Walter Damrosch on, xiv, <a href='#XIV_Page_253'><b>253</b></a>;</span><br /> +<span style="margin-left: 1em;">Dean Swift on, xiv, <a href='#XIV_Page_271'><b>271</b></a>;</span><br /> +<span style="margin-left: 1em;">Rev. H. R. Haweis on, xiv, <a href='#XIV_Page_250'><b>250</b></a>.</span><br /> +<br /> +Hanks, Nancy, Lincoln's love for, vii, 349.<br /> +<br /> +Happiness, xi, 137;<br /> +<span style="margin-left: 1em;">Aristotle on, viii, 82.</span><br /> +<br /> +Hare-soup, viii, 329.<br /> +<br /> +Harley, Lord, friend of Richard Steele, v, 257.<br /> +<br /> +Harmony, vi, 21;<br /> +<span style="margin-left: 1em;">as a life principle, x, 372.</span><br /> +<br /> +Harmonyites, the, xi, 42.<br /> +<br /> +Harrison, Benjamin, vii, 13, 191.<br /> +<br /> +Harrison, Frederic, xiii, 92;<br /> +<span style="margin-left: 1em;">Comte and, viii, 266.</span><br /> +<br /> +Harum, David, xii, 239.<br /> +<br /> +Hastings, Warren, ii, 244; xii, 180;<br /> +<span style="margin-left: 1em;">Edmund Burke and, vii, 161.</span><br /> +<br /> +Hate, v, 173;<br /> +<span style="margin-left: 1em;">Herbert Spencer on, viii, 358.</span><br /> +<br /> +Hat, the Gainsborough, vi, 144.<br /> +<br /> +Hawarden, i, 105.<br /> +<br /> +Hawkins, Sir John, v, 254;<br /> +<span style="margin-left: 1em;"><i>Life of Johnson</i>, v, 148.</span><br /> +<br /> +Hawthorne, Nathaniel, <i>Blithedale Romance</i>, viii, 402;<br /> +<span style="margin-left: 1em;">and the Brook Farm, viii, 402;</span><br /> +<span style="margin-left: 1em;">as custom-house inspector, v, 26;</span><br /> +<span style="margin-left: 1em;">on Shakespeare, i, 312;</span><br /> +<span style="margin-left: 1em;">on Thompson, the artist, viii, 190.</span><br /> +<br /> +Hayden, Dr. Seymour, vi, 338.<br /> +<br /> +Haydn, Joseph, Franz Liszt and, xiv, <a href='#XIV_Page_188'><b>188</b></a>.<br /> +<br /> +Hay-harvest, the, v, 95.<br /> +<br /> +Hay, John, quoted, v, 149.<br /> +<br /> +Hayne, Robert, logic of, iii, 83;<br /> +<span style="margin-left: 1em;">speech of, iii, 198.</span><br /> +<br /> +Hazlitt, William, ii, 232.<br /> +<br /> +<i>Healing Christ</i>, Rembrandt, iv, 66.<br /> +<br /> +Health, v, 173;<br /> +<span style="margin-left: 1em;">potential power, vi, 169.</span><br /> +<br /> +Hearn, Lafcadio, on Japanese art, vi, 347.<br /> +<br /> +Heaven, early notions of, xii, 92;<br /> +<span style="margin-left: 1em;">a going home, ii, 22;</span><br /> +<span style="margin-left: 1em;">Jefferson on, iii, 54;</span><br /> +<span style="margin-left: 1em;">a locality, iii, 281;</span><br /> +<span style="margin-left: 1em;">Milton on, i, 179;</span><br /> +<span style="margin-left: 1em;">Montesquieu on, viii, 130.</span><br /> +<br /> +Hegel, George, German philosopher, on Aristotle, viii, 109;<br /> +<span style="margin-left: 1em;">on education, vii, 322.</span><br /> +<br /> +Heine, Heinrich, i, 147; xii, 352;<br /> +<span class='pagenum'><a name="XIV_Page_401" id="XIV_Page_401">401</a></span><span style="margin-left: 1em;">on the kingly office, x, 109;</span><br /> +<br /> +Mendelssohn and, xiv, <a href='#XIV_Page_174'><b>174</b></a>;<br /> +<span style="margin-left: 1em;">on musicians, xiv, <a href='#XIV_Page_165'><b>165</b></a>;</span><br /> +<span style="margin-left: 1em;">on Paganini, xiv, <a href='#XIV_Page_54'><b>54</b></a>.</span><br /> +<br /> +Helen of Troy, vi, 61.<br /> +<br /> +Hell, Dante on, i, 179;<br /> +<span style="margin-left: 1em;">early notions of, xii, 92;</span><br /> +<span style="margin-left: 1em;">Johnson's fear of, v, 167;</span><br /> +<span style="margin-left: 1em;">a place, iii, 281;</span><br /> +<span style="margin-left: 1em;">a separation, ii, 22.</span><br /> +<br /> +Hendricks, Thomas A., vii, 13.<br /> +<br /> +<i>Henriade</i>, Voltaire, viii, 296.<br /> +<br /> +Henry, Patrick, parents of, vii, 279;<br /> +<span style="margin-left: 1em;">boyhood of, vii, 280;</span><br /> +<span style="margin-left: 1em;">as a merchant, vii, 282;</span><br /> +<span style="margin-left: 1em;">admitted to the bar, vii, 284;</span><br /> +<span style="margin-left: 1em;">his first great speech, vii, 287;</span><br /> +<span style="margin-left: 1em;">Governor of Virginia, vii, 204;</span><br /> +<span style="margin-left: 1em;">his remark regarding the Alleghany Mountains, xi, 223;</span><br /> +<span style="margin-left: 1em;">Samuel Adams and, iii, 91;</span><br /> +<span style="margin-left: 1em;">John Jay and, iii, 251;</span><br /> +<span style="margin-left: 1em;">Thomas Jefferson and, iii, 61; vii, 283.</span><br /> +<br /> +Henry VIII, king of England, iv, 188.<br /> +<br /> +Herbert, Victor, on Paganini, viii, 173.<br /> +<br /> +Hercules, iv, 102, 334.<br /> +<br /> +Herder, Johann, on Kant, viii, 169.<br /> +<br /> +Heredity, ii, 115; xiv, <a href='#XIV_Page_140'><b>140</b></a>;<br /> +<span style="margin-left: 1em;">law of, vii, 185; viii, 57.</span><br /> +<br /> +Heresy and treason, ix, 24.<br /> +<br /> +Heretics, theological, x, 358.<br /> +<br /> +Hermann the magician, i, 163.<br /> +<br /> +<i>Hernani</i>, Victor Hugo, i, 189.<br /> +<br /> +Herod, i, 238.<br /> +<br /> +Herodias, i, 75.<br /> +<br /> +Herschel, Caroline, xii, 173.<br /> +<br /> +Herschel, Sir John, xii, 193.<br /> +<br /> +Herschel, William, xii, 167;<br /> +<span style="margin-left: 1em;">Sir William Watson and, xii, 182.</span><br /> +<br /> +Herschels, the, ii, 115.<br /> +<br /> +<i>Herve Riel</i>, Browning, v, 65.<br /> +<br /> +Hervey, James, colleague of the Wesleys, ix, 27.<br /> +<br /> +Hessians, the, in America, xi, 146.<br /> +<br /> +Hewlett, Maurice, on the death of Simonetta, vi, 87.<br /> +<br /> +Higginson, Thomas Wentworth, and Theodore Parker, ix, 299.<br /> +<br /> +Higher criticism, v, 314.<br /> +<br /> +Hill, James J., xi, 196, 315;<br /> +<span style="margin-left: 1em;">boyhood of, xi, 401;</span><br /> +<span style="margin-left: 1em;">appearance of, xi, 405;</span><br /> +<span style="margin-left: 1em;">Barbizon collection of, xi, 428;</span><br /> +<span style="margin-left: 1em;">his interest in agriculture, xi, 425;</span><br /> +<span style="margin-left: 1em;">Norman Kittson and, xi, 415;</span><br /> +<span style="margin-left: 1em;">railroad experience of, xi, 413;</span><br /> +<span style="margin-left: 1em;">Donald Smith and, xi, 422.</span><br /> +<br /> +Hipparchus, Greek astronomer, xii, 99.<br /> +<br /> +Hirschberg, Rabbi, on Darwinism, xii, 228.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_402" id="XIV_Page_402">402</a></span>Hirsch, Rabbi, vii, 310.<br /> +<br /> +Historian, Macaulay on the office of, v, 172.<br /> +<br /> +History, five leading men of, i, 341;<br /> +<span style="margin-left: 1em;">literature and, xiii, 83.</span><br /> +<br /> +<i>History of Civilization</i>, Buckle, ix, 64.<br /> +<br /> +<i>History of England</i>, Macaulay, v, 196.<br /> +<br /> +<i>History of Virginia</i>, John Burke, iii, 58.<br /> +<br /> +Hogarth, bookplates of, iv, 123;<br /> +<span style="margin-left: 1em;">Governor Oglethorpe and, ix, 28;</span><br /> +<span style="margin-left: 1em;">the school of, vi, 79.</span><br /> +<br /> +Holbein, Hans, iv, 189;<br /> +<span style="margin-left: 1em;">bookplates of, iv, 123.</span><br /> +<br /> +Holland, canals of, iv, 43;<br /> +<span style="margin-left: 1em;">the home of freedom, viii, 209;</span><br /> +<span style="margin-left: 1em;">in the 17th century, iv, 69;</span><br /> +<span style="margin-left: 1em;">place of, in art, xiv, <a href='#XIV_Page_223'><b>223</b></a>;</span><br /> +<span style="margin-left: 1em;">the name of Van Dyck in, iv, 173;</span><br /> +<span style="margin-left: 1em;">windmills of, iv, 42.</span><br /> +<br /> +Holmes, Oliver Wendell, ix, 285;<br /> +<span style="margin-left: 1em;">Emerson and, viii, 408;</span><br /> +<span style="margin-left: 1em;">Dr. Hale on, vii, 327;</span><br /> +<span style="margin-left: 1em;">on satiety, x, 309;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 254.</span><br /> +<br /> +<i>Holy Family, The</i>, Van Dyck, iv, 184.<br /> +<br /> +Homer, i, 113, 317; ii, 21, 76; v, 185;<br /> +<span style="margin-left: 1em;">Gladstone on, i, 102.</span><br /> +<br /> +Home rule, Gladstone on, xiii, 204.<br /> +<br /> +Honesty as a business asset, ix, 132.<br /> +<br /> +Hoodlumism, i, p xvi.<br /> +<br /> +Hood, Thomas,<br /> +<span style="margin-left: 1em;">Dore's illustrations of the works of, iv, 338;</span><br /> +<span style="margin-left: 1em;">quoted, ii, 231.</span><br /> +<br /> +Hook-and-Eye Baptists, v, 236.<br /> +<br /> +Hooker, Sir Joseph, xii, 372.<br /> +<br /> +Hope, Anthony, iv, 178.<br /> +<br /> +Horace and Mæcenas, i, 179.<br /> +<br /> +Horne, Richard H., ii, 30.<br /> +<br /> +<i>Horse Fair, The</i>, Rosa Bonheur, ii, 158.<br /> +<br /> +Horseless carriage, the, xii, 21.<br /> +<br /> +Horse-sense, iii, 261.<br /> +<br /> +Horseshoes and junk, xi, 288.<br /> +<br /> +Horses, John Wesley's love of, ix, 40, 43.<br /> +<br /> +Hortense, Queen of Holland, ii, 281.<br /> +<br /> +<i>Hours of Idleness</i>, Byron, v, 218.<br /> +<br /> +Household decorations of the 15th century, v, 18.<br /> +<br /> +<i>House of Life, The</i>, Rossetti, xiii, 267.<br /> +<br /> +House of Lords, Carlyle's imaginary, ii, 57.<br /> +<br /> +Houssaye, Arsene, vi, 46.<br /> +<br /> +Howard, John, philanthropist, ii, 210.<br /> +<br /> +Howe, E. W., <i>Story of a Country Town</i>, x, 247.<br /> +<br /> +Howe, Gen., experience of Washington with, iii, 26.<br /> +<br /> +Howells, William Dean, on rhetoric, vi, 187.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_403" id="XIV_Page_403">403</a></span>Hubbard, Alice, ii, p xi.<br /> +<br /> +Hubbard, Bert, Little Journeys Camp, iii, p vii.<br /> +<br /> +<span class="smcap">Hubbard, Elbert</span>, his dream of game of "I-spy" in Kenilworth Castle, i, 52;<br /> +<span style="margin-left: 1em;">his experience with the butler at No. 4, Cheyne Walk, home of Mrs. Cross, i, 61;</span><br /> +<span style="margin-left: 1em;">he witnesses a Gretna Green wedding, i, 67;</span><br /> +<span style="margin-left: 1em;">calls on Thomas Carlyle's brother in Shiawassee County, Mich., i, 70;</span><br /> +<span style="margin-left: 1em;">in the haunted house, i, 81;</span><br /> +<span style="margin-left: 1em;">interview with Ruskin, i, 92;</span><br /> +<span style="margin-left: 1em;">meets Gladstone and his wife, i, 105;</span><br /> +<span style="margin-left: 1em;">visits at Hawarden, i, 118;</span><br /> +<span style="margin-left: 1em;">visits the room in Chelsea where Turner spent his last days, i, 138;</span><br /> +<span style="margin-left: 1em;">his visit to Saint Patrick's Cathedral and the grave of Swift, i, 157;</span><br /> +<span style="margin-left: 1em;">his first and only interview with Whitman in Camden, i, 170;</span><br /> +<span style="margin-left: 1em;">his voyage from Southampton to Saint Peter Port, i, 195;</span><br /> +<span style="margin-left: 1em;">attends funeral of President Carnot, i, 202;</span><br /> +<span style="margin-left: 1em;">acquaintanceship with "Bouncers," i, 218;</span><br /> +<span style="margin-left: 1em;">visits the Lake Country, i, 218;</span><br /> +<span style="margin-left: 1em;">his interview with the gravedigger of Kensal Green Cemetery, i, 230;</span><br /> +<span style="margin-left: 1em;">his tour of Dickens' London, i, 251;</span><br /> +<span style="margin-left: 1em;">his life in an Irish cottage, i, 278;</span><br /> +<span style="margin-left: 1em;">visits the site of the Globe Theater, i, 314;</span><br /> +<span style="margin-left: 1em;">his interview with Thomas Edison, i, 331;</span><br /> +<span style="margin-left: 1em;">as a teacher, ii, p ix;</span><br /> +<span style="margin-left: 1em;">his memorial, ii, p xi;</span><br /> +<span style="margin-left: 1em;">his call at the home of the Barretts, ii, 27;</span><br /> +<span style="margin-left: 1em;">his bicycle journey from Paris to Montargis, ii, 56;</span><br /> +<span style="margin-left: 1em;">visits Cardigan Hall, ii, 100;</span><br /> +<span style="margin-left: 1em;">his experience with Yorkshire humor, ii, 105;</span><br /> +<span style="margin-left: 1em;">visits the home of the Brontes, ii, 107;</span><br /> +<span style="margin-left: 1em;">meets William Michael Rossetti, ii, 124;</span><br /> +<span style="margin-left: 1em;">his acquaintance with White Pigeon, ii, 140;</span><br /> +<span style="margin-left: 1em;">visits the home of Rosa Bonheur, ii, 147;</span><br /> +<span style="margin-left: 1em;">his description of his visit to the Chateau de Necker, ii, 103;</span><br /> +<span style="margin-left: 1em;">his argument regarding Dr. Joseph Parker, ii, 237;</span><br /> +<span style="margin-left: 1em;">courtesy of Mrs. Humphries of Overton, ii, 241;</span><br /> +<span style="margin-left: 1em;">visits the grave of Jane Austen, ii, 255;</span><br /> +<span style="margin-left: 1em;">visits the home of John Hancock, iii, 104;</span><br /> +<span style="margin-left: 1em;">eats dinner in the Adams cottage, iii, 148;</span><br /> +<span style="margin-left: 1em;">his description of a "Friday afternoon," iii, 185;</span><br /> +<span style="margin-left: 1em;">story of the English and Irish immigrants, iii, 209;</span><br /> +<span style="margin-left: 1em;">visit to Ashland, home of Henry Clay, iii, 215;</span><br /> +<span style="margin-left: 1em;">the spelling-class in the little red school-house, iii, 255;</span><br /> +<span style="margin-left: 1em;">childhood of, iii, 278;</span><br /> +<span style="margin-left: 1em;">boyhood days in Illinois, iii, 280;</span><br /> +<span class='pagenum'><a name="XIV_Page_404" id="XIV_Page_404">404</a></span><span style="margin-left: 1em;">his description of his participation in a pioneer funeral, iii, 283;</span><br /> +<span style="margin-left: 1em;">birth of, in Bloomington, Ill., iii, 287;</span><br /> +<span style="margin-left: 1em;">he sits in the lap of Judge Davis, nominator of Lincoln, iii, 288;</span><br /> +<span style="margin-left: 1em;">recital of events attending the death of Lincoln, iii, 300;</span><br /> +<span style="margin-left: 1em;">Copperhead experiences of, iii, 292, 301;</span><br /> +<span style="margin-left: 1em;">he visits the grave of Rubens, iv, 92;</span><br /> +<span style="margin-left: 1em;">his dislike of olives, iv, 108;</span><br /> +<span style="margin-left: 1em;">his experience in Cadiz, Spain, iv, 108;</span><br /> +<span style="margin-left: 1em;">his adventure with the little girl collector, iv, 123;</span><br /> +<span style="margin-left: 1em;">his experience in Saint Mark's Square, Venice, iv, 147;</span><br /> +<span style="margin-left: 1em;">his adventures with Enrico, the Venetian gondolier, iv, 149;</span><br /> +<span style="margin-left: 1em;">criticism of John Ruskin's literary work, iv, 166;</span><br /> +<span style="margin-left: 1em;">admiration of, for Titian's <i>Assumption</i>, iv, 168;</span><br /> +<span style="margin-left: 1em;">story regarding portrait artist in Albany, iv, 183;</span><br /> +<span style="margin-left: 1em;">his description of a Queenstown embarkation, iv, 274;</span><br /> +<span style="margin-left: 1em;">his visit to the village of Auburn, Ireland, iv, 286;</span><br /> +<span style="margin-left: 1em;">his conversation with the little girl drawing pussy cats, iv, 314;</span><br /> +<span style="margin-left: 1em;">visit to the Kelmscott Press, v, 28;</span><br /> +<span style="margin-left: 1em;">William Morris and, v, 32;</span><br /> +<span style="margin-left: 1em;">W. H. Seward and, v, 71;</span><br /> +<span style="margin-left: 1em;">experiences of, in an Ayrshire hay-field, v, 96;</span><br /> +<span style="margin-left: 1em;">his adventures with cranks, v, 111;</span><br /> +<span style="margin-left: 1em;">he visits the home of Macaulay, v, 177;</span><br /> +<span style="margin-left: 1em;">traveling experiences in Scotland, v, 265;</span><br /> +<span style="margin-left: 1em;">his adventures with White Pigeon at Grasmere, v, 269;</span><br /> +<span style="margin-left: 1em;">he visits the birthplace of Raphael, vi, 19;</span><br /> +<span style="margin-left: 1em;">he meets White Pigeon at East Aurora, vi, 39;</span><br /> +<span style="margin-left: 1em;">his sojourn in the art-gallery of Luxembourg, vi, 75;</span><br /> +<span style="margin-left: 1em;">his love for boys, vi, 102;</span><br /> +<span style="margin-left: 1em;">Augustus St. Gaudens and, vi, 117;</span><br /> +<span style="margin-left: 1em;">the Harvard "right tackle" and, vi, 174;</span><br /> +<span style="margin-left: 1em;">the grocery-store genius and, vi, 197;</span><br /> +<span style="margin-left: 1em;">his adventure with the market woman of Parma, vi, 237;</span><br /> +<span style="margin-left: 1em;">Robert Ingersoll and, vii, 255;</span><br /> +<span style="margin-left: 1em;">his experience with Boston preachers, vii, 309;</span><br /> +<span style="margin-left: 1em;">George William Curtis and, vii, 315;</span><br /> +<span style="margin-left: 1em;">his encounter with mob law, vii, 389;</span><br /> +<span style="margin-left: 1em;">Wendell Phillips and, vii, 410;</span><br /> +<span style="margin-left: 1em;">his recital of the taming of a sculptor, vii, 24;</span><br /> +<span style="margin-left: 1em;">Rev. Theodore Parker and, ix, 389;</span><br /> +<span style="margin-left: 1em;">Andrew Carnegie and, xi, 284;</span><br /> +<span style="margin-left: 1em;">his horseshoe adventure, xi, 288;</span><br /> +<span style="margin-left: 1em;">at the birthplace of H. H. Rogers, xi, 365;</span><br /> +<span style="margin-left: 1em;">H. H. Rogers and, xi, 392;</span><br /> +<span style="margin-left: 1em;">Mark Twain and, xi, 392;</span><br /> +<span style="margin-left: 1em;">J. J. Hill and, xi, 425;</span><br /> +<span class='pagenum'><a name="XIV_Page_405" id="XIV_Page_405">405</a></span><span style="margin-left: 1em;">his adventure with the Irish lumbermen, xii, 336;</span><br /> +<span style="margin-left: 1em;">lumbermen, xii, 336;</span><br /> +<span style="margin-left: 1em;">he meets the son of Alfred Russel Wallace, xii, 375;</span><br /> +<span style="margin-left: 1em;">John Burroughs and, xii, 376;</span><br /> +<span style="margin-left: 1em;">he loses the Mozart manuscript on a railroad-train, xiv, <a href='#XIV_Page_299'><b>299</b></a>.</span><br /> +<br /> +Hubbard's Law, xi, 390.<br /> +<br /> +Hudson, Hendrik, viii, 45.<br /> +<br /> +Hughes, Arthur, painter, v, 20.<br /> +<br /> +Hughes, Thomas, <i>Tom Brown at Rugby</i>, x, 229.<br /> +<br /> +Hugo, Victor, parents of, i, 185;<br /> +<span style="margin-left: 1em;">marriage of, i, 188;</span><br /> +<span style="margin-left: 1em;">character of, i, 193;</span><br /> +<span style="margin-left: 1em;">his love of light, i, 200;</span><br /> +<span style="margin-left: 1em;">tomb of, i, 205;</span><br /> +<span style="margin-left: 1em;">wife of, v, 133;</span><br /> +<span style="margin-left: 1em;">childhood impressions of, iv, 341;</span><br /> +<span style="margin-left: 1em;">on the death of Balzac, xiii, 308;</span><br /> +<span style="margin-left: 1em;">Dore's illustrations of the works of, iv, 338;</span><br /> +<span style="margin-left: 1em;">on education, xi, 203;</span><br /> +<span style="margin-left: 1em;">on falsehood, vii, 371;</span><br /> +<span style="margin-left: 1em;">influence of, on Giuseppe Verdi, xiv, <a href='#XIV_Page_292'><b>292</b></a>;</span><br /> +<span style="margin-left: 1em;">opinion of, regarding Rosa Bonheur, ii, 134;</span><br /> +<span style="margin-left: 1em;">on police officials, vi, 100;</span><br /> +<span style="margin-left: 1em;">quoted, ii, 80;</span><br /> +<span style="margin-left: 1em;">referred to, i, 306; ii, 183; iv, 230; v, 83;</span><br /> +<span style="margin-left: 1em;">on Shakespeare, i, 316;</span><br /> +<span style="margin-left: 1em;">as a stylist, ix, 388;</span><br /> +<span style="margin-left: 1em;">on the Unknown, xii, 89;</span><br /> +<span style="margin-left: 1em;">on Voltaire, viii, 320;</span><br /> +<span style="margin-left: 1em;">on Rousseau, viii, 241.</span><br /> +<br /> +Huguenots, described, ii, 49;<br /> +<span style="margin-left: 1em;">in America, ii, 77;</span><br /> +<span style="margin-left: 1em;">banishment of, from France, iii, 231;</span><br /> +<span style="margin-left: 1em;">Puritans compared with, iii, 232;</span><br /> +<span style="margin-left: 1em;">in England, ii, 77;</span><br /> +<span style="margin-left: 1em;">virtues of, iii, 231.</span><br /> +<br /> +<i>Human Comedy, The</i>, Balzac, xiii, 301.<br /> +<br /> +Humanity, Schopenhauer on, viii, 362.<br /> +<br /> +Human mind, duality of, i, 113.<br /> +<br /> +Humboldt, Alexander von, i, 341;<br /> +<span style="margin-left: 1em;">on agriculture, xii, 140;</span><br /> +<span style="margin-left: 1em;">Bonpland and, xii, 146;</span><br /> +<span style="margin-left: 1em;">Auguste Comte and, viii, 254;</span><br /> +<span style="margin-left: 1em;">Ingersoll on, xii, 160;</span><br /> +<span style="margin-left: 1em;">Thomas Jefferson and, xii, 147;</span><br /> +<span style="margin-left: 1em;">lectures of, xii, 158;</span><br /> +<span style="margin-left: 1em;">religious views of, xii, 151;</span><br /> +<span style="margin-left: 1em;"><i>Subterranean Vegetation</i>, xii, 139;</span><br /> +<span style="margin-left: 1em;">John Tyndall and, xii, 351.</span><br /> +<br /> +Hume, David, ii, 296; iii, 37; ix, 164; xii, 179.<br /> +<br /> +Humility, v, 243.<br /> +<br /> +Humor, i, 237; ii, 229; v, 70;<br /> +<span style="margin-left: 1em;">commonsense and, xii, 329;</span><br /> +<span style="margin-left: 1em;">Jefferson's sense of, iii, 73;</span><br /> +<span style="margin-left: 1em;">melancholy and, v, 156.</span><br /> +<br /> +<i>Hunchback of Notre Dame</i>, Hugo, i, 193.<br /> +<br /> +Hunt, Holman, ii, 123; v, 18;<br /> +<span style="margin-left: 1em;">quoted, xiii, 253.</span><br /> +<br /> +Hunt, Leigh, i, 250;<br /> +<span style="margin-left: 1em;">Robert Browning and, v, 55;</span><br /> +<span style="margin-left: 1em;">cited, ii, 220;</span><br /> +<span style="margin-left: 1em;">grave of, i, 231;</span><br /> +<span style="margin-left: 1em;">the Shelleys and, ii, 307.</span><br /> +<br /> +Hutchinson, Anne, ix, 294;<br /> +<span class='pagenum'><a name="XIV_Page_406" id="XIV_Page_406">406</a></span><span style="margin-left: 1em;">death of, ix, 362;</span><br /> +<span style="margin-left: 1em;">Mary Dyer and, ix, 359;</span><br /> +<span style="margin-left: 1em;">her arrival in Boston, ix, 343;</span><br /> +<span style="margin-left: 1em;">mother of New England Transcendentalism, ix, 356;</span><br /> +<span style="margin-left: 1em;">Sir Henry Vane and, ix, 358.</span><br /> +<br /> +Hutton, <i>Literary Landmarks</i>, ii, 118.<br /> +<br /> +Huxley, Thomas H., i, 56;<br /> +<span style="margin-left: 1em;">early life of, xii, 307;</span><br /> +<span style="margin-left: 1em;">the wife of, xii, 311;</span><br /> +<span style="margin-left: 1em;">Charles Darwin and, xii, 198;</span><br /> +<span style="margin-left: 1em;">Darwin compared with, xii, 313;</span><br /> +<span style="margin-left: 1em;">George Eliot and, xii, 329;</span><br /> +<span style="margin-left: 1em;">John Fiske and, xii, 313, 323;</span><br /> +<span style="margin-left: 1em;">on John Fiske, xii, 414;</span><br /> +<span style="margin-left: 1em;">Gladstone and, xii, 199;</span><br /> +<span style="margin-left: 1em;">on Gladstone, xii, 318;</span><br /> +<span style="margin-left: 1em;">Haeckel compared with, xii, 248;</span><br /> +<span style="margin-left: 1em;">Sir Joseph Hooker and, xii, 321;</span><br /> +<span style="margin-left: 1em;">Ingersoll compared with, xii, 319;</span><br /> +<span style="margin-left: 1em;">John Stuart Mill compared with, xii, 311;</span><br /> +<span style="margin-left: 1em;">Rev. Dr. Parker and, xii, 322;</span><br /> +<span style="margin-left: 1em;">Spencer and, viii, 345;</span><br /> +<span style="margin-left: 1em;">Toole the comedian and, xii, 322;</span><br /> +<span style="margin-left: 1em;">experience of, with the University of Toronto, xii, 326;</span><br /> +<span style="margin-left: 1em;">as a writer, xii, 327;</span><br /> +<span style="margin-left: 1em;">Canon Wilberforce and, xii, 226.</span><br /> +<br /> +Hyacinths, white, vi, 235.<br /> +<br /> +Hyde Park, London, i, 62.<br /> +<br /> +Hymettus, honey of, v, 97.<br /> +<br /> +Hypatia, Mrs. Eddy compared with, x, 280;<br /> +<span style="margin-left: 1em;">Emerson compared with, x, 280;</span><br /> +<span style="margin-left: 1em;">her estimate of Plotinus, x, 282;</span><br /> +<span style="margin-left: 1em;">on Neo-Platonism, x, 270;</span><br /> +<span style="margin-left: 1em;">on superstition, x, 275.</span><br /> +<br /> +<i>Hypatia</i>, Charles Kingsley, x, 283.<br /> +<br /> +Hypnotism, x, 274, 352.<br /> +<br /> +Hypocrisy, vii, 268.<br /> +<br /> +<br /> +Ibsen, Henrik, xiii, 112;<br /> +<span style="margin-left: 1em;">quoted, xii, 182.</span><br /> +<br /> +Iceland, i, p xxv.<br /> +<br /> +Ideal life, Morris on the, vi, 16.<br /> +<br /> +Ideal man, the, v, 198.<br /> +<br /> +<i>Idylls of the King</i>, Tennyson, v, 13.<br /> +<br /> +Ignorance and wisdom, Starr King on, vii, 308.<br /> +<br /> +Illegitimacy, xiv, <a href='#XIV_Page_39'><b>39</b></a>;<br /> +<span style="margin-left: 1em;">Marcus Aurelius on, viii, 133.</span><br /> +<br /> +Illinois, farmers' wives in, ii, 222;<br /> +<span style="margin-left: 1em;">pioneer days in, iii, 280.</span><br /> +<br /> +Illumination of books, i, p xxv.<br /> +<br /> +<i>Illustrations of Political Economy</i>, Harriet Martineau, ii, 83.<br /> +<br /> +Illustrator and artist, difference between, iv, 329.<br /> +<br /> +<i>Il Penseroso</i>, Milton, v, 126, 137.<br /> +<br /> +<i>Il Pensiero</i>, Michelangelo, iv, 32.<br /> +<br /> +<i>Il Trovatore</i>, Verdi, xiv, <a href='#XIV_Page_292'><b>292</b></a>.<br /> +<br /> +Imagination, iv, 332; v, 105, 240.<br /> +<br /> +Immortality, i, 247; x, 11;<br /> +<span class='pagenum'><a name="XIV_Page_407" id="XIV_Page_407">407</a></span><span style="margin-left: 1em;">power and, vi, 57.</span><br /> +<br /> +Incandescent lamp, invention of, i, 329.<br /> +<br /> +Incompatibility, iv, 254; v, 129; vii, 68.<br /> +<br /> +Inconsistency, examples of, x, 366.<br /> +<br /> +Independence, vi, 332.<br /> +<br /> +Independence, Declaration of, iii, 75.<br /> +<br /> +Indians, Canada's treatment of, xi, 404;<br /> +<span style="margin-left: 1em;">North American, in London, ix, 28;</span><br /> +<span style="margin-left: 1em;">Washington's mission among, iii, 17.</span><br /> +<br /> +Indian, the American, xii, 141;<br /> +<span style="margin-left: 1em;">as an orator, iii, 189.</span><br /> +<br /> +Indifference, vi, 325.<br /> +<br /> +Individuality, xiv, <a href='#XIV_Page_43'><b>43</b></a>.<br /> +<br /> +Indulgences, vii, 123.<br /> +<br /> +Infant phenomenon, the, v, 122.<br /> +<br /> +<i>Inferno</i>, Dante, iv, 340.<br /> +<br /> +Infidelity, vi, 13; x, 342.<br /> +<br /> +Influence of women, i, 75.<br /> +<br /> +Ingalls, John J., quoted, vii, 177.<br /> +<br /> +Ingersoll, Ebon, brother of Robert Ingersoll, vii, 249;<br /> +<span style="margin-left: 1em;">death of, vii, 235.</span><br /> +<br /> +Ingersoll, Robert G., xii, 251;<br /> +<span style="margin-left: 1em;">birthplace of, vii, 242;</span><br /> +<span style="margin-left: 1em;">parents of, vii, 237;</span><br /> +<span style="margin-left: 1em;">wife of, vii, 259;</span><br /> +<span style="margin-left: 1em;">his great achievement, vii, 268;</span><br /> +<span style="margin-left: 1em;">mental evolution of, vii, 257;</span><br /> +<span style="margin-left: 1em;">H. W. Beecher and, vii, 357;</span><br /> +<span style="margin-left: 1em;">Peter Cooper and, xi, 259;</span><br /> +<span style="margin-left: 1em;">the dictum of, viii, 173;</span><br /> +<span style="margin-left: 1em;">Gladstone's reply to, x, 363;</span><br /> +<span style="margin-left: 1em;">William Godwin compared with, xiii, 87;</span><br /> +<span style="margin-left: 1em;">the Governor of Delaware and, ix, 261;</span><br /> +<span style="margin-left: 1em;">Elbert Hubbard and, vii, 255;</span><br /> +<span style="margin-left: 1em;">on Alexander von Humboldt, xii, 160;</span><br /> +<span style="margin-left: 1em;">Huxley compared with, xii, 319;</span><br /> +<span style="margin-left: 1em;">on love, vii, 232;</span><br /> +<span style="margin-left: 1em;">lecture on the mistakes of Moses, x, 15;</span><br /> +<span style="margin-left: 1em;">opinions regarding, vii, 253;</span><br /> +<span style="margin-left: 1em;">compared with Paine and Bradlaugh, ix, 243;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 288;</span><br /> +<span style="margin-left: 1em;">on Shakespeare, xii, 319.</span><br /> +<br /> +Initiative, xii, 242.<br /> +<br /> +<i>In Memoriam</i>, Tennyson, v, 82, 88.<br /> +<br /> +Innocent III, Pope, referred to, i, 151.<br /> +<br /> +<i>In Patience</i>, Christina Rossetti, ii, 114.<br /> +<br /> +<i>In Praise of Folly</i>, Erasmus, x, 177.<br /> +<br /> +Inquisition, the Spanish, vi, 171.<br /> +<br /> +Insanity, defined, i, 163; viii, 255;<br /> +<span style="margin-left: 1em;">originality and, viii, 197.</span><br /> +<br /> +Inspiration, vi, 155.<br /> +<br /> +Instrumental music, v, 236.<br /> +<br /> +Insurance, a species of gambling, viii, 300.<br /> +<br /> +Intellect and beauty, x, 277.<br /> +<br /> +<i>Intellectual Life, The</i>, Hamerton, vi, 50.<br /> +<br /> +Intellectual tyranny, x, 348.<br /> +<br /> +Introspection, vii, 118.<br /> +<br /> +<i>Invocation</i>, Tennyson, v, 89.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_408" id="XIV_Page_408">408</a></span>Iowa, farmers' wives in, ii, 222.<br /> +<br /> +Ireland, American travelers in, i, 155;<br /> +<span style="margin-left: 1em;">beauty of, i, 274;</span><br /> +<span style="margin-left: 1em;">Edmund Burke on, vii, 178;</span><br /> +<span style="margin-left: 1em;">Parnell on, xiii, 174;</span><br /> +<span style="margin-left: 1em;">Lord Dufferin on, xiii, 175;</span><br /> +<span style="margin-left: 1em;">Gladstone on, xiii, 176;</span><br /> +<span style="margin-left: 1em;">Henry George on, xiii, 190;</span><br /> +<span style="margin-left: 1em;">Home Rule in, xiii, 199;</span><br /> +<span style="margin-left: 1em;">the Irish and, xi, 335;</span><br /> +<span style="margin-left: 1em;">lawlessness in, i, 277;</span><br /> +<span style="margin-left: 1em;">women of, i, 275.</span><br /> +<br /> +Irish Church, the, i, 114.<br /> +<br /> +Irish immigration, xiii, 179.<br /> +<br /> +Iron, the consumption of, xi, 296.<br /> +<br /> +Ironsides, Cromwell's regiment, ix, 320.<br /> +<br /> +<i>Irreparableness</i>, E. B. Browning, ii, 16.<br /> +<br /> +Irrigation and religion, ix, 278.<br /> +<br /> +Irving, Henry, ii, 237;<br /> +<span style="margin-left: 1em;">at Harvard University, xiv, <a href='#XIV_Page_177'><b>177</b></a>;</span><br /> +<span style="margin-left: 1em;">Seneca compared with, viii, 56;</span><br /> +<span style="margin-left: 1em;">on success, viii, 345.</span><br /> +<br /> +Irving, Washington, iv, 218; vi, 316;<br /> +<span style="margin-left: 1em;">John J. Astor and, xi, 221;</span><br /> +<span style="margin-left: 1em;">on the Jews, viii, 207;</span><br /> +<span style="margin-left: 1em;">quoted, i, 293.</span><br /> +<br /> +"Isaac Bickerstaff," pseudonym of Dean Swift, i, 149.<br /> +<br /> +Isaiah, the Prophet, i, 317.<br /> +<br /> +Israelites, or Children of Israel, ii, 140; x, 21.<br /> +<br /> +Italian Renaissance, the, xiii, 210.<br /> +<br /> +Italy, senility of, iii, 232.<br /> +<br /> +Itineracy, Wesley on the, ix, 48.<br /> +<br /> +<br /> +Jacks and Jennies, xi, 20.<br /> +<br /> +Jackson, Andrew, iii, 190, 210, 221.<br /> +<br /> +Jacqueminot roses, ii, 241.<br /> +<br /> +James I, iv, 189;<br /> +<span style="margin-left: 1em;">Claudius compared with, viii, 58.</span><br /> +<br /> +James, Henry, on Edwin Abbey, vi, 311;<br /> +<span style="margin-left: 1em;">on Verdi, xiv, <a href='#XIV_Page_291'><b>291</b></a>;</span><br /> +<span style="margin-left: 1em;">on Tyndall, xii, 358.</span><br /> +<br /> +Jameson, Mrs., quoted, iv, 159.<br /> +<br /> +<i>Jane Eyre</i>, Charlotte Bronte, i, 240; ii, 94, 108.<br /> +<br /> +Jansen, Cornelius, painter, v, 122.<br /> +<br /> +Japanese art, vi, 349.<br /> +<br /> +Jay, John, home of, at Rye, N. Y., iii, 233;<br /> +<span style="margin-left: 1em;">legal training of, iii, 236;</span><br /> +<span style="margin-left: 1em;">Samuel Adams regarding, iii, 240;</span><br /> +<span style="margin-left: 1em;">governor of N. Y., iii, 247;</span><br /> +<span style="margin-left: 1em;">his religious nature, iii, 249;</span><br /> +<span style="margin-left: 1em;">genius of, iii, 250;</span><br /> +<span style="margin-left: 1em;">referred to, ii, 77; iii, 89;</span><br /> +<span style="margin-left: 1em;">typical Huguenot, iii, 232.</span><br /> +<br /> +Jealousy, artistic, vi, 176, 275;<br /> +<span style="margin-left: 1em;">Gainsborough's freedom from, vi, 150.</span><br /> +<br /> +Jefferson, Thomas, education of, iii, 55;<br /> +<span style="margin-left: 1em;">appearance of, iii, 55;</span><br /> +<span style="margin-left: 1em;">friends of, iii, 58;</span><br /> +<span style="margin-left: 1em;">Patrick Henry and, iii, 61;</span><br /> +<span style="margin-left: 1em;">as a lawyer, iii, 63;</span><br /> +<span class='pagenum'><a name="XIV_Page_409" id="XIV_Page_409">409</a></span><span style="margin-left: 1em;">member of Virginia</span><br /> +<span style="margin-left: 1em;">legislature, iii, 65;</span><br /> +<span style="margin-left: 1em;">marriage of, iii, 68;</span><br /> +<span style="margin-left: 1em;">governor of Virginia, iii, 70;</span><br /> +<span style="margin-left: 1em;">member of Colonial Congress, iii, 70;</span><br /> +<span style="margin-left: 1em;">daughter of, iii, 71;</span><br /> +<span style="margin-left: 1em;">home of, at Monticello, iii, 70;</span><br /> +<span style="margin-left: 1em;">death of wife of, iii, 71;</span><br /> +<span style="margin-left: 1em;">opposition of, to Hamilton, iii, 72;</span><br /> +<span style="margin-left: 1em;">mission to France, iii, 72;</span><br /> +<span style="margin-left: 1em;">humor of, iii, 73;</span><br /> +<span style="margin-left: 1em;">President of U. S., iii, 75;</span><br /> +<span style="margin-left: 1em;">achievements of, iii, 75, 177;</span><br /> +<span style="margin-left: 1em;">Thomas Arnold compared with, x, 241;</span><br /> +<span style="margin-left: 1em;">John J. Astor and, xi, 221;</span><br /> +<span style="margin-left: 1em;">Fenelon compared with, xiii, 353;</span><br /> +<span style="margin-left: 1em;">Stephen Girard and, xi, 96;</span><br /> +<span style="margin-left: 1em;">Patrick Henry and, vii, 283;</span><br /> +<span style="margin-left: 1em;">on Patrick Henry, vii, 293;</span><br /> +<span style="margin-left: 1em;">Alexander von Humboldt and, xii, 147;</span><br /> +<span style="margin-left: 1em;">John Jay compared with, iii, 250;</span><br /> +<span style="margin-left: 1em;">James Madison and, iii, 54;</span><br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 160, 170;</span><br /> +<span style="margin-left: 1em;">quoted, xi, 380;</span><br /> +<span style="margin-left: 1em;">Socrates compared with, xi, 97.</span><br /> +<br /> +Jeffrey, Francis, Lord, v, 181.<br /> +<br /> +Jeffrey, the tribe of, v, 78.<br /> +<br /> +Jersey, island of, i, 195.<br /> +<br /> +Jerusalem, referred to, ii, 140.<br /> +<br /> +Jesuits, referred to, iv, 89.<br /> +<br /> +Jesus of Nazareth, influence of, viii, 204;<br /> +<span style="margin-left: 1em;">Thoreau on the character of, vii, 316.</span><br /> +<br /> +<i>Jewish Bride</i>, Rembrandt, iv, 73.<br /> +<br /> +Jews, the, xi, 127;<br /> +<span style="margin-left: 1em;">Alexander the Great on the, viii, 95;</span><br /> +<span style="margin-left: 1em;">in England, ii, 77;</span><br /> +<span style="margin-left: 1em;">expulsion of, from Spain, viii, 207;</span><br /> +<span style="margin-left: 1em;">Washington Irving on, viii, 207;</span><br /> +<span style="margin-left: 1em;">legal disabilities of, v, 187;</span><br /> +<span style="margin-left: 1em;">orthodox, viii, 221;</span><br /> +<span style="margin-left: 1em;">Thomas Paine on the, ix, 165;</span><br /> +<span style="margin-left: 1em;">rational, viii, 221.</span><br /> +<br /> +Jiu jitsu, v, 319.<br /> +<br /> +Joan of Arc, iii, 28; iv, 241.<br /> +<br /> +Job, i, 247;<br /> +<span style="margin-left: 1em;">the Book of, x, 30;</span><br /> +<span style="margin-left: 1em;">humor of, i, 238.</span><br /> +<br /> +Johnsonese, v, 146.<br /> +<br /> +Johnson, Samuel, i, 259; iv, 178; vi, 148; xiv, <a href='#XIV_Page_260'><b>260</b></a>;<br /> +<span style="margin-left: 1em;">letter of, to Chesterfield, v, 144;</span><br /> +<span style="margin-left: 1em;">physical characteristics of, v, 145;</span><br /> +<span style="margin-left: 1em;">his literary style, v, 147;</span><br /> +<span style="margin-left: 1em;">biography of, by Boswell, v, 148;</span><br /> +<span style="margin-left: 1em;">superstitions of, v, 153;</span><br /> +<span style="margin-left: 1em;">marriage of, v, 154;</span><br /> +<span style="margin-left: 1em;">his meeting with David Garrick, v, 155;</span><br /> +<span style="margin-left: 1em;">his gruffness, v, 162;</span><br /> +<span style="margin-left: 1em;">charity of, v, 165;</span><br /> +<span style="margin-left: 1em;">influence of, v, 170;</span><br /> +<span style="margin-left: 1em;">biography of Dean Swift, i, 143;</span><br /> +<span style="margin-left: 1em;">dictionary of, v, 43;</span><br /> +<span style="margin-left: 1em;">on Burke, vii, 165;</span><br /> +<span style="margin-left: 1em;">life of, by Hawkins, v, 148;</span><br /> +<span style="margin-left: 1em;">William Pitt and, vii, 192;</span><br /> +<span style="margin-left: 1em;">quoted, i, 282; iii, 12; v, 239; xiii, 291;</span><br /> +<span style="margin-left: 1em;">Reynolds and, iv, 306;</span><br /> +<span style="margin-left: 1em;">his opinion of Shakespeare, i, 134;</span><br /> +<span class='pagenum'><a name="XIV_Page_410" id="XIV_Page_410">410</a></span><span style="margin-left: 1em;">on Richard Brinsley Sheridan, xii, 171;</span><br /> +<span style="margin-left: 1em;">visit of, to Goldsmith, i, 294;</span><br /> +<span style="margin-left: 1em;">Mary Wollstonecraft and, xiii, 90.</span><br /> +<br /> +John the Baptist, xiii, 84;<br /> +<span style="margin-left: 1em;">Salome and, vi, 76.</span><br /> +<br /> +Joint stock company, xi, 24.<br /> +<br /> +Jones, Paul, and Oliver Cromwell compared, ix, 331;<br /> +<span style="margin-left: 1em;">quoted, viii, 399.</span><br /> +<br /> +Jones, Samuel M., of Toledo, i, 321.<br /> +<br /> +Josephine, Empress of the French, birthplace of, ii, 259;<br /> +<span style="margin-left: 1em;">marriage of, to Vicomte Alexander Beauharnais, ii, 261;</span><br /> +<span style="margin-left: 1em;">children of, ii, 262;</span><br /> +<span style="margin-left: 1em;">imprisonment of, ii, 265;</span><br /> +<span style="margin-left: 1em;">meeting of, with Napoleon, ii, 267;</span><br /> +<span style="margin-left: 1em;">marriage of, ii, 275;</span><br /> +<span style="margin-left: 1em;">created empress, ii, 279;</span><br /> +<span style="margin-left: 1em;">divorced, ii, 280;</span><br /> +<span style="margin-left: 1em;">death of, ii, 281;</span><br /> +<span style="margin-left: 1em;">tomb of, ii, 281.</span><br /> +<br /> +Josh Billings Almanac, reference to, i, 130.<br /> +<br /> +<i>Joshua</i>, Handel, xiv, <a href='#XIV_Page_269'><b>269</b></a>.<br /> +<br /> +<i>Journal to Stella</i>, Dean Swift, i, 148.<br /> +<br /> +<i>Journey Through Italy, A</i>, Taine, vi, 38.<br /> +<br /> +Jowett, Rev. Dr., of Baliol, quoted, ii, 296; xi, 85;<br /> +<span style="margin-left: 1em;">Herbert Spencer and, viii, 350.</span><br /> +<br /> +Joy, vii, 84.<br /> +<br /> +Judaism, v, 319; ix, 279;<br /> +<span style="margin-left: 1em;">Christianity and, Gibbon on, xi, 131.</span><br /> +<br /> +Judas Iscariot, ii, 181.<br /> +<br /> +Judea, Rome and Greece compared, x, 36.<br /> +<br /> +Juliet and Garnett, iii, p x.<br /> +<br /> +Julius Cæsar, Mary Baker Eddy compared with, x, 360;<br /> +<span style="margin-left: 1em;">Edison compared with, i, 330;</span><br /> +<span style="margin-left: 1em;">Garibaldi compared with, ix, 104;</span><br /> +<span style="margin-left: 1em;">Lincoln compared with, viii, 72;</span><br /> +<span style="margin-left: 1em;">Seneca compared with, viii, 72.</span><br /> +<br /> +<i>Julius Cæsar</i>, Shakespeare, i, 317.<br /> +<br /> +Julius, Michelangelo's statue of, iv, 28.<br /> +<br /> +Julius II, Pope, iv, 25; vi, 17.<br /> +<br /> +Juno, ii, 43.<br /> +<br /> +Junto Club, the, iii, 45.<br /> +<br /> +Justinian code, the, x, 324.<br /> +<br /> +Juvenal, i, 317.<br /> +<br /> +<i>Juvenilia</i>, Byron, v, 215.<br /> +<br /> +<br /> +Kabojolism, viii, 278.<br /> +<br /> +Kant, Immanuel, xii, 371;<br /> +<span style="margin-left: 1em;">parents of, viii, 156;</span><br /> +<span style="margin-left: 1em;">Aristotle compared with, viii, 154;</span><br /> +<span style="margin-left: 1em;"><i>Critique of Pure Reason</i>, viii, 169;</span><br /> +<span style="margin-left: 1em;">the greatness of, xii, 242;</span><br /> +<span style="margin-left: 1em;">Herder on, viii, 169;</span><br /> +<span style="margin-left: 1em;">Plato compared with, viii, 154;</span><br /> +<span style="margin-left: 1em;">philosophy of, viii, 152;</span><br /> +<span style="margin-left: 1em;">referred to, v, 306;</span><br /> +<span style="margin-left: 1em;">Professor Royce on, viii, 154;</span><br /> +<span style="margin-left: 1em;">Schopenhauer on, viii, 170;</span><br /> +<span style="margin-left: 1em;">stubbornness of, viii, 166;</span><br /> +<span class='pagenum'><a name="XIV_Page_411" id="XIV_Page_411">411</a></span><span style="margin-left: 1em;">father of modern Transcendentalists, viii, 403.</span><br /> +<br /> +Katabolism, viii, 358.<br /> +<br /> +Kauffman, Angelica, artist, iv, 305.<br /> +<br /> +Keats, John, iv, 159; v, 50, 97;<br /> +<span style="margin-left: 1em;">Aubrey Beardsley compared with, vi, 73;</span><br /> +<span style="margin-left: 1em;">Coleridge and, v, 310.</span><br /> +<br /> +Keeley Institute, i, 278.<br /> +<br /> +Keeners, Irish, i, 229.<br /> +<br /> +Keller, Helen, ii, 76;<br /> +<span style="margin-left: 1em;">H. H. Rogers and, xi, 389.</span><br /> +<br /> +Kelmscott House, v, 21.<br /> +<br /> +Kelmscott Press, the, v, 28.<br /> +<br /> +Kemble's "Coons," iv, 67.<br /> +<br /> +Kenilworth Castle, i, 51, 303.<br /> +<br /> +Kensington Gardens, i, 62.<br /> +<br /> +Kenyon, John, ii, 23;<br /> +<span style="margin-left: 1em;">Robert Browning and, v, 58.</span><br /> +<br /> +Keppel, Commander, friend of Joshua Reynolds, iv, 295.<br /> +<br /> +Keswick pencils, viii, 400.<br /> +<br /> +Kilkenny, cats of, i, 223.<br /> +<br /> +Kindergarten, the, vi, 194; xii, 128;<br /> +<span style="margin-left: 1em;">purpose of the, x, 246;</span><br /> +<span style="margin-left: 1em;">the first, x, 259.</span><br /> +<br /> +King Alfred, Freeman on, x, 124;<br /> +<span style="margin-left: 1em;">Napoleon compared with, x, 137;</span><br /> +<span style="margin-left: 1em;">reforms of, x, 140.</span><br /> +<br /> +<i>King Lear</i>, Shakespeare, i, 317; ii, 251.<br /> +<br /> +Kings, divine right of, ii, 83.<br /> +<br /> +King's evil, the, v, 153.<br /> +<br /> +Kingsley, Charles, i, 248;<br /> +<span style="margin-left: 1em;">on friendship, ix, 17;</span><br /> +<span style="margin-left: 1em;"><i>Hypatia</i>, x, 283;</span><br /> +<span style="margin-left: 1em;">quoted, v, 85.</span><br /> +<br /> +King, Starr, Dr. Bartol on, vii, 313;<br /> +<span style="margin-left: 1em;">Joshua Bates on, vii, 317;</span><br /> +<span style="margin-left: 1em;">in California, vii, 336;</span><br /> +<span style="margin-left: 1em;">Rev. E. H. Chapin on, vii, 316;</span><br /> +<span style="margin-left: 1em;">death of, vii, 341;</span><br /> +<span style="margin-left: 1em;">Dr. Leonard on, vii, 313;</span><br /> +<span style="margin-left: 1em;">Lincoln and, vii, 341;</span><br /> +<span style="margin-left: 1em;">memorials to, vii, 311, 313;</span><br /> +<span style="margin-left: 1em;">parents of, vii, 317;</span><br /> +<span style="margin-left: 1em;">Theodore Parker on, vii, 320;</span><br /> +<span style="margin-left: 1em;">personality of, vii, 315;</span><br /> +<span style="margin-left: 1em;"><i>Substance and Show</i>, vii, 328.</span><br /> +<br /> +Kinship, xiv, <a href='#XIV_Page_240'><b>240</b></a>.<br /> +<br /> +Kipling, Rudyard, ii, 125, 253;<br /> +<span style="margin-left: 1em;">his estimate of woman, vi, 74;</span><br /> +<span style="margin-left: 1em;">quoted, ix, 292; x, 174; xii, 182;</span><br /> +<span style="margin-left: 1em;">on R. L. Stevenson, xiii, 40.</span><br /> +<br /> +Kittson, Norman, xi, 415.<br /> +<br /> +Knitting-machines, ii, 70.<br /> +<br /> +Knock-knees, vi, 308.<br /> +<br /> +Knott, Proctor, quoted, i, 248.<br /> +<br /> +Knowledge, v, 239; vii, 314;<br /> +<span style="margin-left: 1em;">learning, wisdom and, x, 74;</span><br /> +<span style="margin-left: 1em;">wisdom and, vii, 217.</span><br /> +<br /> +Knowles, Sheridan, i, 250.<br /> +<br /> +Knox, John, ix, 187;<br /> +<span style="margin-left: 1em;">Carlyle's estimate of, ix, 213;</span><br /> +<span class='pagenum'><a name="XIV_Page_412" id="XIV_Page_412">412</a></span><span style="margin-left: 1em;">Queen Elizabeth and, ix, 211;</span><br /> +<br /> +Martin Luther compared with, ix, 205;<br /> +<span style="margin-left: 1em;">Mary, Queen of Scots, and, ix, 210;</span><br /> +<span style="margin-left: 1em;">referred to, v, 266.</span><br /> +<br /> +Konigsberg, home of Immanuel Kant, viii, 160.<br /> +<br /> +Krupp, Herr, iv, 28.<br /> +<br /> +<br /> +Laban, iii, 35, 62.<br /> +<br /> +Labor, dignity of, vi, 117;<br /> +<span style="margin-left: 1em;">division of, iii, 99.</span><br /> +<br /> +Labor exchange, the, xi, 47.<br /> +<br /> +Labouchere, Henry, and Charles Bradlaugh, ix, 266;<br /> +<span style="margin-left: 1em;">quoted, xii, 57.</span><br /> +<br /> +<i>Labourge Nivernais</i>, Rosa Bonheur, ii, 158.<br /> +<br /> +La Bruyere, Jean, de, v, 258.<br /> +<br /> +<i>Lachesis Laponica</i>, Linnæus, xii, 292.<br /> +<br /> +<i>Lady of Shalott, The</i>, Tennyson, v, 78.<br /> +<br /> +La Farge, John, lecture on art, vi, 244.<br /> +<br /> +Lafayette, Marquis de, ii, 183; iii, 15;<br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 176;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 235.</span><br /> +<br /> +<i>La Gioconda</i>, Leonardo, vi, 59.<br /> +<br /> +Lagrange, Margaret, ix, 283.<br /> +<br /> +Lake District of England, v, 282.<br /> +<br /> +Lake Poets, the, ii, 227; v, 285.<br /> +<br /> +<i>Lalla Rookh</i>, Moore, i, 156.<br /> +<br /> +<i>L'Allegro</i>, Milton, v, 126, 137.<br /> +<br /> +Lamb, Charles, ii, 215;<br /> +<span style="margin-left: 1em;">as a bookkeeper, v, 26;</span><br /> +<span style="margin-left: 1em;">his estimate of Jane Austen, ii, 254;</span><br /> +<span style="margin-left: 1em;">S. T. Coleridge and, v, 295;</span><br /> +<span style="margin-left: 1em;">his love of books, iv, 140;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 197;</span><br /> +<span style="margin-left: 1em;">referred to, v, 56, 279.</span><br /> +<br /> +Lamb, Mary,<br /> +<span style="margin-left: 1em;">education of, ii, 219;</span><br /> +<span style="margin-left: 1em;">meeting of, with Samuel Taylor Coleridge, ii, 221;</span><br /> +<span style="margin-left: 1em;">tragedy of, ii, 222;</span><br /> +<span style="margin-left: 1em;">literary work of, ii, 230;</span><br /> +<span style="margin-left: 1em;">friends of, ii, 229;</span><br /> +<span style="margin-left: 1em;">death of, ii, 234;</span><br /> +<span style="margin-left: 1em;">referred to, v, 56.</span><br /> +<br /> +Lamennais, the Abbe, on Liszt, xiv, <a href='#XIV_Page_205'><b>205</b></a>.<br /> +<br /> +Lamp-chimneys, the making of, xi, 372.<br /> +<br /> +Land-laws, English and American, compared, vii, 188.<br /> +<br /> +Landlordism, ix, 88.<br /> +<br /> +Landor, Walter Savage, ii, 28; viii, 20; xii, 305;<br /> +<span style="margin-left: 1em;">Robert Browning and, v, 55.</span><br /> +<br /> +Landscape, as an art term, iv, 91.<br /> +<br /> +Landscape painting, the art of, vi, 136.<br /> +<br /> +Landscapist's day, Corot's description of a, vi, 206.<br /> +<br /> +Landseer, parents of, iv, 311;<br /> +<span style="margin-left: 1em;">brothers of, iv, 312;</span><br /> +<span style="margin-left: 1em;">birthplace of, iv, 313;</span><br /> +<span style="margin-left: 1em;">education of, iv, 314;</span><br /> +<span style="margin-left: 1em;">genius of, iv, 315;</span><br /> +<span style="margin-left: 1em;">popularity of, iv, 320;</span><br /> +<span style="margin-left: 1em;">friends of, iv, 321;</span><br /> +<span style="margin-left: 1em;">friendship of Queen Victoria for, iv, 324;</span><br /> +<span style="margin-left: 1em;">influence of, iv, 326;</span><br /> +<span class='pagenum'><a name="XIV_Page_413" id="XIV_Page_413">413</a></span><span style="margin-left: 1em;">genius of, iv, 329.</span><br /> +<br /> +Lang, Andrew, ii, 17; ix, 395.<br /> +<br /> +Langenthal, Henry, and Froebel, x, 258.<br /> +<br /> +Language, a form of expression, iv, 159.<br /> +<br /> +Lao-tsze and Confucius, x, 63.<br /> +<br /> +Lassalle, Ferdinand, xiii, 367.<br /> +<br /> +<i>Last Judgment, The</i>, Michelangelo, iv, 33.<br /> +<br /> +<i>Last Supper, The</i>, Leonardo, v, 229; vi, 54.<br /> +<br /> +Latin, knowledge of, iv, 288.<br /> +<br /> +<i>La Traviata</i>, Verdi, xiv, <a href='#XIV_Page_292'><b>292</b></a>.<br /> +<br /> +Laud, William, Archbishop of Canterbury, ix, 315, 328, 337.<br /> +<br /> +Laurence, the artist, Turner's treatment of, i, 135.<br /> +<br /> +Laurens, Henry, ii, 77.<br /> +<br /> +Lautner, Max, vi, 65.<br /> +<br /> +Law, of altruistic injury, the, xi, 390;<br /> +<span style="margin-left: 1em;">of antithesis, the, i, 164;</span><br /> +<span style="margin-left: 1em;">of attraction or gravitation, xii, 272;</span><br /> +<span style="margin-left: 1em;">Col. Bumble's opinion of, ix, 88;</span><br /> +<span style="margin-left: 1em;">as a business, vii, 404;</span><br /> +<span style="margin-left: 1em;">of compensation, ii, 238; iv, 226; vii, 349; xi, 149; xiv, <a href='#XIV_Page_41'><b>41</b></a>;</span><br /> +<span style="margin-left: 1em;">of the correlation of forces, xii, 272;</span><br /> +<span style="margin-left: 1em;">of diminishing returns, x, 308;</span><br /> +<span style="margin-left: 1em;">of entail, v, 70;</span><br /> +<span style="margin-left: 1em;">of heredity, vii, 185;</span><br /> +<span style="margin-left: 1em;">of natural selection, v, 95;</span><br /> +<span style="margin-left: 1em;">of pivotal points, x, 308;</span><br /> +<span style="margin-left: 1em;">profession of, iii, 99;</span><br /> +<span style="margin-left: 1em;">of reversion to type, ii, 192.</span><br /> +<br /> +<i>Law of Civilization and Decay, The</i>, Brooks Adams, xii, 89.<br /> +<br /> +Lawsuits, county, vii, 245.<br /> +<br /> +Law-wolf, ix, 311.<br /> +<br /> +Lawyers, class B, vi, 174;<br /> +<span style="margin-left: 1em;">Kant on, viii, 163;</span><br /> +<span style="margin-left: 1em;">Philadelphia, vi, 306.</span><br /> +<br /> +Lear compared with Milton, v, 140.<br /> +<br /> +Learning, knowledge and wisdom, x, 74.<br /> +<br /> +Lease, Mrs., of Kansas, v, 145.<br /> +<br /> +<i>Leaves of Grass</i>, Whitman, i, 172, 179, 181; iv, 259; xiii, 18.<br /> +<br /> +Lecky, the historian, quoted, xi, 204;<br /> +<span style="margin-left: 1em;">on Methodism, ix, 49.</span><br /> +<br /> +<i>Lectures on English Humorists</i>, Thackeray, i, 239.<br /> +<br /> +<i>Lecture on Homer</i>, Gladstone, i, 102.<br /> +<br /> +<i>Lectures to Young Men</i>, Beecher, vii, 357.<br /> +<br /> +Lee, Ann, founder American Society of Shakers, x, 318.<br /> +<br /> +Lee, Richard Henry, iii, 67, 89.<br /> +<br /> +Le Gallienne, Richard, i, p xxvii; v, 246;<br /> +<span style="margin-left: 1em;">quoted, xiii, 220;</span><br /> +<span style="margin-left: 1em;">referred to, v, 218.</span><br /> +<br /> +Legion of Honor, Cross of, ii, 159.<br /> +<br /> +Legitimate perquisites, v, 44.<br /> +<br /> +Leibnitz, Gottfried Wilhelm, Baron von, xii, 21;<br /> +<span class='pagenum'><a name="XIV_Page_414" id="XIV_Page_414">414</a></span><span style="margin-left: 1em;">referred to, v, 306.</span><br /> +<br /> +Leicester, Earl of, iv, 25.<br /> +<br /> +Leighton, Frederick, friend of the Brownings, v, 64.<br /> +<br /> +Leipzig, university of, vii, 134.<br /> +<br /> +Leonard, Dr. Charles H., on Starr King, vii, 313.<br /> +<br /> +Leonardo da Vinci, i, 122; i, 341; iv, 6, 59, 90, 99; v, 230; xiv, <a href='#XIV_Page_40'><b>40</b></a>;<br /> +<span style="margin-left: 1em;">appearance of, vi, 50;</span><br /> +<span style="margin-left: 1em;">birth of, vi, 46;</span><br /> +<span style="margin-left: 1em;">mother of, vi, 46;</span><br /> +<span style="margin-left: 1em;">Aristotle compared with, viii, 91;</span><br /> +<span style="margin-left: 1em;">Bandello and, vi, 50;</span><br /> +<span style="margin-left: 1em;">Cesare Borgia and, vi, 43;</span><br /> +<span style="margin-left: 1em;">Correggio and, vi, 233;</span><br /> +<span style="margin-left: 1em;">Sir William Davenant compared with, vi, 48;</span><br /> +<span style="margin-left: 1em;">Edison compared with, vi, 41;</span><br /> +<span style="margin-left: 1em;">Hamerton on, vi, 50;</span><br /> +<span style="margin-left: 1em;"><i>Last Supper</i> of, vi, 54;</span><br /> +<span style="margin-left: 1em;">Michelangelo and, vi, 28.</span><br /> +<br /> +Leo X, Pope, iv, 31; vi, 31;<br /> +<span style="margin-left: 1em;">quoted, vi, 13.</span><br /> +<br /> +<i>Les Huguenots</i>, Meyerbeer, characterized, xiv, <a href='#XIV_Page_126'><b>126</b></a>.<br /> +<br /> +Leslie, Charles R., American artist, iv, 321.<br /> +<br /> +<i>Les Miserables</i>, Hugo, i, 187.<br /> +<br /> +<i>Letters of a Self-Made Merchant to His Son</i>, Lorimer, xi, 183.<br /> +<br /> +Letters of indulgence, vii, 126.<br /> +<br /> +Lettre de cachet, the, xiii, 349; ix, 378.<br /> +<br /> +Levi, origin of name, x, 30.<br /> +<br /> +Lewes, George Henry, i, 57; v, 148;<br /> +<span style="margin-left: 1em;">Augustine Birrell on, viii, 339;</span><br /> +<span style="margin-left: 1em;">Comte and, viii, 261;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer and, viii, 337;</span><br /> +<span style="margin-left: 1em;">Thackeray on, viii, 337.</span><br /> +<br /> +Lewis, Alfred Henry, i, p xxvii; ix, 311; x, 344.<br /> +<br /> +Lewis and Clark Expedition, the, xi, 220.<br /> +<br /> +Lewis, Fielding, iii, 15.<br /> +<br /> +Lewis, Lawrence, iii, 15.<br /> +<br /> +Leyden, Lucas van, vi, 78.<br /> +<br /> +<i>L'Historie de Romanticisme</i>, Gautier, i, 192.<br /> +<br /> +Liberal denominations, the, ix, 184.<br /> +<br /> +Liberal thought, obligations of, xiii, 87.<br /> +<br /> +<i>Liberator, The</i>, William Lloyd Garrison and, vii, 394.<br /> +<br /> +Liberty, Patrick Henry on, vii, 276.<br /> +<br /> +Licentiousness, vii, 73.<br /> +<br /> +Life, canned, vi, 170;<br /> +<span style="margin-left: 1em;">forms of, vi, 228;</span><br /> +<span style="margin-left: 1em;">the game of, v, 158;</span><br /> +<span style="margin-left: 1em;">Robert Ingersoll on, vii, 235;</span><br /> +<span style="margin-left: 1em;">the larger, viii, 204;</span><br /> +<span style="margin-left: 1em;">a privilege, vii, 118;</span><br /> +<span style="margin-left: 1em;">the privileges of, vi, 151.</span><br /> +<br /> +Life-insurance, value of, viii, 300.<br /> +<br /> +<i>Life of Charles XII</i>, Voltaire, viii, 297.<br /> +<br /> +<i>Life of Frederick</i>, Carlyle, viii, 312.<br /> +<br /> +<i>Life of Jesus</i>, Strauss, i, 55.<br /> +<br /> +<i>Life of Johnson</i>, Hawkins, v, 148.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_415" id="XIV_Page_415">415</a></span><i>Life of Washington</i>, Weems, iii, 7; v, 41; vii, 199.<br /> +<br /> +<i>Life's Uses</i>, Harriet Martineau, ii, 68.<br /> +<br /> +Ligereaux, Saint Andre de, xi, 390.<br /> +<br /> +Light and shade, Rembrandt's experiments in, iv, 61.<br /> +<br /> +Lily Dale, i, 321.<br /> +<br /> +Lincoln, Abraham, boyhood of, vi, 102;<br /> +<span style="margin-left: 1em;">face of, iv, 52;</span><br /> +<span style="margin-left: 1em;">speech of, at Gettysburg, iii, 278;</span><br /> +<span style="margin-left: 1em;">home of, at Springfield, Ill., iii, 287;</span><br /> +<span style="margin-left: 1em;">acquaintances of, iii, 288;</span><br /> +<span style="margin-left: 1em;">stories of, iii, 288;</span><br /> +<span style="margin-left: 1em;">Ingersoll's speech on, iii, 291;</span><br /> +<span style="margin-left: 1em;">assassination of, iii, 300;</span><br /> +<span style="margin-left: 1em;">the country of, iii, 303;</span><br /> +<span style="margin-left: 1em;">early home of, iii, 303;</span><br /> +<span style="margin-left: 1em;">as clerk in country store, iii, 303;</span><br /> +<span style="margin-left: 1em;">law office of, iii, 303;</span><br /> +<span style="margin-left: 1em;">debates with Douglas, iii, 304;</span><br /> +<span style="margin-left: 1em;">nomination of, iii, 271, 304;</span><br /> +<span style="margin-left: 1em;">election of, iii, 273, 304;</span><br /> +<span style="margin-left: 1em;">home ties of, iii, 305;</span><br /> +<span style="margin-left: 1em;">example of, iii, 305;</span><br /> +<span style="margin-left: 1em;">Beecher compared with, vii, 348;</span><br /> +<span style="margin-left: 1em;">Beecher on the death of, vii, 379;</span><br /> +<span style="margin-left: 1em;">contrasted with John Brown and Marat, vii, 214;</span><br /> +<span style="margin-left: 1em;">Julius Cæsar compared with, viii, 72;</span><br /> +<span style="margin-left: 1em;">attitude of California toward, vii, 339;</span><br /> +<span style="margin-left: 1em;">his call for volunteers, xiii, 84;</span><br /> +<span style="margin-left: 1em;">Simon Cameron, secretary of war, and, xi, 276;</span><br /> +<span style="margin-left: 1em;">Andrew Carnegie compared with, xi, 295;</span><br /> +<span style="margin-left: 1em;">Winston Churchill on, vii, 21;</span><br /> +<span style="margin-left: 1em;">his Cooper Union speech, xi, 258;</span><br /> +<span style="margin-left: 1em;">George W. Curtis and, i, 165;</span><br /> +<span style="margin-left: 1em;">Douglas and, xiii, 187;</span><br /> +<span style="margin-left: 1em;">Emancipation Proclamation of, ix, 56;</span><br /> +<span style="margin-left: 1em;">General Grant and, xii, 313;</span><br /> +<span style="margin-left: 1em;">humor of, i, 239;</span><br /> +<span style="margin-left: 1em;">Ingersoll on, ix, 331;</span><br /> +<span style="margin-left: 1em;">on the American juror, x, 366;</span><br /> +<span style="margin-left: 1em;">Starr King and, vii, 341;</span><br /> +<span style="margin-left: 1em;">and the law of diminishing returns, x, 309;</span><br /> +<span style="margin-left: 1em;">love of, for memory of his mother, vii, 349;</span><br /> +<span style="margin-left: 1em;">love of, for Seward, iii, 274;</span><br /> +<span style="margin-left: 1em;">to the portrait-painter, xiii, 118;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 128; xi, 276; vii, 286;</span><br /> +<span style="margin-left: 1em;">referred to, i, 248; ii, 238; iii, 174; v, 201; vi, 320; xi, 370; xiii, 85; xiv, <a href='#XIV_Page_40'><b>40</b></a>;</span><br /> +<span style="margin-left: 1em;">on responsibility, xi, 287;</span><br /> +<span style="margin-left: 1em;">reference to the Sangamon steamboat, xii, 318;</span><br /> +<span style="margin-left: 1em;">visit of, to W. H. Seward, iii, 272;</span><br /> +<span style="margin-left: 1em;">Southern feeling and, x, 111;</span><br /> +<span style="margin-left: 1em;">on stepmother-love, xii, 398;</span><br /> +<span style="margin-left: 1em;">Washington and, iii, 29;</span><br /> +<span style="margin-left: 1em;">Henry Watterson on, vii, 393;</span><br /> +<span style="margin-left: 1em;">Walt Whitman and, i, 164.</span><br /> +<br /> +Lincolnshire, the woods of, v, 75.<br /> +<br /> +Lindsey, Judge Ben, i, p xxvii; ix, 283;<br /> +<span style="margin-left: 1em;">Thomas Arnold compared with, x, 241;</span><br /> +<span style="margin-left: 1em;">and the Juvenile Court, ix, 349;</span><br /> +<span style="margin-left: 1em;">quoted, ix, 87.</span><br /> +<br /> +Linnæus, boyhood of, xii, 278;<br /> +<span class='pagenum'><a name="XIV_Page_416" id="XIV_Page_416">416</a></span><span style="margin-left: 1em;">George Frederick Handel and, xii, 300;</span><br /> +at the University of Upsala, xii, 285.<br /> +<br /> +Lion-hunters, iv, 253.<br /> +<br /> +<i>Lion of Lucerne, The</i>, Thorwaldsen, vi, 123.<br /> +<br /> +Lippi, Fra Lippo, vi, 51.<br /> +<br /> +Liszt, Franz, and the Countess d'Agoult, xiv, <a href='#XIV_Page_194'><b>194</b></a>;<br /> +<span style="margin-left: 1em;">Amy Fay's biography of, xiv, <a href='#XIV_Page_207'><b>207</b></a>;</span><br /> +<span style="margin-left: 1em;">Joseph Haydn and, xiv, <a href='#XIV_Page_188'><b>188</b></a>;</span><br /> +<span style="margin-left: 1em;">inspirer of musicians, xiv, <a href='#XIV_Page_187'><b>187</b></a>;</span><br /> +<span style="margin-left: 1em;">Plato compared with, viii, 87;</span><br /> +<span style="margin-left: 1em;">George Sand and, xiv, <a href='#XIV_Page_194'><b>194</b></a>;</span><br /> +<span style="margin-left: 1em;">remark concerning George Sand, xiv, <a href='#XIV_Page_95'><b>95</b></a>;</span><br /> +<span style="margin-left: 1em;">Richard Wagner and, xiv, <a href='#XIV_Page_30'><b>30</b></a>.</span><br /> +<br /> +Literary conscience, the, x, 363.<br /> +<br /> +Literary eczema, i, 292.<br /> +<br /> +<i>Literary Landmarks</i>, Hutton, ii, 118.<br /> +<br /> +Literary stinkpots, v, 218.<br /> +<br /> +Literature, a confession, xiii, 313;<br /> +<span style="margin-left: 1em;">a byproduct, v, 26;</span><br /> +<span style="margin-left: 1em;">history and, xiii, 83.</span><br /> +<br /> +Litigation, a luxury, vii, 293.<br /> +<br /> +Little Journeys Camp, iii, p ix.<br /> +<br /> +Little red schoolhouse, the, iii, 255.<br /> +<br /> +Littre, pupil of Auguste Comte, viii, 265.<br /> +<br /> +<i>Lives of the Poets</i>, Johnson, v, 147.<br /> +<br /> +Livingston, David, vi, 347.<br /> +<br /> +Lloyd, Charles, and the Wordsworths, i, 215.<br /> +<br /> +Local option, iii, 129.<br /> +<br /> +Lodge, Cabot, iii, 23.<br /> +<br /> +<i>Logic</i>, J. S. Mill, xiii, 160.<br /> +<br /> +<i>Lohengrin</i>, Wagner, xiv, <a href='#XIV_Page_32'><b>32</b></a>.<br /> +<br /> +Lombroso, Prof., referred to, i, 164.<br /> +<br /> +<i>London</i>, Baedeker, ii, 118.<br /> +<br /> +London, compared with New York, ii, 118;<br /> +<span style="margin-left: 1em;">monuments of, i, 313.</span><br /> +<br /> +Longfellow on Dante, xiii, 110;<br /> +<span style="margin-left: 1em;">Emerson and, viii, 408.</span><br /> +<br /> +Long, John D., vi, 333; vii, 191.<br /> +<br /> +Long Parliament, the, ix, 318.<br /> +<br /> +Lord Palmerston and Richard Cobden, ix, 152.<br /> +<br /> +Lorenzo, the Magnificent, iv, 13;<br /> +<span style="margin-left: 1em;">Savonarola and, vii, 97;</span><br /> +<span style="margin-left: 1em;">Pericles compared with, iv, 13.</span><br /> +<br /> +Lorimer, George Horace, xi, 183.<br /> +<br /> +Lorraine, Claude, iv, 162;<br /> +<span style="margin-left: 1em;">influence of, on Corot, vi, 201;</span><br /> +<span style="margin-left: 1em;">influence of, on Turner, i, 126.</span><br /> +<br /> +<i>Lost Arts, The</i>, Wendell Phillips, vii, 328.<br /> +<br /> +<i>Lothair</i>, Disraeli, v, 342.<br /> +<br /> +Lot referred to, i, 306.<br /> +<br /> +<i>Lot</i>, Rembrandt, iv, 63.<br /> +<br /> +<i>Lotus-Eaters, The</i>, Tennyson, v, 78.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_417" id="XIV_Page_417">417</a></span>Louis XIV, "The Grand," iv, 95.<br /> +<br /> +Louis XV, i, 203.<br /> +<br /> +Louis XVIII and Victor Hugo, i, 188.<br /> +<br /> +Louisiana Purchase, the, iii, 76.<br /> +<br /> +Love, iv, 178; v, 238, 346; xiv, <a href='#XIV_Page_312'><b>312</b></a>;<br /> +<span style="margin-left: 1em;">Marcus Aurelius on, viii, 138;</span><br /> +<span style="margin-left: 1em;">of brother and sister, ii, 215;</span><br /> +<span style="margin-left: 1em;">Robert Burns and, v, 93;</span><br /> +<span style="margin-left: 1em;">the great enlightener, ii, 78;</span><br /> +<span style="margin-left: 1em;">eternal, v, 90;</span><br /> +<span style="margin-left: 1em;">Benjamin Franklin on, viii, 290;</span><br /> +<span style="margin-left: 1em;">idealization of, v, 86;</span><br /> +<span style="margin-left: 1em;">Robert Ingersoll on, vii, 232;</span><br /> +<span style="margin-left: 1em;">laws of, xi, 137;</span><br /> +<span style="margin-left: 1em;">memory of, vi, 21;</span><br /> +<span style="margin-left: 1em;">one-sided, xiii, 117;</span><br /> +<span style="margin-left: 1em;">a pain, ii, 32;</span><br /> +<span style="margin-left: 1em;">religion and, xiv, <a href='#XIV_Page_206'><b>206</b></a>;</span><br /> +<span style="margin-left: 1em;">romantic, ii, 189; xiii, 211;</span><br /> +<span style="margin-left: 1em;">the great teacher, vi, 311;</span><br /> +<span style="margin-left: 1em;">value of, ii, 87;</span><br /> +<span style="margin-left: 1em;">woman's, exemplified, ii, 170;</span><br /> +<span style="margin-left: 1em;">Emerson's essay on, ii, 287.</span><br /> +<br /> +Lovejoy, Rev. E. O., death of, vii, 405.<br /> +<br /> +Lovelace on prison-life, vi, 170.<br /> +<br /> +Love-letters, great, vii, 81.<br /> +<br /> +Lovell, Robert, and Southey, v, 301.<br /> +<br /> +<i>Love's Lovers</i>, Dante Gabriel Rossetti, xiii, 246.<br /> +<br /> +Lowell, James Russell, Emerson and, viii, 408;<br /> +<span style="margin-left: 1em;"><i>The Fable for Critics</i>, i, 179;</span><br /> +<span style="margin-left: 1em;">on Plato, viii, 87;</span><br /> +<span style="margin-left: 1em;">quoted, i, 276; iii, 102; xiv, <a href='#XIV_Page_80'><b>80</b></a>; v, 254;</span><br /> +<span style="margin-left: 1em;">referred to, i, 231; v, 39, 294;</span><br /> +<span style="margin-left: 1em;">on truth, x, 112.</span><br /> +<br /> +Loyalty, xiv, <a href='#XIV_Page_228'><b>228</b></a>.<br /> +<br /> +Loyola, referred to, vi, 50.<br /> +<br /> +Lubke, Wilhelm, on Raphael, vi, 10.<br /> +<br /> +Luck, exemplified, xi, 288.<br /> +<br /> +Lumpkin, Tony, vi, 315.<br /> +<br /> +Lunacy, defined, iii, 266.<br /> +<br /> +<i>Lusitania</i>, Cunard Liner, ii, p x.<br /> +<br /> +Luther, Martin,<br /> +<span style="margin-left: 1em;">Giordano Bruno and, xii, 54;</span><br /> +<span style="margin-left: 1em;">character of, vii, 117;</span><br /> +<span style="margin-left: 1em;">"Catherine the Nun" and, vii, 156;</span><br /> +<span style="margin-left: 1em;">at the Diet of Worms, vii, 143;</span><br /> +<span style="margin-left: 1em;">Albrecht Durer and, vii, 139;</span><br /> +<span style="margin-left: 1em;">John Eck and, vii, 134;</span><br /> +<span style="margin-left: 1em;">at Eisenach, vi, 212;</span><br /> +<span style="margin-left: 1em;">Erasmus compared with, x, 152;</span><br /> +<span style="margin-left: 1em;">excommunication of, vii, 137;</span><br /> +<span style="margin-left: 1em;">Henry VIII of England and, vii, 155;</span><br /> +<span style="margin-left: 1em;">humor of, i, 238;</span><br /> +<span style="margin-left: 1em;">insanity of, viii, 255;</span><br /> +<span style="margin-left: 1em;">John Knox compared with, ix, 205;</span><br /> +<span style="margin-left: 1em;">as an orator, vii, 120;</span><br /> +<span style="margin-left: 1em;">quarrel of, with the Church, vii, 116;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 35; v, 183; vi, 50; ix, 187, 194, 210;</span><br /> +<span style="margin-left: 1em;">spiritual experiences of, viii, 181;</span><br /> +<span style="margin-left: 1em;">John Tetzel and, vii, 123;</span><br /> +<span style="margin-left: 1em;">and the 95 Theses, vii, 122, 129;</span><br /> +<span style="margin-left: 1em;">in the Castle of Wartburg, vii, 153;</span><br /> +<span style="margin-left: 1em;">at the University of Wittenberg, vii, 117.</span><br /> +<br /> +Lyceum, the, iii, 188;<br /> +<span style="margin-left: 1em;">the New England, vii, 325.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_418" id="XIV_Page_418">418</a></span><i>Lycidas</i>, Milton, v, 137.<br /> +<br /> +Lyell, Sir Charles, xii, 372;<br /> +<span style="margin-left: 1em;">Darwin and, xii, 223.</span><br /> +<br /> +Lyman, Theodore, mayor of Boston, vii, 390.<br /> +<br /> +Lyon, Emma, Lady Hamilton, xiii, 408.<br /> +<br /> +<br /> +Macaulay, Thomas B., iv, 193;<br /> +<span style="margin-left: 1em;">appearance of, v, 176;</span><br /> +<span style="margin-left: 1em;">father of, v, 177;</span><br /> +<span style="margin-left: 1em;">mother of, v, 178;</span><br /> +<span style="margin-left: 1em;">boyishness of, v, 178;</span><br /> +<span style="margin-left: 1em;">his love of frolic, v, 179;</span><br /> +<span style="margin-left: 1em;">college life of, v, 181;</span><br /> +<span style="margin-left: 1em;">literary style of, v, 182;</span><br /> +<span style="margin-left: 1em;">his law practise, v, 184;</span><br /> +<span style="margin-left: 1em;">political life of, v, 186;</span><br /> +<span style="margin-left: 1em;">as an orator, v, 187;</span><br /> +<span style="margin-left: 1em;">fame of, v, 189;</span><br /> +<span style="margin-left: 1em;">commissioner of Board of Control, v, 189;</span><br /> +<span style="margin-left: 1em;">legal adviser of the Supreme Council of India, v, 192;</span><br /> +<span style="margin-left: 1em;">Secretary of War, v, 195;</span><br /> +<span style="margin-left: 1em;">Lord Rector of the University of Glasgow, v, 196;</span><br /> +<span style="margin-left: 1em;">elevation to the peerage, v, 197;</span><br /> +<span style="margin-left: 1em;">estimate of Jane Austen, ii, 254;</span><br /> +<span style="margin-left: 1em;">on Edmund Burke, vii, 173;</span><br /> +<span style="margin-left: 1em;">quoted, v, 238; vii, 180; vii, 199;</span><br /> +<span style="margin-left: 1em;">Rubens compared with, v, 176.</span><br /> +<br /> +Macbeth, Lady, i, 75.<br /> +<br /> +McCarthy, Justin, on J. S. Mill, xiii, 160;<br /> +<span style="margin-left: 1em;">on Parnell, xiii, 199.</span><br /> +<br /> +McCormick, Cyrus H., ix, 285; xi, 196.<br /> +<br /> +McCormick reaper, the, xi, 328.<br /> +<br /> +McGuffy's Third Reader, ix, 317.<br /> +<br /> +Machiavelli's use of women, vi, 81.<br /> +<br /> +Mackaye, Steele, quoted, viii, 168.<br /> +<br /> +Mackay, Mrs. J. W., experience of, with Meissonier, iv, 136.<br /> +<br /> +McKinley, William, President, vi, 336;<br /> +<span style="margin-left: 1em;">death of, viii, 291.</span><br /> +<br /> +MacLaren, Ian, xiii, 24;<br /> +<span style="margin-left: 1em;">on Scotch penuriousness, xi, 264.</span><br /> +<br /> +MacMonnies, Frederick William, xiv, <a href='#XIV_Page_29'><b>29</b></a>.<br /> +<br /> +Macready and Robert Browning, v, 55;<br /> +<span style="margin-left: 1em;">quoted, i, 250.</span><br /> +<br /> +McSorley, Rev. Hugh, and Bradlaugh, ix, 262.<br /> +<br /> +Madame Tussaud's Wax-works, iv, 344.<br /> +<br /> +Madison and Jefferson, iii, 54.<br /> +<br /> +Madrid, court life at, iv, 104;<br /> +<span style="margin-left: 1em;">Royal Gallery at, iv, 109.</span><br /> +<br /> +Mæcenas, Horace and, i, 179;<br /> +<span style="margin-left: 1em;">referred to, iv, 291;</span><br /> +<span style="margin-left: 1em;">Saint-Simon compared with, viii, 247.</span><br /> +<br /> +Maeterlinck, quoted, vii, 245.<br /> +<br /> +Mahomet, quoted, iv, 86.<br /> +<br /> +<i>Maid of Athens</i>, Byron, v, 222.<br /> +<br /> +Mail, proposing marriage by, v, 226.<br /> +<br /> +Maintenon, Madame de, ii, 54.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_419" id="XIV_Page_419">419</a></span><i>Maker of Lenses, The</i>, Zangwill, viii, 217.<br /> +<br /> +<i>Makers of Venice, The</i>, Mrs. Oliphant, vi, 248.<br /> +<br /> +<i>Malay Archipelago, The</i>, Wallace, xii, 366, 382.<br /> +<br /> +Mallory, referred to, v, 14.<br /> +<br /> +Malthus and Edmund Burke, ix, 11.<br /> +<br /> +Managing editors, characterized, vi, 315.<br /> +<br /> +Mandeville, Sir John, xii, 144.<br /> +<br /> +<i>Manfred</i>, Byron, v, 230.<br /> +<br /> +Mangasarian, M. M., 283.<br /> +<br /> +Man, the ideal, iv, 6;<br /> +<span style="margin-left: 1em;">an invocation to, v, 201;</span><br /> +<span style="margin-left: 1em;">a land animal, ix, 82;</span><br /> +<span style="margin-left: 1em;">Nature and, viii, 394.</span><br /> +<br /> +Mankind, saviors of, ii, 197.<br /> +<br /> +<i>Manners and Fashion</i>, Herbert Spencer, viii, 342.<br /> +<br /> +<i>Manners</i>, Casa, v, 259.<br /> +<br /> +Manning, Cardinal, i, 108;<br /> +<span style="margin-left: 1em;">on evolution, xii, 227.</span><br /> +<br /> +Mansfield, Richard, xii, 169.<br /> +<br /> +<i>Man's Place in Nature</i>, Huxley, xii, 327.<br /> +<br /> +Manual labor, xii, 341.<br /> +<br /> +Manual training, vi, 194.<br /> +<br /> +<i>Man Who Laughs, The</i>, Hugo, i, 200.<br /> +<br /> +<i>Man With the Hoe, The</i>, Millet, iv, 262.<br /> +<br /> +Marat, Jean Paul, appearance of, vii, 210;<br /> +<span style="margin-left: 1em;">assassination of, by Charlotte Corday, vii, 227;</span><br /> +<span style="margin-left: 1em;">character of, vii, 220;</span><br /> +<span style="margin-left: 1em;">Danton and, vii, 224;</span><br /> +<span style="margin-left: 1em;">education of, vii, 210;</span><br /> +<span style="margin-left: 1em;">Benjamin Franklin and, vii, 214, 219;</span><br /> +<span style="margin-left: 1em;">life of, in Paris, vii, 222;</span><br /> +<span style="margin-left: 1em;">medical diploma of, vii, 215;</span><br /> +<span style="margin-left: 1em;">Mirabeau and, vii, 223;</span><br /> +<span style="margin-left: 1em;">Thomas Paine and, vii, 220; ix, 178;</span><br /> +<span style="margin-left: 1em;">Robespierre and, vii, 224;</span><br /> +<span style="margin-left: 1em;">wife of, vii, 226.</span><br /> +<br /> +Marat, Simonne Evrard, to the convention, vii, 207.<br /> +<br /> +Marconi, Guglielmo, xii, 21.<br /> +<br /> +Marco Polo, xii, 144.<br /> +<br /> +Marcus Aurelius, ii, 195;<br /> +<span style="margin-left: 1em;">boyhood of, viii, 113;</span><br /> +<span style="margin-left: 1em;">Canon Farrar on, viii, 124;</span><br /> +<span style="margin-left: 1em;">on love, viii, 138;</span><br /> +<span style="margin-left: 1em;"><i>Meditations</i> of, viii, 140;</span><br /> +<span style="margin-left: 1em;">Ouida regarding, viii, 130;</span><br /> +<span style="margin-left: 1em;">Renan on, viii, 131.</span><br /> +<br /> +<i>Marguerite</i>, Ary Scheffer's painting, iv, 246.<br /> +<br /> +<i>Mariana</i>, Tennyson, v, 78.<br /> +<br /> +Marie Antoinette, Queen of France, ii, 176, 264;<br /> +<span style="margin-left: 1em;">quoted, xiii, 92.</span><br /> +<br /> +Marie Louise, wife of Napoleon, ii, 281.<br /> +<br /> +<i>Marion Delorme</i>, Victor Hugo, i, 190.<br /> +<br /> +Market-places, French, iv, 124.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_420" id="XIV_Page_420">420</a></span>Marlborough, Duchess of, and William Pitt, vii, 193.<br /> +<br /> +Marriage, iv, 135;<br /> +<span style="margin-left: 1em;">Goethe on, ix, 383;</span><br /> +<span style="margin-left: 1em;">a mousetrap, ii, 190;</span><br /> +<span style="margin-left: 1em;">philosophy and, viii, 251;</span><br /> +<span style="margin-left: 1em;">Roman laws regarding, viii, 133;</span><br /> +<span style="margin-left: 1em;">Bernard Shaw on, ix, 44;</span><br /> +<span style="margin-left: 1em;">Swedenborg on, viii, 191;</span><br /> +<span style="margin-left: 1em;">divorce and, viii, 134;</span><br /> +<span style="margin-left: 1em;">Voltaire on, viii, 290.</span><br /> +<br /> +Marsden, Mark, and Charles Bradlaugh, ix, 246.<br /> +<br /> +Marshall, John, Chief Justice, on the Book of Nature, ix, 387.<br /> +<br /> +Marshall, Peter Paul, landscape-gardener, v, 20.<br /> +<br /> +Marston Moor, battle of, ix, 322.<br /> +<br /> +Martignac, M. de, and Victor Hugo, i, 190.<br /> +<br /> +Martineau, Elizabeth, ii, 72.<br /> +<br /> +Martineau, Harriet, ii, 109, 163, 190; xiv, <a href='#XIV_Page_89'><b>89</b></a>;<br /> +<span style="margin-left: 1em;">childhood of, ii, 71;</span><br /> +<span style="margin-left: 1em;">love-affair of, ii, 78;</span><br /> +<span style="margin-left: 1em;">religion of, ii, 79;</span><br /> +<span style="margin-left: 1em;">influence of, ii, 83;</span><br /> +<span style="margin-left: 1em;">as a writer, ii, 85;</span><br /> +<span style="margin-left: 1em;">home of, i, 218;</span><br /> +<span style="margin-left: 1em;">Auguste Comte and, viii, 257.</span><br /> +<br /> +Martineau, Doctor James, theologian, ii, 71; viii, 258.<br /> +<br /> +Martyn, Carlos, on Beecher, vii, 395.<br /> +<br /> +Martyr and persecutor, ii, 195.<br /> +<br /> +Martyrdom, compensations of, vi, 171.<br /> +<br /> +Marx, Karl, xii, 256; xiii, 362.<br /> +<br /> +Mary, Queen of Scots, i, 261;<br /> +<span style="margin-left: 1em;">John Knox and, ix, 210.</span><br /> +<br /> +Masaccio, frescos of, vi, 28.<br /> +<br /> +Mason and Dixon's Line, iv, 124.<br /> +<br /> +Massachusetts, delegates of, to Philadelphia Convention, iii, 90.<br /> +<br /> +Massachusetts Institute of Technology, x, 204.<br /> +<br /> +"Massachusetts Jemmy," i, 251.<br /> +<br /> +Massachusetts Metaphysical College, x, 334.<br /> +<br /> +Massillon on preachers and preaching, viii, 168.<br /> +<br /> +Masterpiece of God, the, vi, 58.<br /> +<br /> +Mathematics, limits of, viii, 173.<br /> +<br /> +Mather, Cotton, i, 112, 237; iii, 101; viii, 23.<br /> +<br /> +Mather, Increase, ix, 338.<br /> +<br /> +Mathews, Charles, the actor, i, 231.<br /> +<br /> +Mayas, the, vi, 15.<br /> +<br /> +<i>Mayflower</i>, sailing of the, iv, 189.<br /> +<br /> +<i>May Queen, The</i>, Tennyson, v, 78.<br /> +<br /> +Mazzini, i, 56;<br /> +<span style="margin-left: 1em;">Emerson compared with, ix, 94;</span><br /> +<span style="margin-left: 1em;">Garibaldi and, ix, 94, 101;</span><br /> +<span style="margin-left: 1em;">friend of the Rossettis, ii, 122.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_421" id="XIV_Page_421">421</a></span>Mecklenburg Declaration of Independence, ix, 287.<br /> +<br /> +Medici, Catherine de, iv, 31.<br /> +<br /> +Medici family, expulsion of, from Florence, iv, 32.<br /> +<br /> +Medici, Giuliano, Michelangelo's statue of, iv, 32.<br /> +<br /> +Medici, Lorenzo de, Michelangelo's statue of, iv, 31.<br /> +<br /> +Medici, Marie de, iv, 97;<br /> +<span style="margin-left: 1em;">Rubens' pictures of, iv, 176.</span><br /> +<br /> +Medicine, profession of, iii, 99;<br /> +<span style="margin-left: 1em;">the science of, xii, 265.</span><br /> +<br /> +<i>Meditations</i>, Descartes, viii, 226.<br /> +<br /> +<i>Meditations</i>, Marcus Aurelius, i, 248; viii, 140.<br /> +<br /> +Mediums, spiritual, viii, 174.<br /> +<br /> +Meissonier, Jean Louis Ernest, French painter, iv, 124;<br /> +<span style="margin-left: 1em;">mother of, iv, 125;</span><br /> +<span style="margin-left: 1em;">his passion for collecting, iv, 126;</span><br /> +<span style="margin-left: 1em;">love for his mother, iv, 127; vii, 350;</span><br /> +<span style="margin-left: 1em;">early efforts in painting, iv, 129;</span><br /> +<span style="margin-left: 1em;">marriage of, iv, 131;</span><br /> +<span style="margin-left: 1em;">his artistic conscience, iv, 133;</span><br /> +<span style="margin-left: 1em;">domestic affairs of, iv, 135;</span><br /> +<span style="margin-left: 1em;">his experience with Mrs. J. W. Mackay, iv, 136;</span><br /> +<span style="margin-left: 1em;">his "vindication," iv, 139;</span><br /> +<span style="margin-left: 1em;">his extravagance, iv, 139;</span><br /> +<span style="margin-left: 1em;"><i>Conversations</i> of, iv, 140;</span><br /> +<span style="margin-left: 1em;">his masterpiece, iv, 142;</span><br /> +<span style="margin-left: 1em;">death of, iv, 141;</span><br /> +<span style="margin-left: 1em;">Fortuny compared with, iv, 218;</span><br /> +<span style="margin-left: 1em;">friend of Millet, iv, 282;</span><br /> +<span style="margin-left: 1em;">genius of, iv, 329;</span><br /> +<span style="margin-left: 1em;">other self of, v, 106;</span><br /> +<span style="margin-left: 1em;">pictures by, owned in America, iv, 142;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 218, 330.</span><br /> +<br /> +Melancholy, v, 268;<br /> +<span style="margin-left: 1em;">humor and, v, 156.</span><br /> +<br /> +Melania, the Nun of Tagaste, vi, 62.<br /> +<br /> +Melchizedek, the order of, ix, 70.<br /> +<br /> +Memoirs of Benvenuto Cellini, vi, 273.<br /> +<br /> +<i>Memories</i>, Max Muller, vi, 40.<br /> +<br /> +Mendelssohn, Felix, ix, 285;<br /> +<span style="margin-left: 1em;">boyhood of, xiv, <a href='#XIV_Page_164'><b>164</b></a>;</span><br /> +<span style="margin-left: 1em;">Mozart compared with, ix, 163;</span><br /> +<span style="margin-left: 1em;">Queen Victoria and, xiv, <a href='#XIV_Page_181'><b>181</b></a>;</span><br /> +<span style="margin-left: 1em;">Thorwaldsen and, vi, 116.</span><br /> +<br /> +Mendelssohn, Moses, on the Ghetto, viii, 223.<br /> +<br /> +Men, grown-up children, vii, 350.<br /> +<br /> +Mengs, Raphael, on Velasquez, vi, 158.<br /> +<br /> +Mennonite, the, ii, 189.<br /> +<br /> +Mennonites, the, Napoleon and, viii, 212;<br /> +<span style="margin-left: 1em;">Spinoza and, viii, 211.</span><br /> +<br /> +Men of genius, i, 75.<br /> +<br /> +Mentation, art of, viii, 355.<br /> +<br /> +Mephisto, iii, 233;<br /> +<span style="margin-left: 1em;">Disraeli compared with, v, 320.</span><br /> +<br /> +Mephistopheles, referred to, v, 132.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_422" id="XIV_Page_422">422</a></span>Merchandising, old-time methods of, ix, 131.<br /> +<br /> +Merchant, age of the, xi, 306.<br /> +<br /> +<i>Merchant of Venice, The</i>, Shakespeare, i, 317.<br /> +<br /> +Meredith, George, ii, 127.<br /> +<br /> +<i>Merlin</i>, Tennyson, v, 68.<br /> +<br /> +<i>Message to Garcia</i>, how written, i, p xxix.<br /> +<br /> +Messalina, Valeria, wife of Claudius, viii, 62.<br /> +<br /> +<i>Messiah</i>, Handel, xiv, <a href='#XIV_Page_269'><b>269</b></a>.<br /> +<br /> +Messianic instinct, the, v, 109.<br /> +<br /> +Metaphysics, x, 344;<br /> +<span style="margin-left: 1em;">Kant on, viii, 148.</span><br /> +<br /> +<i>Metaphysics of Love</i>, Schopenhauer, viii, 382.<br /> +<br /> +Metaphysics, science and theology distinguished from, viii, 267.<br /> +<br /> +Methodism, ix, 279;<br /> +<span style="margin-left: 1em;">Lecky on, ix, 49;</span><br /> +<span style="margin-left: 1em;">Moravianism and, ix, 32.</span><br /> +<br /> +Methodists, ii, 227;<br /> +<span style="margin-left: 1em;">origin of name, ix, 25.</span><br /> +<br /> +Michallon, Achille, companion of Corot, vi, 198.<br /> +<br /> +Michelangelo, i, 131; iv, 90; xii, 84;<br /> +<span style="margin-left: 1em;">age of, iv, 6; ix, 94;</span><br /> +<span style="margin-left: 1em;">birth of, iv, 7;</span><br /> +<span style="margin-left: 1em;">influence of, upon Leonardo, iv, 7;</span><br /> +<span style="margin-left: 1em;">appearance of, iv, 7;</span><br /> +<span style="margin-left: 1em;">manner of living, iv, 7;</span><br /> +<span style="margin-left: 1em;">compared with Leonardo, iv, 8;</span><br /> +<span style="margin-left: 1em;">his figures of women, iv, 9;</span><br /> +<span style="margin-left: 1em;">beginning of his artistic work, iv, 9;</span><br /> +<span style="margin-left: 1em;">his parents, iv, 10;</span><br /> +<span style="margin-left: 1em;">his apprenticeship, iv, 13;</span><br /> +<span style="margin-left: 1em;">his patron, Lorenzo, iv, 13;</span><br /> +<span style="margin-left: 1em;">life of, in Florence, iv, 15;</span><br /> +<span style="margin-left: 1em;">arrival in Bologna, iv, 16;</span><br /> +<span style="margin-left: 1em;">life of, in Rome, iv, 18;</span><br /> +<span style="margin-left: 1em;">his work in Florence, iv, 22;</span><br /> +<span style="margin-left: 1em;">the Sistine Chapel, iv, 28;</span><br /> +<span style="margin-left: 1em;">the Church of San Lorenzo, iv, 31;</span><br /> +<span style="margin-left: 1em;">chief architect of Saint Peter's, iv, 34;</span><br /> +<span style="margin-left: 1em;">death of, iv, 35;</span><br /> +<span style="margin-left: 1em;">sonnets of, iv, 36;</span><br /> +<span style="margin-left: 1em;">America's tribute to, iv, 35;</span><br /> +<span style="margin-left: 1em;">Sebastian Bach compared with, xiv, <a href='#XIV_Page_137'><b>137</b></a>;</span><br /> +<span style="margin-left: 1em;">Cellini and, vi, 281;</span><br /> +<span style="margin-left: 1em;">Landseer compared with, iv, 326;</span><br /> +<span style="margin-left: 1em;">Leonardo and, vi, 28;</span><br /> +<span style="margin-left: 1em;">other self of, v, 106;</span><br /> +<span style="margin-left: 1em;">rivalry between Raphael and, iv, 31;</span><br /> +<span style="margin-left: 1em;">on Raphael, vi, 36;</span><br /> +<span style="margin-left: 1em;">compared with Titian, iv, 146;</span><br /> +<span style="margin-left: 1em;">compared with Walt Whitman, i, 170.</span><br /> +<br /> +Michel, Emile, on Rembrandt, iv, 40.<br /> +<br /> +Microscopic portrayal, vi, 203.<br /> +<br /> +Middendorf, William, and Froebel, x, 258.<br /> +<br /> +Middle Ages, the, x, 127;<br /> +<span style="margin-left: 1em;">art and life in the, v, 18;</span><br /> +<span style="margin-left: 1em;">monks of the, ii, 189.</span><br /> +<br /> +Middle class, the, x, 225.<br /> +<br /> +<i>Midsummer Night's Dream</i>, Shakespeare, i, 304.<br /> +<br /> +<i>Mignon</i>, Ary Scheffer's painting, iv, 246.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_423" id="XIV_Page_423">423</a></span>Milan Academy of Art, founding of, vi, 55.<br /> +<br /> +Milburn, the blind preacher, iii, 40; v, 85.<br /> +<br /> +Millais' friendship for Thackeray, i, 236.<br /> +<br /> +Miller, Hugh, geologist, xii, 265.<br /> +<br /> +Miller, Joaquin, referred to, i, 195; xiii, 22.<br /> +<br /> +Millet, Francois, his influence on art, iv, 269;<br /> +<span style="margin-left: 1em;">nature of, iv, 261;</span><br /> +<span style="margin-left: 1em;">ancestry of, iv, 263;</span><br /> +<span style="margin-left: 1em;">Parisian experience of, iv, 267;</span><br /> +<span style="margin-left: 1em;">poverty of, iv, 272;</span><br /> +<span style="margin-left: 1em;">marriage of, iv, 273;</span><br /> +<span style="margin-left: 1em;">student in the atelier of Delaroche, iv, 274;</span><br /> +<span style="margin-left: 1em;">second marriage of, iv, 275;</span><br /> +<span style="margin-left: 1em;">devotion of, to wife and children, iv, 276;</span><br /> +<span style="margin-left: 1em;">home of, in Barbizon, iv, 278;</span><br /> +<span style="margin-left: 1em;">friends of, iv, 279;</span><br /> +<span style="margin-left: 1em;">recognition of, iv, 280;</span><br /> +<span style="margin-left: 1em;">vogue of, iv, 282;</span><br /> +<span style="margin-left: 1em;"><i>The Angelus</i>, vi, 215;</span><br /> +<span style="margin-left: 1em;">Corot and, vi, 213;</span><br /> +<span style="margin-left: 1em;">Dore compared with, iv, 346;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 205;</span><br /> +<span style="margin-left: 1em;">style of, vi, 214;</span><br /> +<span style="margin-left: 1em;">Wagner compared with, iv, 259;</span><br /> +<span style="margin-left: 1em;">Whitman compared with, iv, 259.</span><br /> +<br /> +Millionaires, v, 311; xi, 389;<br /> +<span style="margin-left: 1em;">limitations of, xi, 226;</span><br /> +<span style="margin-left: 1em;">machine-made, v, 81.</span><br /> +<br /> +Mill, John Stuart, i, 95; xiii, 85;<br /> +<span style="margin-left: 1em;"><i>Autobiography</i>, xiii, 153;</span><br /> +<span style="margin-left: 1em;">Bradlaugh and, xiii, 171;</span><br /> +<span style="margin-left: 1em;">Robert Browning compared with, xiii, 170;</span><br /> +<span style="margin-left: 1em;">Thomas Carlyle on, xiii, 151;</span><br /> +<span style="margin-left: 1em;">on Coleridge, v, 289;</span><br /> +<span style="margin-left: 1em;">as a member of the House of Commons, xiii, 171;</span><br /> +<span style="margin-left: 1em;">Auguste Comte and, viii, 257;</span><br /> +<span style="margin-left: 1em;">Henry George and, ix, 74;</span><br /> +<span style="margin-left: 1em;">Huxley compared with, xii, 311;</span><br /> +<span style="margin-left: 1em;"><i>Logic</i>, xiii, 160;</span><br /> +<span style="margin-left: 1em;">Justin McCarthy on, xiii, 160;</span><br /> +<span style="margin-left: 1em;">Macaulay on, v, 185;</span><br /> +<span style="margin-left: 1em;">John Morley on, xiii, 160;</span><br /> +<span style="margin-left: 1em;"><i>On Liberty</i>, xiii, 142;</span><br /> +<span style="margin-left: 1em;">quoted, vii, 217;</span><br /> +<span style="margin-left: 1em;">Bishop Spalding on, xiii, 162.</span><br /> +<br /> +<i>Mill on the Floss, The</i>, Eliot, i, 53; v, 148.<br /> +<br /> +Mills, B. Fay, ix, 184, 283.<br /> +<br /> +Mills hotels, the, xi, 327.<br /> +<br /> +Milnes, Monckton, and Robert Browning, v, 55;<br /> +<span style="margin-left: 1em;">Alfred Tennyson and, v, 76.</span><br /> +<br /> +Milton, Sir Christopher, quoted, v, 120.<br /> +<br /> +Milton, John, ii, 76;<br /> +<span style="margin-left: 1em;">home of, in Bread Street, London, v, 119;</span><br /> +<span style="margin-left: 1em;">father of, v, 119;</span><br /> +<span style="margin-left: 1em;">youth of, v, 121;</span><br /> +<span style="margin-left: 1em;">education of, v, 122;</span><br /> +<span style="margin-left: 1em;">life of, at Cambridge, v, 123;</span><br /> +<span style="margin-left: 1em;">his ascetic nature, v, 124;</span><br /> +<span style="margin-left: 1em;">life of, at Horton, v, 126;</span><br /> +<span style="margin-left: 1em;">influence of mother on, v, 126;</span><br /> +<span style="margin-left: 1em;">his marital experiences, v, 128;</span><br /> +<span style="margin-left: 1em;">his tractate on divorce, v, 130;</span><br /> +<span style="margin-left: 1em;">travels of, v, 136;</span><br /> +<span style="margin-left: 1em;">his political pamphlets, v, 137;</span><br /> +<span style="margin-left: 1em;">his surpassing genius, v, 139;</span><br /> +<span style="margin-left: 1em;">Lord Byron compared with, v, 230;</span><br /> +<span class='pagenum'><a name="XIV_Page_424" id="XIV_Page_424">424</a></span><span style="margin-left: 1em;">influence of Dante on, xiii, 137;</span><br /> +<span style="margin-left: 1em;">Dore's illustrations of the works of, iv, 338;</span><br /> +<span style="margin-left: 1em;">Galileo and, xii, 82;</span><br /> +<span style="margin-left: 1em;">Heaven and, i, 179;</span><br /> +<span style="margin-left: 1em;">Macaulay on, v, 181;</span><br /> +<span style="margin-left: 1em;">referred to, v, 83;</span><br /> +<span style="margin-left: 1em;">Satan of, v, 320;</span><br /> +<span style="margin-left: 1em;">as a secretary, v, 26;</span><br /> +<span style="margin-left: 1em;">and ship-money, ix, 316.</span><br /> +<br /> +Mind, the supremacy of, viii, 161.<br /> +<br /> +Mineptah, the great Pharaoh, x, 17.<br /> +<br /> +Minerva, ii, 43.<br /> +<br /> +Ministers, sons of, iii, 102.<br /> +<br /> +Mintage of wisdom, i, p xii.<br /> +<br /> +Mirabeau, Marat and, vii, 223;<br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 178;</span><br /> +<span style="margin-left: 1em;">quoted, ix, 387;</span><br /> +<span style="margin-left: 1em;">Madame de Stael compared with, ii, 183.</span><br /> +<br /> +Mission furniture, i, p xxv.<br /> +<br /> +Missions of California, x, 163.<br /> +<br /> +Missouri River, referred to, i, 123.<br /> +<br /> +Mitford, Mary Russell, ii, 26; v, 59;<br /> +<span style="margin-left: 1em;">life of Dean Swift by, i, 143.</span><br /> +<br /> +Mobocrats, vii, 407.<br /> +<br /> +<i>Modern Painters</i>, Ruskin, i, 89; v, 246; vi, 329.<br /> +<br /> +Modesty, definition of, x, 16.<br /> +<br /> +Mohammedans, expulsion of, from Spain, viii, 207.<br /> +<br /> +Mohammed, the religion of, ix, 375.<br /> +<br /> +Mommsen, Theodor, historian, xi, 291.<br /> +<br /> +Monahan, Michael, iii, p xii.<br /> +<br /> +<i>Mona Lisa, The</i>, vi, 41;<br /> +<span style="margin-left: 1em;">Walter Pater on, vi, 58.</span><br /> +<br /> +Monasteries, age of the, xi, 306;<br /> +<span style="margin-left: 1em;">as mendicant institutions, vii, 113.</span><br /> +<br /> +Monastic impulse, the, vii, 87, 111; x, 166, 119, 304.<br /> +<br /> +Monasticism, x, 302;<br /> +<span style="margin-left: 1em;">forms of, vii, 111.</span><br /> +<br /> +Monastic life, vii, 86.<br /> +<br /> +<i>Money-changers</i>, Rembrandt, iv, 64.<br /> +<br /> +Mongoose, story of the imaginary, ix, 300.<br /> +<br /> +Monism, xii, 256.<br /> +<br /> +Monogamy, Ernst Haeckel on, x, 305.<br /> +<br /> +Monroe, James, and Thomas Paine, ix, 160.<br /> +<br /> +<i>Monstrous Regiment of Women, The</i>, John Knox, ix, 210.<br /> +<br /> +Montague, Charles, Lord Halifax, quoted, v, 244.<br /> +<br /> +Montaigne, quoted, v, 151;<br /> +<span style="margin-left: 1em;">referred to, iii, 35.</span><br /> +<br /> +Montebello, home of Empress Josephine in, ii, 275.<br /> +<br /> +Monte Cassino, Benedictine monastery, x, 315.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_425" id="XIV_Page_425">425</a></span>Montesquieu on heaven, viii, 130.<br /> +<br /> +Monticello, home of Jefferson, iii, 69.<br /> +<br /> +<i>Moonlight Sonata</i>, Beethoven, xiv, <a href='#XIV_Page_277'><b>277</b></a>.<br /> +<br /> +Moore, George, and Corot, vi, 205.<br /> +<br /> +Moore, Thomas, i, 155, 280;<br /> +<span style="margin-left: 1em;">birthplace of, i, 156;</span><br /> +<span style="margin-left: 1em;">Lord Byron and, v, 224;</span><br /> +<span style="margin-left: 1em;">Disraeli and, v, 333;</span><br /> +<span style="margin-left: 1em;">Dore's illustrations of the works of, iv, 338.</span><br /> +<br /> +Moqui Indians, the, viii, 46.<br /> +<br /> +Morality, v, 226;<br /> +<span style="margin-left: 1em;">defined, x, 318;</span><br /> +<span style="margin-left: 1em;">Schopenhauer on, viii, 377;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer on, ix, 191.</span><br /> +<br /> +Moravians, John Wesley and the, ix, 31.<br /> +<br /> +More, Hannah, Edmund Burke and, vii, 161;<br /> +<span style="margin-left: 1em;">Macaulay and, v, 181;</span><br /> +<span style="margin-left: 1em;">friend of Reynolds, iv, 305.</span><br /> +<br /> +More, Sir Thomas, i, 124; x, 117.<br /> +<br /> +Morgan, J. Pierpont, vi, 72; vii, 193;<br /> +<span style="margin-left: 1em;">Patrick Sheedy and, vi, 145.</span><br /> +<br /> +Morley, John, xii, 412;<br /> +<span style="margin-left: 1em;">Charles Bradlaugh and, ix, 271;</span><br /> +<span style="margin-left: 1em;">on Lord Byron, v, 215;</span><br /> +<span style="margin-left: 1em;">on Richard Cobden, ix, 140, 153;</span><br /> +<span style="margin-left: 1em;">on J. S. Mill, xiii, 160;</span><br /> +<span style="margin-left: 1em;">quoted, vi, 275;</span><br /> +<span style="margin-left: 1em;">on Servetus, ix, 202.</span><br /> +<br /> +Mormon, the, ii, 189.<br /> +<br /> +<i>Morning</i>, Michelangelo, iv, 32.<br /> +<br /> +<i>Morning</i>, Thorwaldsen, vi, 123.<br /> +<br /> +Morris chair, the, v, 21.<br /> +<br /> +Morris, Gouverneur, iii, 239.<br /> +<br /> +Morris, Nelson, and Philip D. Armour, xi, 189.<br /> +<br /> +Morris, Robert, iii, 171; xi, 94.<br /> +<br /> +Morris, Roger, Colonel, iii, 19;<br /> +<span style="margin-left: 1em;">estate of, xi, 217.</span><br /> +<br /> +Morris, William, parents of, v, 11;<br /> +<span style="margin-left: 1em;">education of, v, 12;</span><br /> +<span style="margin-left: 1em;">early experience of, in architecture, v, 15;</span><br /> +<span style="margin-left: 1em;">marriage of, v, 16:</span><br /> +<span style="margin-left: 1em;">the Preraphaelite Brotherhood, v, 18;</span><br /> +<span style="margin-left: 1em;">socialism of, v, 23;</span><br /> +<span style="margin-left: 1em;">shops of, at Hammersmith, v, 27;</span><br /> +<span style="margin-left: 1em;">appearance of, v, 27;</span><br /> +<span style="margin-left: 1em;">meeting of Elbert Hubbard with, v, 29, 32;</span><br /> +<span style="margin-left: 1em;">associates of, v, 29;</span><br /> +<span style="margin-left: 1em;">influence of, v, 25, 33; viii, 205;</span><br /> +<span style="margin-left: 1em;">American art and literature and, v, 32;</span><br /> +<span style="margin-left: 1em;">criticisms of, v, 23;</span><br /> +<span style="margin-left: 1em;">F. S. Ellis and, v, 29;</span><br /> +<span style="margin-left: 1em;">on Emerson, v, 32;</span><br /> +<span style="margin-left: 1em;">executive ability of, v, 20;</span><br /> +<span style="margin-left: 1em;">on fellowship, vi, 332;</span><br /> +<span style="margin-left: 1em;">on the Icelandic sagas, vi, 97;</span><br /> +<span style="margin-left: 1em;">on the ideal life, vi, 16;</span><br /> +<span style="margin-left: 1em;">influence of Burne-Jones on, v, 15;</span><br /> +<span style="margin-left: 1em;">Moses compared with, x, 37;</span><br /> +<span style="margin-left: 1em;">James Oliver compared with, xi, 74;</span><br /> +<span style="margin-left: 1em;">Robert Owen compared with, xii, 343;</span><br /> +<span style="margin-left: 1em;">philosophy of, xiii, 252;</span><br /> +<span style="margin-left: 1em;">on Preraphaelitism, vi, 11;</span><br /> +<span style="margin-left: 1em;">quoted, v, 23;</span><br /> +<span class='pagenum'><a name="XIV_Page_426" id="XIV_Page_426">426</a></span><span style="margin-left: 1em;">referred to, i, pp xvii, xxi; ii, 123, 125; v, 97; x, 117;</span><br /> +<span style="margin-left: 1em;">Ruskin compared with, xiii, 253;</span><br /> +<span style="margin-left: 1em;">versatility of, v, 34;</span><br /> +<span style="margin-left: 1em;">Wagner compared with, xiv, <a href='#XIV_Page_24'><b>24</b></a>;</span><br /> +<span style="margin-left: 1em;">Emery Walker and, v, 29;</span><br /> +<span style="margin-left: 1em;">on Walt Whitman, v, 32;</span><br /> +<span style="margin-left: 1em;">Professor Zueblin on, xi, 356.</span><br /> +<br /> +Morse, Samuel, inventor, xi, 68.<br /> +<br /> +<i>Morte d' Arthur</i>, Mallory, v, 14.<br /> +<br /> +Mosaic, art of, iv, 153.<br /> +<br /> +Mosaicist, art of the, iv 155.<br /> +<br /> +Moses, i, 306;<br /> +<span style="margin-left: 1em;">parentage of, x, 22;</span><br /> +<span style="margin-left: 1em;">life of, in the Egyptian court, x, 25;</span><br /> +<span style="margin-left: 1em;">Aristotle compared with, x, 13;</span><br /> +<span style="margin-left: 1em;">death of, x, 40;</span><br /> +<span style="margin-left: 1em;">Albrecht Durer compared with, x, 37;</span><br /> +<span style="margin-left: 1em;">the laws of, x, 11, 32;</span><br /> +<span style="margin-left: 1em;">William Morris compared with, x, 37;</span><br /> +<span style="margin-left: 1em;">wit and humor of, i, 238;</span><br /> +<span style="margin-left: 1em;">the world's first great teacher, x, 11.</span><br /> +<br /> +<i>Moses</i>, Michelangelo's statue of, iv, 27;<br /> +<span style="margin-left: 1em;">Rembrandt's, iv, 63.</span><br /> +<br /> +<i>Mother and Child</i>, Giotto, vi, 17.<br /> +<br /> +Motherhood, holiness of, vi, 249;<br /> +<span style="margin-left: 1em;">teaching and, vi, 249;</span><br /> +<span style="margin-left: 1em;">Whistler's tribute to, vi, 337.</span><br /> +<br /> +Mother-love, v, 127;<br /> +<span style="margin-left: 1em;">Darwin on, iv, 46.</span><br /> +<br /> +Mothers-in-law, xiv, <a href='#XIV_Page_11'><b>11</b></a>.<br /> +<br /> +Motive power, vi, 250.<br /> +<br /> +Mountain-climbing, xii, 355.<br /> +<br /> +Mount Vernon, home of Washington, iii, 11.<br /> +<br /> +Moxon, Edward, publisher, ii, 233;<br /> +<span style="margin-left: 1em;">Robert Browning and, v, 46.</span><br /> +<br /> +Mozart, Wolfgang, Dudley Buck on, xiv, <a href='#XIV_Page_295'><b>295</b></a>;<br /> +<span style="margin-left: 1em;">Marie Antoinette and, xiv, <a href='#XIV_Page_305'><b>305</b></a>;</span><br /> +<span style="margin-left: 1em;">marriage of, xiv, <a href='#XIV_Page_326'><b>326</b></a>;</span><br /> +<span style="margin-left: 1em;">Mendelssohn compared with, xiv, <a href='#XIV_Page_163'><b>163</b></a>;</span><br /> +<span style="margin-left: 1em;">Rembrandt compared with, xiv, <a href='#XIV_Page_316'><b>316</b></a>;</span><br /> +<span style="margin-left: 1em;">the Empress Maria Theresa and, xiv, <a href='#XIV_Page_305'><b>305</b></a>.</span><br /> +<br /> +Muldoon, William, x, 249;<br /> +<span style="margin-left: 1em;">Pythagoras compared with, x, 72.</span><br /> +<br /> +Mullah Bah, Turkish wrestler, vii, 217.<br /> +<br /> +Muller, Johannes, zoologist, xii, 253.<br /> +<br /> +Muller, Max, <i>A Story of German Love</i>, viii, 192;<br /> +<span style="margin-left: 1em;"><i>Memories</i>, vi, 40.</span><br /> +<br /> +Mulready, artist, iv, 318;<br /> +<span style="margin-left: 1em;">grave of, i, 231;</span><br /> +<span style="margin-left: 1em;">Sydney Smith and, iv, 321.</span><br /> +<br /> +Munchausen, referred to, v, 221.<br /> +<br /> +Munich, galleries of, iv, 57.<br /> +<br /> +Munro, Doctor, patron of Turner, i, 127.<br /> +<br /> +Murano, glassworkers of, vi, 252.<br /> +<br /> +Murillo, Fortuny compared with, iv, 208;<br /> +<span style="margin-left: 1em;">pictures by, in England, iv, 189;</span><br /> +<span style="margin-left: 1em;">Velasquez and, vi, 183.</span><br /> +<br /> +Murray, Adirondack, ix, 358.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_427" id="XIV_Page_427">427</a></span>Murray, Lindley, grammarian, iii, 238.<br /> +<br /> +Muscular Christianity, ii, 196.<br /> +<br /> +Museum of Fine Arts, Boston, iii, 103.<br /> +<br /> +Music, v, 236; xiv, <a href='#XIV_Page_353'><b>353</b></a>;<br /> +<span style="margin-left: 1em;">Confucius on, x, 62;</span><br /> +<span style="margin-left: 1em;">Heine on, xiv, <a href='#XIV_Page_332'><b>332</b></a>;</span><br /> +<span style="margin-left: 1em;">modern, xiv, <a href='#XIV_Page_223'><b>223</b></a>;</span><br /> +<span style="margin-left: 1em;">power of, xiv, <a href='#XIV_Page_119'><b>119</b></a>;</span><br /> +<span style="margin-left: 1em;">a secondary sex manifestation, xiv, <a href='#XIV_Page_193'><b>193</b></a>.</span><br /> +<br /> +Musicians, a third sex, xiv, <a href='#XIV_Page_165'><b>165</b></a>.<br /> +<br /> +<i>Music Study in Germany</i>, Amy Fay, xiv, <a href='#XIV_Page_207'><b>207</b></a>.<br /> +<br /> +Musset, Alfred de, xiv, <a href='#XIV_Page_94'><b>94</b></a>.<br /> +<br /> +Mutual Admiration Society, vi, 331; viii, 240; xii, 305.<br /> +<br /> +<i>My Private Life</i>, Voltaire, viii, 312.<br /> +<br /> +Mythology, gods of, iii, 5;<br /> +<span style="margin-left: 1em;">Thorwaldsen's love for, vi, 97.</span><br /> +<br /> +<br /> +<i>Nabucodonosor</i>, Verdi, xiv, <a href='#XIV_Page_290'><b>290</b></a>.<br /> +<br /> +Napoleon Bonaparte, iv, 82, 128, 185, 193; v, 201;<br /> +<span style="margin-left: 1em;">Abbott's life of, vi, 129;</span><br /> +<span style="margin-left: 1em;">King Alfred compared with, x, 137;</span><br /> +<span style="margin-left: 1em;">Balzac and, xiii, 279;</span><br /> +<span style="margin-left: 1em;">visits Rosa Bonheur, ii, 159;</span><br /> +<span style="margin-left: 1em;">boyhood of, vi, 102;</span><br /> +<span style="margin-left: 1em;">Lord Byron and, v, 220;</span><br /> +<span style="margin-left: 1em;">Disraeli compared with, v, 321;</span><br /> +<span style="margin-left: 1em;">Edison compared with, i, 330;</span><br /> +<span style="margin-left: 1em;">Wolfgang Goethe and, i, 165; xi, 151;</span><br /> +<span style="margin-left: 1em;">at the grave of Rousseau, viii, 242;</span><br /> +<span style="margin-left: 1em;">Alexander Hamilton and, iii, 173;</span><br /> +<span style="margin-left: 1em;">the Jews and, xi, 152;</span><br /> +<span style="margin-left: 1em;">Pope Julius compared with, iv, 26;</span><br /> +<span style="margin-left: 1em;">Meissonier's admiration for, iv, 142;</span><br /> +<span style="margin-left: 1em;">the Mennonites and, viii, 212;</span><br /> +<span style="margin-left: 1em;">Marshal Ney and, viii, 242;</span><br /> +<span style="margin-left: 1em;">quoted, ii, 183; iv, 95; vii, 17;</span><br /> +<span style="margin-left: 1em;">on Rousseau, ix, 387;</span><br /> +<span style="margin-left: 1em;">Madame de Stael and, ii, 180.</span><br /> +<br /> +Napoleon II, son of Napoleon I, ii, 281.<br /> +<br /> +Napoleon III, emperor of France, ii, 279.<br /> +<br /> +<i>Natural History of Creation, The</i>, Haeckel, xii, 249.<br /> +<br /> +Natural religion, vi, 165.<br /> +<br /> +Natural selection, v, 47;<br /> +<span style="margin-left: 1em;">law of, v, 95.</span><br /> +<br /> +<i>Nature of Gothic, The</i>, Ruskin, v, 13.<br /> +<br /> +Nature, and man, ix, 394;<br /> +<span style="margin-left: 1em;">Michelangelo's fidelity to, iv, 24;</span><br /> +<span style="margin-left: 1em;">a symbol of spirit, xiv, <a href='#XIV_Page_79'><b>79</b></a>;</span><br /> +<span style="margin-left: 1em;">Emerson on, x, 306.</span><br /> +<br /> +<i>Nearer My God to Thee</i>, Adams, v, 48.<br /> +<br /> +Negro, education of the, x, 200.<br /> +<br /> +Negroes, souls of, iii, 101.<br /> +<br /> +Nelson, Horatio, boyhood of, xiii, 401;<br /> +<span style="margin-left: 1em;">character of, xiii, 405;</span><br /> +<span style="margin-left: 1em;">death of, ii, 69; xiii, 426;</span><br /> +<span style="margin-left: 1em;">Carlyle on, xiii, 429;</span><br /> +<span style="margin-left: 1em;">story of, ii, 123.</span><br /> +<br /> +Neo-Platonism, Hypatia on, x, 270;<br /> +<span style="margin-left: 1em;">New Thought compared with, x, 283.</span><br /> +<br /> +Nepotism, vii, 102.<br /> +<br /> +Nero, Roman Emperor, viii, 49; xii, 39;<br /> +<span class='pagenum'><a name="XIV_Page_428" id="XIV_Page_428">428</a></span><span style="margin-left: 1em;">Alcibiades compared with, viii, 71.</span><br /> +<br /> +Nervous prostration, viii, 254.<br /> +<br /> +Network, Johnson's definition of, v, 146.<br /> +<br /> +Neville, Richard, kingmaker, i, 302.<br /> +<br /> +Nevis, island of, iii, 153.<br /> +<br /> +New England Lyceum, the, vii, 325.<br /> +<br /> +New Harmony, Indiana, ix, 226; xii, 347;<br /> +<span style="margin-left: 1em;">community life at, xi, 43.</span><br /> +<br /> +<i>New Heloise</i>, Rousseau, ix, 393.<br /> +<br /> +New Jersey, mosquitoes of, iii, 23.<br /> +<br /> +New Lanark, social betterment in, xi, 32.<br /> +<br /> +Newman, John Henry, Cardinal, x, 362;<br /> +<span style="margin-left: 1em;">Servetus compared with, ix, 202.</span><br /> +<br /> +New Orleans, battle of, iii, 221.<br /> +<br /> +<i>New Paths</i>, Schumann, xiv, <a href='#XIV_Page_344'><b>344</b></a>.<br /> +<br /> +New Rochelle, Huguenot settlement, iii, 234.<br /> +<br /> +<i>News From Nowhere</i>, William Morris, v, 23.<br /> +<br /> +New Thought, viii, 17;<br /> +<span style="margin-left: 1em;">Neo-Platonism compared with, x, 283;</span><br /> +<span style="margin-left: 1em;">origin of, x, 280;</span><br /> +<span style="margin-left: 1em;">secondhand thought and, x, 284.</span><br /> +<br /> +Newton, Sir Isaac, the mathematician, i, 341; v, 134; xii, 84, 195, 409;<br /> +<span style="margin-left: 1em;">and the Bible, xii, 38;</span><br /> +<span style="margin-left: 1em;">boyhood of, xii, 12;</span><br /> +<span style="margin-left: 1em;">discovery of the law of gravitation, xii, 31;</span><br /> +<span style="margin-left: 1em;">fame of, xii, 40;</span><br /> +<span style="margin-left: 1em;">Galileo compared with, xii, 37;</span><br /> +<span style="margin-left: 1em;">insanity of, viii, 255;</span><br /> +<span style="margin-left: 1em;">inventor of the spectrum, xii, 34;</span><br /> +<span style="margin-left: 1em;">Laplace on, xii, 44;</span><br /> +<span style="margin-left: 1em;">Leonardo compared with, vi, 43;</span><br /> +<span style="margin-left: 1em;">Milton compared with, xii, 28;</span><br /> +<span style="margin-left: 1em;">Samuel Pepys and, xii, 42;</span><br /> +<span style="margin-left: 1em;">John Ray and, xii, 277;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer on, x, 366; xii, 13;</span><br /> +<span style="margin-left: 1em;">Mary Story and, xii, 23;</span><br /> +<span style="margin-left: 1em;">on the transmutation of metals, xii, 36;</span><br /> +<span style="margin-left: 1em;">Turner and, i, 131;</span><br /> +<span style="margin-left: 1em;">Voltaire on, x, 366;</span><br /> +<span style="margin-left: 1em;">Voltaire's sketch of, xii, 30.</span><br /> +<br /> +New woman, the, ii, 53.<br /> +<br /> +New York compared with London, ii, 118.<br /> +<br /> +New Zealand, i, p xxv.<br /> +<br /> +Niagara Falls, i, p xxv;<br /> +<span style="margin-left: 1em;">Stratford compared with, i, 309;</span><br /> +<span style="margin-left: 1em;">referred to by Goldsmith, i, 296.</span><br /> +<br /> +Nicholas V, Pope, quoted, vi, 31.<br /> +<br /> +Nicolay and Hay, life of Lincoln, ii, 303.<br /> +<br /> +Nietzsche, Friedrich, and Wagner, xiv, <a href='#XIV_Page_35'><b>35</b></a>.<br /> +<br /> +Niggerheads, i, p xxii.<br /> +<br /> +Nightingale, Florence, ii, 83.<br /> +<br /> +<i>Night</i>, Michelangelo, iv, 32.<br /> +<br /> +<i>Night</i>, Thorwaldsen, vi, 122.<br /> +<br /> +<i>Nightwatch</i>, Rembrandt, iv, 74.<br /> +<br /> +<i>Nocturne</i>, Whistler, vi, 345.<br /> +<br /> +<i>Non-conformist, The</i>, Spencer's contributions to, viii, 332.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_429" id="XIV_Page_429">429</a></span>Non-resistance, ii, 191.<br /> +<br /> +Nordau, Max, i, 163; vi, 286.<br /> +<br /> +Norsemen, home of, x, 127.<br /> +<br /> +North, Christopher, v, 266; xi, 264.<br /> +<br /> +Northcote, artist, iv, 318.<br /> +<br /> +North Pole, ii, 65.<br /> +<br /> +North Temperate Zone, the, v, 282.<br /> +<br /> +Northumberland, Earl of, i, 297.<br /> +<br /> +Northwest Territory, cession of, iii, 75.<br /> +<br /> +Nostalgia, v, 86; vi, 301; xiv, <a href='#XIV_Page_79'><b>79</b></a>.<br /> +<br /> +<i>Notes and Comments</i>, Spencer, viii, 336.<br /> +<br /> +<i>Not so Bad as We Seem</i>, Bulwer-Lytton, i, 250.<br /> +<br /> +Novalis on Spinoza, viii, 233.<br /> +<br /> +Novelist, art of the, i, 266; iii, 189.<br /> +<br /> +Noy, Attorney-General, domdaniel of attorneys, ix, 315.<br /> +<br /> +Noyes, John Humphrey, x, 117; xi, 167.<br /> +<br /> +Nunneries, vii, 112.<br /> +<br /> +Nurse, the trained, viii, 12.<br /> +<br /> +<br /> +O'Connell and Disraeli, v, 336.<br /> +<br /> +O'Connor, T. P., xiii, 177.<br /> +<br /> +Octavia, wife of Mark Antony, vii, 70.<br /> +<br /> +Octavius Cæsar, vii, 61.<br /> +<br /> +<i>Oedipe</i>, Voltaire, viii, 287.<br /> +<br /> +Officialism in America, vi, 146.<br /> +<br /> +Oglethorpe, James, and the Wesleys, ix, 27.<br /> +<br /> +Oil-painting, introduction of, vi, 259.<br /> +<br /> +Old maids, Charles Lamb on, ii, 214.<br /> +<br /> +<i>Old Oaken Bucket, The</i>, i, 223.<br /> +<br /> +<i>Old Temeraire, The</i>, Turner's painting of, i, 137.<br /> +<br /> +Olivarez and Richelieu, vi, 167, 180.<br /> +<br /> +Oliver chilled plow, the, xi, 65.<br /> +<br /> +Oliver, James, boyhood of, xi, 53;<br /> +<span style="margin-left: 1em;">Rev. Robert Collyer and, xi, 79;</span><br /> +<span style="margin-left: 1em;">George H. Daniels and, xi, 82;</span><br /> +<span style="margin-left: 1em;">William Morris compared with, xi, 74;</span><br /> +<span style="margin-left: 1em;">religion of, xi, 66, 84;</span><br /> +<span style="margin-left: 1em;">Daniel Webster compared with, xi, 78;</span><br /> +<span style="margin-left: 1em;">wife of, xi, 61, 88.</span><br /> +<br /> +Olympian games, i, 279.<br /> +<br /> +Olympus, iv, 18.<br /> +<br /> +Omar Khayyam, v, 149;<br /> +<span style="margin-left: 1em;">quoted, xiii, 97.</span><br /> +<br /> +Oneida Community, the, ii, 189; x, 118; xi, 42, 167.<br /> +<br /> +One-price system, the, ix, 131.<br /> +<br /> +<i>On Liberty</i>, John Stuart Mill, i, 95; xiii, 142.<br /> +<br /> +<i>On the Sublime</i>, Burke, i, 229; vii, 172.<br /> +<br /> +<i>On the Wings of Song</i>, Mendelssohn, xiv, <a href='#XIV_Page_183'><b>183</b></a>.<br /> +<br /> +<i>Open Boat, The</i>, Crane, xiv, <a href='#XIV_Page_80'><b>80</b></a>.<br /> +<br /> +<i>Opium Eater, The</i>, De Quincey, i, 217.<br /> +<br /> +Optics, the law of, viii, 167.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_430" id="XIV_Page_430">430</a></span>Orange, Prince of, iv, 82.<br /> +<br /> +Orang-utan, the, xii, 382.<br /> +<br /> +Orator, qualifications of the, vii, 21.<br /> +<br /> +Oratory, iii, 190, 204; v, 188;<br /> +<span style="margin-left: 1em;">Addison on, v, 253;</span><br /> +<span style="margin-left: 1em;">the child of democracy, vii, 92;</span><br /> +<span style="margin-left: 1em;">indiscretion set to music, vii, 345;</span><br /> +<span style="margin-left: 1em;">laws of, viii, 98;</span><br /> +<span style="margin-left: 1em;">politics and, vii, 209.</span><br /> +<br /> +Organ-music, xiv, <a href='#XIV_Page_137'><b>137</b></a>.<br /> +<br /> +Orient, influence of, on Venetian art, iv, 167.<br /> +<br /> +Originality, xii, 242, 407;<br /> +<span style="margin-left: 1em;">insanity and, viii, 197.</span><br /> +<br /> +Orme, Gen., friend of Lincoln, iii, 288.<br /> +<br /> +Orr, Mrs. Sutherland, v, 40.<br /> +<br /> +Orthodoxy, decline of, x, 370.<br /> +<br /> +Osborne, Thomas, ix, 283.<br /> +<br /> +Osbourne, Lloyd, on R. L. Stevenson, xiii, 27.<br /> +<br /> +Oshkosh, Wis., i, 88.<br /> +<br /> +Ossian, iii, 69, 234;<br /> +<span style="margin-left: 1em;">Johnson on, v, 163.</span><br /> +<br /> +Ossoli, Margaret Fuller, ix, 115.<br /> +<br /> +Ostracism, social, vi, 172; xiv, <a href='#XIV_Page_21'><b>21</b></a>.<br /> +<br /> +Oswego, mentioned by Goldsmith, i, 296.<br /> +<br /> +<i>Otello</i>, Verdi, xiv, <a href='#XIV_Page_295'><b>295</b></a>.<br /> +<br /> +Othello, ii, 96.<br /> +<br /> +<i>Othello</i>, Shakespeare, i, 317.<br /> +<br /> +Other self, the, iv, 133; v, 107.<br /> +<br /> +Otis, Harrison Gray, iii, 122.<br /> +<br /> +Ouida, i, 75;<br /> +<span style="margin-left: 1em;">regarding Marcus Aurelius, viii, 130;</span><br /> +<span style="margin-left: 1em;">quoted, viii, 250.</span><br /> +<br /> +<i>Our Village</i>, Mitford, ii, 28.<br /> +<br /> +<i>Outlines of Cosmic Philosophy</i>, Fiske, xii, 406.<br /> +<br /> +<i>Overland Monthly</i>, Henry George's contributions to, ix, 69.<br /> +<br /> +Ovid, referred to, iv, 288.<br /> +<br /> +Owen, Robert, in America, xi, 41;<br /> +<span style="margin-left: 1em;">Jeremy Bentham and, xi, 34;</span><br /> +<span style="margin-left: 1em;">John Bright and, ix, 226;</span><br /> +<span style="margin-left: 1em;">democratic optimist, xi, 12;</span><br /> +<span style="margin-left: 1em;">Emerson and, xii, 349;</span><br /> +<span style="margin-left: 1em;">as a mill superintendent, xi, 16;</span><br /> +<span style="margin-left: 1em;">William Morris compared with, xii, 343;</span><br /> +<span style="margin-left: 1em;">George Peabody and, xi, 320;</span><br /> +<span style="margin-left: 1em;">Sir Robert Peel and, xi, 35;</span><br /> +<span style="margin-left: 1em;">times of, xi, 13;</span><br /> +<span style="margin-left: 1em;">John Tyndall and, ix, 225; xii, 344;</span><br /> +<span style="margin-left: 1em;">Josiah Wedgwood and, ix, 225;</span><br /> +<span style="margin-left: 1em;">work of, xii, 343.</span><br /> +<br /> +Oxford University, in the 18th century, ix, 21, 33;<br /> +<span style="margin-left: 1em;">founding of, x, 14.</span><br /> +<br /> +<br /> +Packer, Rev. J. G., and Charles Bradlaugh, ix, 248.<br /> +<br /> +Packing-house industry, the, xi, 178.<br /> +<br /> +Paderewski and the Czar of Russia, xii, 101.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_431" id="XIV_Page_431">431</a></span>Paganini, Niccolo, as a violinist, xiv, <a href='#XIV_Page_52'><b>52</b></a>;<br /> +described by Heinrich Heine, xiv, <a href='#XIV_Page_54'><b>54</b></a>;<br /> +<span style="margin-left: 1em;">musical scores of, viii, 173.</span><br /> +<br /> +Paganism, vi, 13;<br /> +<span style="margin-left: 1em;">Christianity and, vi, 224; vii, 49; ix, 276.</span><br /> +<br /> +Pain, v, 238;<br /> +<span style="margin-left: 1em;">Tennyson's conquest of, v, 89.</span><br /> +<br /> +Paine, Thomas, Hosea Ballou compared with, ix, 184;<br /> +<span style="margin-left: 1em;">Benjamin Franklin and, ix, 157;</span><br /> +<span style="margin-left: 1em;">the genius of, ix, 163;</span><br /> +<span style="margin-left: 1em;">imprisonment of, ix, 179;</span><br /> +<span style="margin-left: 1em;">influence of, on Henry George, ix, 66;</span><br /> +<span style="margin-left: 1em;">Ingersoll and Bradlaugh compared with, ix, 243;</span><br /> +<span style="margin-left: 1em;">literary style of, ix, 169;</span><br /> +<span style="margin-left: 1em;">military service of, ix, 168;</span><br /> +<span style="margin-left: 1em;">Doctor Priestly and, ix, 174;</span><br /> +<span style="margin-left: 1em;">quoted, vii, 238; ix, 390;</span><br /> +<span style="margin-left: 1em;">referred to, xi, 94; xii, 179; xiii, 83;</span><br /> +<span style="margin-left: 1em;">spiritual children of, ix, 184;</span><br /> +<span style="margin-left: 1em;">George Washington on, xiii, 84.</span><br /> +<span style="margin-left: 1em;">Painting, Byron's knowledge of, i, 134;</span><br /> +<span style="margin-left: 1em;">a form of expression, iv, 159;</span><br /> +<span style="margin-left: 1em;">Scott's ignorance of, i, 132;</span><br /> +<span style="margin-left: 1em;">Scriptural, iv, 58.</span><br /> +<br /> +Pairing, the practise of, v, 95.<br /> +<br /> +Palissy, Bernard, French potter, v, 134.<br /> +<br /> +Palmerston and Macaulay compared, v, 197.<br /> +<br /> +Panoramic pictures, iv, 215.<br /> +<br /> +Pantheism, x, 342;<br /> +<span style="margin-left: 1em;">Unitarianism and, ix, 295.</span><br /> +<br /> +Pantheon, the, i, 202;<br /> +<span style="margin-left: 1em;">history of, i, 206.</span><br /> +<br /> +Pantisocracy, v, 280.<br /> +<br /> +Paolina Chapel, Michelangelo's decoration of, iv, 34.<br /> +<br /> +<i>Paracelsus</i>, Browning, v, 44, 55.<br /> +<br /> +<i>Paradise Lost</i>, Milton, v, 137;<br /> +<span style="margin-left: 1em;">copyright of, v, 246.</span><br /> +<br /> +Parasitism, ix, 88.<br /> +<br /> +Parents, children and, xii, 56;<br /> +<span style="margin-left: 1em;">the woes of, vi, 197.</span><br /> +<br /> +Paris, ii, 56;<br /> +<span style="margin-left: 1em;">society in, during Revolution, ii, 177;</span><br /> +<span style="margin-left: 1em;">prisons of, Elizabeth Fry on, ii, 188.</span><br /> +<br /> +Parker, Dr. Joseph, ii, 194, 237; ix, 281;<br /> +<span style="margin-left: 1em;">Dore and, iv, 344;</span><br /> +<span style="margin-left: 1em;">Huxley and, xii, 322;</span><br /> +<span style="margin-left: 1em;">as an orator, vii, 22.</span><br /> +<br /> +Parker, Theodore, vii, 251;<br /> +<span style="margin-left: 1em;">and the Brook Farm Community, ix, 293;</span><br /> +<span style="margin-left: 1em;">John Brown and, ix, 300;</span><br /> +<span style="margin-left: 1em;">Emerson compared with, ix, 279, 292;</span><br /> +<span style="margin-left: 1em;">William Lloyd Garrison and, ix, 299;</span><br /> +<span style="margin-left: 1em;">Colonel Higginson and, ix, 299;</span><br /> +<span style="margin-left: 1em;">Elbert Hubbard and, ix, 389;</span><br /> +<span style="margin-left: 1em;">lecture on Emerson, ix, 274;</span><br /> +<span style="margin-left: 1em;">on Thomas Paine, ix, 158;</span><br /> +<span style="margin-left: 1em;">Thomas Paine compared with, ix, 184;</span><br /> +<span style="margin-left: 1em;">as a preacher, ix, 281;</span><br /> +<span style="margin-left: 1em;">quoted, xi, 53;</span><br /> +<span style="margin-left: 1em;">on Starr King, vii, 320;</span><br /> +<span class='pagenum'><a name="XIV_Page_432" id="XIV_Page_432">432</a></span><span style="margin-left: 1em;">wife of, ix, 290.</span><br /> +<br /> +Parkhurst, Rev. Dr., v, 281.<br /> +<br /> +Parma, Italy, the market at, vi, 237.<br /> +<br /> +Parnell, Charles Stewart, James Bryce on, xiii, 204;<br /> +<span style="margin-left: 1em;">speech of, in Buffalo, xiii, 186;</span><br /> +<span style="margin-left: 1em;">Gladstone and, xiii, 184, 198;</span><br /> +<span style="margin-left: 1em;">Justin McCarthy on, xiii, 199;</span><br /> +<span style="margin-left: 1em;">mother of, xiii, 179.</span><br /> +<br /> +<i>Parsifal</i>, Wagner, xiv, <a href='#XIV_Page_19'><b>19</b></a>.<br /> +<br /> +Parsons, Alfred, vi, 314.<br /> +<br /> +Partridge, the almanac-maker, i, 148.<br /> +<br /> +Passion, ii, 170;<br /> +<span style="margin-left: 1em;">the divine, ii, 36.</span><br /> +<br /> +Passiveness, v, 99.<br /> +<br /> +Pasteur, Louis, French chemist, i, 247.<br /> +<br /> +Paternity, Schopenhauer on, viii, 363.<br /> +<br /> +Pater, Walter, iv, 22;<br /> +<span style="margin-left: 1em;">on Botticelli, vi, 65;</span><br /> +<span style="margin-left: 1em;">on the <i>Mona Lisa</i>, vi, 58.</span><br /> +<br /> +Patience, v, 238.<br /> +<br /> +Patrick, St, ii, 95.<br /> +<br /> +Patriotism, ix, 313;<br /> +<span style="margin-left: 1em;">art and, vi, 321;</span><br /> +<span style="margin-left: 1em;">Samuel Johnson on, vii, 196.</span><br /> +<br /> +Patronymics, iv, 41.<br /> +<br /> +Patti, Adelina, quoted, iii, 197.<br /> +<br /> +<i>Pauline</i>, Browning, v, 50.<br /> +<br /> +Paul the Hermit, vii, 112.<br /> +<br /> +Paul III, Pope, iv, 33.<br /> +<br /> +Peabody, George, Joshua Bates and, xi, 328;<br /> +<span style="margin-left: 1em;">beneficences of, xi, 326;</span><br /> +<span style="margin-left: 1em;">boyhood of, xi, 308;</span><br /> +<span style="margin-left: 1em;">James Buchanan and, xi, 329;</span><br /> +<span style="margin-left: 1em;">in England, xi, 320;</span><br /> +<span style="margin-left: 1em;">W. E. Gladstone and, xi, 331;</span><br /> +<span style="margin-left: 1em;">the Maryland bond issue and, xi, 321;</span><br /> +<span style="margin-left: 1em;">military experience of, xi, 316;</span><br /> +<span style="margin-left: 1em;">Robert Owen and, xi, 320;</span><br /> +<span style="margin-left: 1em;">the world's first philanthropist, xi, 303;</span><br /> +<span style="margin-left: 1em;">Elisha Riggs and, xi, 316;</span><br /> +<span style="margin-left: 1em;">Queen Victoria and, xi, 330;</span><br /> +<span style="margin-left: 1em;">in Washington, xi, 312.</span><br /> +<br /> +Peary, Admiral, ii, 65.<br /> +<br /> +Pedagogics, science of, viii, 100.<br /> +<br /> +Peel, Sir Robert, ii, 83; xi, 35;<br /> +<span style="margin-left: 1em;">on John Bright, ix, 238;</span><br /> +<span style="margin-left: 1em;">Richard Cobden and, ix, 150;</span><br /> +<span style="margin-left: 1em;">Elizabeth Fry and, ii, 210;</span><br /> +<span style="margin-left: 1em;">Macaulay compared with, v, 197.</span><br /> +<br /> +Peg Woffington, ix, 359;<br /> +<span style="margin-left: 1em;">friend of Reynolds, iv, 305.</span><br /> +<br /> +Pennel, Joseph, vi, 314.<br /> +<br /> +Penni, Gianfrancesco, pupil of Raphael, vi, 33.<br /> +<br /> +Penn, William, ii, 197;<br /> +<span style="margin-left: 1em;">founder of Philadelphia, xi, 93;</span><br /> +<span style="margin-left: 1em;">the Quaker colonies and, ix, 219.</span><br /> +<br /> +Pentecost, Hugh, on the power of will, xiv, <a href='#XIV_Page_56'><b>56</b></a>.<br /> +<br /> +Pepys, Samuel, iii, 7; iv, 8;<br /> +<span style="margin-left: 1em;">diary of, vi, 273;</span><br /> +<span class='pagenum'><a name="XIV_Page_433" id="XIV_Page_433">433</a></span><span style="margin-left: 1em;">Sir Isaac Newton and, xii, 42;</span><br /> +quoted, iv, 198; xiv, <a href='#XIV_Page_260'><b>260</b></a>;<br /> +<span style="margin-left: 1em;">style of, v, 150;</span><br /> +<span style="margin-left: 1em;">Vasari compared with, vi, 19.</span><br /> +<br /> +Percherons, the, breed of horses, ii, 57.<br /> +<br /> +<i>Peregrine Pickle</i>, Smollett, iv, 302.<br /> +<br /> +Pericles, i, 306;<br /> +<span style="margin-left: 1em;">age of, i, 345; vii, 13, 15;</span><br /> +<span style="margin-left: 1em;">builder of Athens, i, 341;</span><br /> +<span style="margin-left: 1em;">Roscoe Conkling compared with, vii, 23;</span><br /> +<span style="margin-left: 1em;">contemporaries of, vii, 15, 18;</span><br /> +<span style="margin-left: 1em;">letter of, to Aspasia, vii, 10;</span><br /> +<span style="margin-left: 1em;">Lorenzo compared with, iv, 13;</span><br /> +<span style="margin-left: 1em;">Plutarch on, vii, 16;</span><br /> +<span style="margin-left: 1em;">power of, iii, 93;</span><br /> +<span style="margin-left: 1em;">quoted, vii, 38.</span><br /> +<br /> +Periodicity, v, 183.<br /> +<br /> +Peripatetic School, the, viii, 105.<br /> +<br /> +Perquisites, legitimate, v, 44.<br /> +<br /> +Persecution, ii, 194;<br /> +<span style="margin-left: 1em;">religious, Tolstoy on, ix, 181;</span><br /> +<span style="margin-left: 1em;">uses of, ix, 132.</span><br /> +<br /> +Personal charm, ix, 103.<br /> +<br /> +Personality, iv, 193; v, 183; vi, 61; vii, 314;<br /> +<span style="margin-left: 1em;">of the true artist, vi, 178.</span><br /> +<br /> +Perugino, iv, 28; vi, 21;<br /> +<span style="margin-left: 1em;">Raphael and, vi, 24.</span><br /> +<br /> +Pessimism, philosophy of, viii, 363.<br /> +<br /> +Pestalozzi, and Froebel, x, 252;<br /> +<span style="margin-left: 1em;">Jean Jacques Rousseau and, x, 252.</span><br /> +<br /> +<i>Peter Pan</i>, James Barrie, xiii, 11.<br /> +<br /> +Petrarch, Boccaccio and, xiii, 232;<br /> +<span style="margin-left: 1em;">James Colonna and, xiii, 220;</span><br /> +<span style="margin-left: 1em;">the founder of humanism, xiii, 241;</span><br /> +<span style="margin-left: 1em;">place in literature, xiii, 209.</span><br /> +<br /> +Petroleum, composition of, xi, 385.<br /> +<br /> +<i>Phaedo</i>, Plato, ii, 195.<br /> +<br /> +Phalanstery, the, iii, p xi; viii, 412.<br /> +<br /> +Pharaoh, ii, 56.<br /> +<br /> +Pharisee ism, ii, 196.<br /> +<br /> +Pharsalia, battle of, vii, 57.<br /> +<br /> +Phidias, sculptor, reference to, i, 122; vii, 26.<br /> +<br /> +Philadelphia lawyers, vi, 306.<br /> +<br /> +Philanthropic spirit, the, xi, 327.<br /> +<br /> +Philip II, King of Spain, policy of, iv, 81, 93;<br /> +<span style="margin-left: 1em;">Spain under the rule of, vi, 171.</span><br /> +<br /> +Philip III of Spain, court of, vi, 172.<br /> +<br /> +Philip IV, paintings of, by Velasquez, vi, 173.<br /> +<br /> +Philippe, King of France, ii, 83.<br /> +<br /> +Philippics of Cicero, the, vii, 56.<br /> +<br /> +<i>Philistine, The</i>, founding of, i, p xx.<br /> +<br /> +Philistinism, ii, 227, 237.<br /> +<br /> +Phillips, Wendell, abolitionist, character of, vii, 386;<br /> +<span style="margin-left: 1em;">Ben Butler and, vii, 388;</span><br /> +<span style="margin-left: 1em;">William Lloyd Garrison and, vii, 394;</span><br /> +<span style="margin-left: 1em;">Ann Terry Greene, vii, 398;</span><br /> +<span style="margin-left: 1em;">his Faneuil Hall speech, vii, 406;</span><br /> +<span style="margin-left: 1em;">advice to oratorical aspirants, ix, 257;</span><br /> +<span class='pagenum'><a name="XIV_Page_434" id="XIV_Page_434">434</a></span><span style="margin-left: 1em;">Emerson on, vii, 413;</span><br /> +<span style="margin-left: 1em;">on Emerson, xiii, 171;</span><br /> +<span style="margin-left: 1em;">Elbert Hubbard and, vii, 410;</span><br /> +<span style="margin-left: 1em;"><i>The Lost Arts</i>, vii, 328;</span><br /> +<span style="margin-left: 1em;">quoted, vi, 273;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 271; vi, 41, 148; vii, 252, 287; xi, 258;</span><br /> +<span style="margin-left: 1em;">Charles Sumner and, vii, 399.</span><br /> +<br /> +<i>Philosophical Dictionary, The</i>, Voltaire, i, 205; viii, 274; xi, 106.<br /> +<br /> +Philosophy, definition of, viii, 201;<br /> +<span style="margin-left: 1em;">of the future, viii, 104;</span><br /> +<span style="margin-left: 1em;">marriage and, viii, 251;</span><br /> +<span style="margin-left: 1em;">of pessimism, viii, 363.</span><br /> +<br /> +Photography, ii, 130.<br /> +<br /> +Phrenology, i, 160.<br /> +<br /> +Physicians, liberality of, iii, 81.<br /> +<br /> +Piacenza, Donna Giovanni, abbess of San Paola Convent, Parma, vi, 230.<br /> +<br /> +Piccadilly, i, 57;<br /> +<span style="margin-left: 1em;">bus-drivers of, vi, 257.</span><br /> +<br /> +<i>Pieta</i>, Michelangelo, iv, 19.<br /> +<br /> +Pigot, John, and Byron, v, 214.<br /> +<br /> +"Pig Poetry," i, 71.<br /> +<br /> +<i>Pilgrims' Chorus</i>, Wagner, iv, 262; v, 267.<br /> +<br /> +Pilsen, the Prince of, xiii, 315.<br /> +<br /> +Pinkerton Guards, iii, 114.<br /> +<br /> +Pinturicchio, companion of Raphael, vi, 26.<br /> +<br /> +"Pious Wax-works," i, 135.<br /> +<br /> +<i>Pippa Passes</i>, Browning, v, 56;<br /> +<span style="margin-left: 1em;">quotation from, iii, 264.</span><br /> +<br /> +Pitti Gallery, the, iv, 101; vi, 27.<br /> +<br /> +Pitt, William, Earl of Chatham, vii, 185; ix, 164;<br /> +<span style="margin-left: 1em;">Burke on, vii, 186;</span><br /> +<span style="margin-left: 1em;">Disraeli and, v, 331;</span><br /> +<span style="margin-left: 1em;">extravagance of, vii, 204;</span><br /> +<span style="margin-left: 1em;">George III and, vii, 200;</span><br /> +<span style="margin-left: 1em;">Madame de Stael and, vii, 202;</span><br /> +<span style="margin-left: 1em;">Daniel Webster compared with, iii, 204;</span><br /> +<span style="margin-left: 1em;">Wilberforce and, vii, 204.</span><br /> +<br /> +Pity for the dead, v, 87.<br /> +<br /> +Pius IV, Pope, iv, 35.<br /> +<br /> +Pius V, Pope, iv, 35.<br /> +<br /> +Pius IX, Pope, ix, 93;<br /> +<span style="margin-left: 1em;">on Darwinism, xii, 228.</span><br /> +<br /> +Pivotal Points, law of, x, 308.<br /> +<br /> +Plagues of Egypt, x, 36.<br /> +<br /> +Plain living and high thinking, ii, 285.<br /> +<br /> +Plantins, of Antwerp, iv, 55.<br /> +<br /> +Plato, i, 343; ii, 195; v, 131; xii, 99;<br /> +<span style="margin-left: 1em;">appearance of, x, 103;</span><br /> +<span style="margin-left: 1em;">Aristotle and, viii, 88; x, 114;</span><br /> +<span style="margin-left: 1em;">Dionysius, Tyrant of Syracuse, and, x, 108;</span><br /> +<span style="margin-left: 1em;">Emerson on, viii, 31;</span><br /> +<span style="margin-left: 1em;">eugenics of, x, 118;</span><br /> +<span style="margin-left: 1em;">influence of, x, 120;</span><br /> +<span style="margin-left: 1em;">garden school of, viii, 87;</span><br /> +<span style="margin-left: 1em;">Kant compared with, viii, 154;</span><br /> +<span style="margin-left: 1em;">Franz Liszt compared with, viii, 87;</span><br /> +<span style="margin-left: 1em;">Lowell on, viii, 87;</span><br /> +<span style="margin-left: 1em;">philosophy of, x, 105;</span><br /> +<span style="margin-left: 1em;">pupils of, xii, 267;</span><br /> +<span style="margin-left: 1em;">Pythagoras and, x, 119;</span><br /> +<span style="margin-left: 1em;">quoted, viii, 33;</span><br /> +<span class='pagenum'><a name="XIV_Page_435" id="XIV_Page_435">435</a></span><span style="margin-left: 1em;"><i>The Republic</i>, x, 98, 117; viii, 221;</span><br /> +<span style="margin-left: 1em;">Shakespeare compared with, x, 116;</span><br /> +<span style="margin-left: 1em;">Socrates and, viii, 11, 29; x, 102;</span><br /> +<span style="margin-left: 1em;">on the soul, viii, 403;</span><br /> +<span style="margin-left: 1em;">Turner and, i, 131;</span><br /> +<span style="margin-left: 1em;">writings of, x, 116.</span><br /> +<br /> +Platonic love, v, 100.<br /> +<br /> +Pleasure, v, 238.<br /> +<br /> +Pliny, the naturalist, xii, 269;<br /> +<span style="margin-left: 1em;">quoted, xiii, 97.</span><br /> +<br /> +Plotinus, founder of Neo-Platonism, x, 281.<br /> +<br /> +Plutarch, i, p v; 114, 267;<br /> +<span style="margin-left: 1em;">Vasari compared with, vi, 19.</span><br /> +<br /> +<i>Plutarch's Lives</i>, referred to, iii, 34.<br /> +<br /> +Plymouth Rock, xi, 56.<br /> +<br /> +Poe, Edgar Allan, v, 97; ix, 285; xi, 94; xiv, <a href='#XIV_Page_51'><b>51</b></a>;<br /> +<span style="margin-left: 1em;"><i>Annabel Lee</i>, xiii, 256.</span><br /> +<br /> +<i>Poems, Chiefly Lyrical</i>, Tennyson, v, 78.<br /> +<br /> +<i>Poems on the Life and Death of Laura</i>, Petrarch, xiii, 243.<br /> +<br /> +Poetry, the bill and coo of sex, v, 93;<br /> +<span style="margin-left: 1em;">science versus, x, 114;</span><br /> +<span style="margin-left: 1em;">Wordsworth's conception of, i, 223.</span><br /> +<br /> +Poets' Corner, Westminster Abbey, x, 43.<br /> +<br /> +Poets, potential, v, 93.<br /> +<br /> +Poise, v, 239.<br /> +<br /> +Poland, history of, xii, 101; xiv, <a href='#XIV_Page_85'><b>85</b></a>.<br /> +<br /> +<i>Political Justice</i>, William Godwin, ii, 295; xiii, 85.<br /> +<br /> +Politics and oratory, vii, 209.<br /> +<br /> +Poliziano, poet and scholar, iv, 16.<br /> +<br /> +Pompeiian mosaic work, iv, 155.<br /> +<br /> +Pompey and Crassus, vii, 50.<br /> +<br /> +Pond, Major, i, p xxxvii;<br /> +<span style="margin-left: 1em;">John Brown and, vii, 360;</span><br /> +<span style="margin-left: 1em;">Henry Ward Beecher and, vii, 360;</span><br /> +<span style="margin-left: 1em;">personality of, vii, 360;</span><br /> +<span style="margin-left: 1em;">as manager for Elbert Hubbard, vii, 360;</span><br /> +<span style="margin-left: 1em;">on Matthew Arnold, x, 220.</span><br /> +<br /> +<i>Poor Richard's Almanac</i>, Franklin, i, 150; iii, 47.<br /> +<br /> +Pope, Alexander, iii, 60; xiv, <a href='#XIV_Page_261'><b>261</b></a>;<br /> +<span style="margin-left: 1em;">on mankind, xi, 314;</span><br /> +<span style="margin-left: 1em;">characterization of Lord Halifax, v, 250;</span><br /> +<span style="margin-left: 1em;">Joshua Reynolds and, iv, 292;</span><br /> +<span style="margin-left: 1em;">Voltaire and, viii, 295.</span><br /> +<br /> +Pope Innocent III, referred to, i, 151.<br /> +<br /> +<i>Popular Science Monthly</i>, Youmans, viii, 347; xii, 231.<br /> +<br /> +Portland, Duke of, and Thomas Paine, ix, 175.<br /> +<br /> +Portrait-painting in England, iv, 188.<br /> +<br /> +Portsea, island of, i, 196.<br /> +<br /> +Pose, vi, 190, 335.<br /> +<br /> +Positive Philosophy, the, viii, 253;<br /> +<span style="margin-left: 1em;">essence of the, viii, 266.</span><br /> +<br /> +Positivism, ii, 86;<br /> +<span class='pagenum'><a name="XIV_Page_436" id="XIV_Page_436">436</a></span><span style="margin-left: 1em;">a religion, viii, 270.</span><br /> +<br /> +Postage-stamps, collecting, iv, 121.<br /> +<br /> +<i>Potiphar's Wife</i>, Rembrandt, iv, 69;<br /> +<span style="margin-left: 1em;">Van Leyden, vi, 78.</span><br /> +<br /> +"Poverty party," ii, 177.<br /> +<br /> +Powderly, Terence V., on labor, x, 27.<br /> +<br /> +Power, ix, 39;<br /> +<span style="margin-left: 1em;">immortality and, vi, 57;</span><br /> +<span style="margin-left: 1em;">source of, iv, 122.</span><br /> +<br /> +Powers, Levi M., ix, 283.<br /> +<br /> +Prayer, v, 174; xii, 95;<br /> +<span style="margin-left: 1em;">an emotional exercise, ii, 80.</span><br /> +<br /> +Preaching, Erasmus on, x, 150.<br /> +<br /> +Precedent, vi, 191.<br /> +<br /> +Precocity, v, 121.<br /> +<br /> +<i>Prelude, The</i>, Wordsworth, i, 214.<br /> +<br /> +Preraphaelite Brotherhood, the, v, 18; vi, 11; xiii, 251.<br /> +<br /> +Preraphaelites, the, ii, 125;<br /> +<span style="margin-left: 1em;">Whistler on the, v, 17.</span><br /> +<br /> +Pretense, v, 238.<br /> +<br /> +Pretyman, tutor of William Pitt, vii, 198.<br /> +<br /> +Priestly class, the, v, 203; xii, 221.<br /> +<br /> +Priestly, Dr., and Thomas Paine, ix, 174.<br /> +<br /> +Priest, position of, in society, iii, 99.<br /> +<br /> +Primitive Christianity, ii, 196; ix, 19; xi, 132.<br /> +<br /> +Primogeniture, law of, xiii, 88.<br /> +<br /> +<i>Primrose Sphinx, The</i>, Zangwill, v, 319.<br /> +<br /> +Princeton, Washington at, iii, 24.<br /> +<br /> +<i>Principia</i>, Newton, xii, 42;<br /> +<span style="margin-left: 1em;">Swedenborg, viii, 192.</span><br /> +<br /> +<i>Principles of Psychology</i>, Herbert Spencer, viii, 342.<br /> +<br /> +Printing, the art of, xiv, <a href='#XIV_Page_225'><b>225</b></a>;<br /> +<span style="margin-left: 1em;">invention of, vi, 260.</span><br /> +<br /> +Printing-press, invention of the toggle-joint, iii, 47.<br /> +<br /> +Prisons and prisoners, vi, 170.<br /> +<br /> +Prizefighting, ix, 97.<br /> +<br /> +Probationary marriage, v, 131.<br /> +<br /> +Professions, the learned, iii, 99.<br /> +<br /> +<i>Progress and Poverty</i>, Henry George, ix, 73;<br /> +<span style="margin-left: 1em;">quotation from, xiii, 186.</span><br /> +<br /> +<i>Progress of Man</i>, Lincoln's lecture on, iii, 288.<br /> +<br /> +Prohibition, vii, 127.<br /> +<br /> +<i>Prometheus Bound</i>, E. B. Browning, ii, 28.<br /> +<br /> +Prometheus, Edison on, i, 338.<br /> +<br /> +Property, divine right of, ix, 87.<br /> +<br /> +Prophetic voice, the, i, 181.<br /> +<br /> +Proscription, advantages of, vii, 405.<br /> +<br /> +Protestantism, vii, 116; ix, 279.<br /> +<br /> +Providence, planning and luck, xii, 238.<br /> +<br /> +Psychic mixability, xi, 317.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_437" id="XIV_Page_437">437</a></span>Ptolemaic theory, the, xii, 49.<br /> +<br /> +Ptolemy, the astronomer, xii, 99.<br /> +<br /> +Public-school system, American, vi, 251.<br /> +<br /> +Punishment, v, 235.<br /> +<br /> +Puritanism, v, 238; ix, 313.<br /> +<br /> +Puritans, compared with Huguenots, iii, 232;<br /> +<span style="margin-left: 1em;">in America, the, ix, 339;</span><br /> +<span style="margin-left: 1em;">of America, ii, 77;</span><br /> +<span style="margin-left: 1em;">persecution of, v, 139.</span><br /> +<br /> +Putnam, George H., i, p xx.<br /> +<br /> +"Putti" of Correggio, vi, 240.<br /> +<br /> +Pye, poet laureate, v, 276.<br /> +<br /> +Pygmalion, love of, iv, 182.<br /> +<br /> +Pyle, Howard, vi, 314.<br /> +<br /> +Pythagoras, Copernicus compared with, x, 92;<br /> +<span style="margin-left: 1em;">epigrams of, x, 90;</span><br /> +<span style="margin-left: 1em;">initiation of, x, 81;</span><br /> +<span style="margin-left: 1em;">the mother of, x, 79;</span><br /> +<span style="margin-left: 1em;">Muldoon compared with, x, 72;</span><br /> +<span style="margin-left: 1em;">Plato and, x, 119;</span><br /> +<span style="margin-left: 1em;">a teacher of teachers, x, 73;</span><br /> +<span style="margin-left: 1em;">teachings of, x, 87;</span><br /> +<span style="margin-left: 1em;">Thales and, xii, 98.</span><br /> +<br /> +<br /> +Quaker, the, ii, 189, 227.<br /> +<br /> +Quakerism, ii, 197.<br /> +<br /> +Quakers, in America, ii, 77;<br /> +<span style="margin-left: 1em;">origin of the word, ix, 219.</span><br /> +<br /> +Queen Anne touch, the, v, 153.<br /> +<br /> +<i>Queen Mab</i>, Shelley, ii, 303.<br /> +<br /> +Queenstown, Ireland, i, 274.<br /> +<br /> +Queensware, xii, 204.<br /> +<br /> +Queenswood, co-operative village, xi, 48.<br /> +<br /> +<i>Quest of the Golden Girl</i>, Le Gallienne, iii, 138; v, 218.<br /> +<br /> +"Quietism," philosophy of Madame Guyon, ii, 51; xiii, 349.<br /> +<br /> +Quincy Historical Society, iii, 134.<br /> +<br /> +Quinquennium Neronis, the, viii, 70.<br /> +<br /> +Quintilian on Roman marriages, viii, 136.<br /> +<br /> +Quintus Fabius, ix, 106.<br /> +<br /> +<i>Quo Vadis</i>, Sienkiewicz, iv, 108.<br /> +<br /> +<br /> +<i>Rab and His Friends</i>, John Brown, v, 266.<br /> +<br /> +<i>Rabbi Ben Ezra</i>, Browning, v, 38.<br /> +<br /> +Rabbit's foot, as an object of veneration, iv, 124.<br /> +<br /> +<i>Rabelais</i>, Dore's illustrations of, iv, 338.<br /> +<br /> +Rabelais, quoted, vi, 137.<br /> +<br /> +Radium, distinguishing feature of, viii, 359.<br /> +<br /> +Railroad management, xi, 421.<br /> +<br /> +Raleigh, Sir Walter, i, 261; iv, 81, 108, 190;<br /> +<span style="margin-left: 1em;">on English table-manners, xiii, 73;</span><br /> +<span style="margin-left: 1em;">James I and, viii, 58;</span><br /> +<span style="margin-left: 1em;">execution of, ix, 309.</span><br /> +<br /> +Ramee, Louise de la, on woman, vi, 74.<br /> +<br /> +Rameses II, iv, 26; x, 31.<br /> +<br /> +Raphael, iv, 90;<br /> +<span style="margin-left: 1em;"><i>Ansidei</i> of, vi, 29;</span><br /> +<span style="margin-left: 1em;">Bartolomeo and, vi, 23;</span><br /> +<span style="margin-left: 1em;">birthplace of, vi, 19;</span><br /> +<span class='pagenum'><a name="XIV_Page_438" id="XIV_Page_438">438</a></span><span style="margin-left: 1em;"><i>Connestabile Madonna</i>, vi, 27;</span><br /> +<span style="margin-left: 1em;">favorite of Leo X, iv, 31;</span><br /> +<span style="margin-left: 1em;">genius of, vi, 12;</span><br /> +<span style="margin-left: 1em;">Henry VIII's offer to, iv, 188;</span><br /> +<span style="margin-left: 1em;">Leo X on, vi, 13;</span><br /> +<span style="margin-left: 1em;">love-tragedy of, vi, 34;</span><br /> +<span style="margin-left: 1em;">Michelangelo and, rivalry between, iv, 31;</span><br /> +<span style="margin-left: 1em;">Perugino and, vi, 24;</span><br /> +<span style="margin-left: 1em;">Pinturicchio and, vi, 26;</span><br /> +<span style="margin-left: 1em;">Reynolds compared with, iv, 303;</span><br /> +<span style="margin-left: 1em;"><i>Sposalizio</i>, vi, 27;</span><br /> +<span style="margin-left: 1em;">Titian compared with, iv, 146.</span><br /> +<br /> +Rapp, George, founder of the Harmonyites, xi, 42.<br /> +<br /> +<i>Rasselas</i>, Johnson, v, 162.<br /> +<br /> +Rational religion, x, 372.<br /> +<br /> +Ray, John, botanist, xii, 275;<br /> +<span style="margin-left: 1em;">Francis Willoughby and, xii, 276.</span><br /> +<br /> +Realist, the, definition of, i, 132.<br /> +<br /> +Recamier, Madame, ii, 167.<br /> +<br /> +Reciprocity, xi, 71.<br /> +<br /> +Reconciliation, the joy of, vi, 221.<br /> +<br /> +<i>Red Badge of Courage, The</i>, Crane, xiv, <a href='#XIV_Page_80'><b>80</b></a>.<br /> +<br /> +Red Jacket, Indian, viii, 45.<br /> +<br /> +Red River Valley, the, xi, 419.<br /> +<br /> +Reed, Thomas Brackett, xii, 124, 199;<br /> +<span style="margin-left: 1em;">Seneca compared with, viii, 56;</span><br /> +<span style="margin-left: 1em;">quoted, v, 289; vii, 18.</span><br /> +<br /> +Reedy, William Marion, x, 344.<br /> +<br /> +<i>Reflections</i>, Madame de Stael, ii, 163.<br /> +<br /> +Reformation, the, ix, 187.<br /> +<br /> +Reformers, v, 311.<br /> +<br /> +Refrigerator-cars, manufacture of, xi, 192.<br /> +<br /> +Relatives, the tyranny of, ix, 137.<br /> +<br /> +Relaxation, vii, 287.<br /> +<br /> +Religion, defined, viii, 113;<br /> +<span style="margin-left: 1em;">economics and, ix, 192;</span><br /> +<span style="margin-left: 1em;">John Fiske on, xii, 413;</span><br /> +<span style="margin-left: 1em;">of humanity, x, 317;</span><br /> +<span style="margin-left: 1em;">irrigation and, ix, 278;</span><br /> +<span style="margin-left: 1em;">of Jesus, ii, 196;</span><br /> +<span style="margin-left: 1em;">the Jewish, viii, 220;</span><br /> +<span style="margin-left: 1em;">love and, xiv, <a href='#XIV_Page_206'><b>206</b></a>;</span><br /> +<span style="margin-left: 1em;">of music, v, 124;</span><br /> +<span style="margin-left: 1em;">natural, vi, 165;</span><br /> +<span style="margin-left: 1em;">five phases of, ix, 188;</span><br /> +<span style="margin-left: 1em;">purity of, ii, 195;</span><br /> +<span style="margin-left: 1em;">Renan on, ii, 78;</span><br /> +<span style="margin-left: 1em;">the sex life and, ii, 201;</span><br /> +<span style="margin-left: 1em;">Shakespeare on, x, 350;</span><br /> +<span style="margin-left: 1em;">spirituality and, iv, 236;</span><br /> +<span style="margin-left: 1em;">Dean Swift and, i, 152;</span><br /> +<span style="margin-left: 1em;">Turner's views on, i, 139.</span><br /> +<br /> +Religious denominations, origin of, ix, 19.<br /> +<br /> +Rembrandt, iv, 123; v, 107; vi, 65;<br /> +<span style="margin-left: 1em;">Emile Michel on, iv, 40;</span><br /> +<span style="margin-left: 1em;">parents of, iv, 41;</span><br /> +<span style="margin-left: 1em;">home of, in Leyden, iv, 41;</span><br /> +<span style="margin-left: 1em;">early training of, iv, 44;</span><br /> +<span style="margin-left: 1em;">pupil of Jacob van Swanenburch, iv, 47;</span><br /> +<span style="margin-left: 1em;">his first picture, iv, 50;</span><br /> +<span style="margin-left: 1em;">influence of mother on, iv, 52;</span><br /> +<span style="margin-left: 1em;">pupil of Pieter Lastman, iv, 56;</span><br /> +<span style="margin-left: 1em;">friendship of, with Engelbrechtsz, iv, 58;</span><br /> +<span style="margin-left: 1em;">his pupil, Lucas van Leyden, iv, 58;</span><br /> +<span style="margin-left: 1em;">studio of, iv, 61;</span><br /> +<span style="margin-left: 1em;">his experiments in light and shade, iv, 61;</span><br /> +<span class='pagenum'><a name="XIV_Page_439" id="XIV_Page_439">439</a></span><span style="margin-left: 1em;">friendship for Jan Lievens, iv, 64;</span><br /> +<span style="margin-left: 1em;">friendship for Gerard Dou, iv, 65;</span><br /> +<span style="margin-left: 1em;">friendship for Joris van Vliet, iv, 65;</span><br /> +<span style="margin-left: 1em;">his work for the Elzevirs, iv, 65;</span><br /> +<span style="margin-left: 1em;">his portraiture of beggars, iv, 66;</span><br /> +<span style="margin-left: 1em;">classic instinct of, iv, 68;</span><br /> +<span style="margin-left: 1em;">marriage of, iv, 71;</span><br /> +<span style="margin-left: 1em;">death of wife of, iv, 73;</span><br /> +<span style="margin-left: 1em;">children of, iv, 74;</span><br /> +<span style="margin-left: 1em;">relations with Hendrickje Stoffels, iv, 76;</span><br /> +<span style="margin-left: 1em;">death of, iv, 78;</span><br /> +<span style="margin-left: 1em;">influence of, iv, 78;</span><br /> +<span style="margin-left: 1em;">the age of, iv, 78;</span><br /> +<span style="margin-left: 1em;">Botticelli compared with, vi, 69;</span><br /> +<span style="margin-left: 1em;">Robert Browning compared with, vi, 67;</span><br /> +<span style="margin-left: 1em;">dual character of, vi, 66;</span><br /> +<span style="margin-left: 1em;">extravagance of, iv, 73;</span><br /> +<span style="margin-left: 1em;">Mozart compared with, xiv, <a href='#XIV_Page_316'><b>316</b></a>;</span><br /> +<span style="margin-left: 1em;">Van Dyck and, iv, 193.</span><br /> +<br /> +Rembrandtesque, definition of, iv, 51.<br /> +<br /> +Remington's horses, iv, 67.<br /> +<br /> +Remittance-men, i, p xxii.<br /> +<br /> +Remorse, v, 105;<br /> +<br /> +Renaissance, the great American, xi, 370;<br /> +<span style="margin-left: 1em;">the Italian, vi, 223.</span><br /> +<br /> +<i>Renaissance Masters</i>, G. B. Rose, vi, 39.<br /> +<br /> +Renan, v, 150;<br /> +<span style="margin-left: 1em;">on Marcus Aurelius, viii, 131;</span><br /> +<span style="margin-left: 1em;">on St. Benedict, x, 322;</span><br /> +<span style="margin-left: 1em;">on Christianity, x, 135;</span><br /> +<span style="margin-left: 1em;">on flowers, xiv, <a href='#XIV_Page_193'><b>193</b></a>;</span><br /> +<span style="margin-left: 1em;">on the Israelitish exodus, x, 38;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 165;</span><br /> +<span style="margin-left: 1em;">on religion, ii, 78;</span><br /> +<span style="margin-left: 1em;">on Seneca, viii, 80;</span><br /> +<span style="margin-left: 1em;">and his sister, ii, 115;</span><br /> +<span style="margin-left: 1em;">on Spinoza, viii, 229.</span><br /> +<br /> +Renter, the, ix, 82.<br /> +<br /> +Representative government, v, 185.<br /> +<br /> +Repression, v, 235.<br /> +<br /> +<i>Republic</i> of Plato, viii, 33, 105, 221; x, 98, 117.<br /> +<br /> +Reserve, v, 335.<br /> +<br /> +Resiliency, x, 374.<br /> +<br /> +Responsibility, v, 176; vi, 174; xi, 407.<br /> +<br /> +<i>Resurrection, The</i>, Perugino, vi, 27.<br /> +<br /> +Revere, Paul, iii, 104, 116, 222.<br /> +<br /> +Reversion to type, law of, ii, 192.<br /> +<br /> +<i>Revolution of the Heavenly Bodies, The</i>, Copernicus, xii, 117.<br /> +<br /> +Reynolds, Sir Joshua, iv, 114; xii, 179;<br /> +<span style="margin-left: 1em;">birthplace of, iv, 287;</span><br /> +<span style="margin-left: 1em;">parents of, iv, 288;</span><br /> +<span style="margin-left: 1em;">early training of, iv, 290;</span><br /> +<span style="margin-left: 1em;">pupil of Hudson, iv, 291;</span><br /> +<span style="margin-left: 1em;">travels of, iv, 295;</span><br /> +<span style="margin-left: 1em;">popularity of, iv, 297;</span><br /> +<span style="margin-left: 1em;">vogue of, iv, 298;</span><br /> +<span style="margin-left: 1em;">his specialty, iv, 303;</span><br /> +<span style="margin-left: 1em;">American sympathies of, iv, 305;</span><br /> +<span style="margin-left: 1em;">president of the Royal Academy, iv, 305;</span><br /> +<span style="margin-left: 1em;">death of, iv, 307;</span><br /> +<span style="margin-left: 1em;">fortune of, iv, 307;</span><br /> +<span style="margin-left: 1em;">appearance of, iv, 293;</span><br /> +<span style="margin-left: 1em;">Edmund Burke and, vii, 160, 174;</span><br /> +<span style="margin-left: 1em;">Gainsborough compared with, iv, 287;</span><br /> +<span style="margin-left: 1em;">on Gainsborough, vi, 128;</span><br /> +<span class='pagenum'><a name="XIV_Page_440" id="XIV_Page_440">440</a></span><span style="margin-left: 1em;">genius of, iv, 329;</span><br /> +<span style="margin-left: 1em;">Samuel Johnson and, v, 169; vi, 28;</span><br /> +<span style="margin-left: 1em;">Raphael compared with, iv, 303;</span><br /> +<span style="margin-left: 1em;">on Titian, iv, 146;</span><br /> +<span style="margin-left: 1em;">Turner and, i, 140;</span><br /> +<span style="margin-left: 1em;">on Velasquez, vi, 158.</span><br /> +<br /> +Rhetoric, W. D. Howells on, vi, 187;<br /> +<span style="margin-left: 1em;">the study of, x, 143, 273.</span><br /> +<br /> +Rhode Island Historical Society, vi, 95.<br /> +<br /> +<i>Richard III</i>, Shakespeare, i, 317.<br /> +<br /> +Richardson, Samuel, English novelist, i, 291;<br /> +<span style="margin-left: 1em;">father of the English novel, vi, 148;</span><br /> +<span style="margin-left: 1em;"><i>Clarissa Harlowe</i>, iv, 302;</span><br /> +<span style="margin-left: 1em;"><i>Theory of Painting</i>, iv, 289.</span><br /> +<br /> +Richelieu, Cardinal, Chieppo compared with, iv, 98;<br /> +<span style="margin-left: 1em;">Archbishop Laud compared with, ix, 328;</span><br /> +<span style="margin-left: 1em;">Olivarez and, vi, 180.</span><br /> +<br /> +Riches and roguery, xi, 304.<br /> +<br /> +Richter, Gustav, German painter, iv, 52.<br /> +<br /> +Richter, Jean Paul, xiv, <a href='#XIV_Page_111'><b>111</b></a>.<br /> +<br /> +Rickman, Thomas, friend of Thomas Paine, ix, 174.<br /> +<br /> +<i>Riddle of the Universe, The</i>, Haeckel, xii, 249.<br /> +<br /> +Righteousness, v, 315.<br /> +<br /> +Rights of the individual, v, 205.<br /> +<br /> +<i>Rights of Man, The</i>, Thomas Paine, ix, 157, 159, 174.<br /> +<br /> +<i>Rights of Woman, The</i>, Mary Wollstonecraft, xiii, 85.<br /> +<br /> +<i>Rigoletto</i>, Verdi, xiv, <a href='#XIV_Page_292'><b>292</b></a>.<br /> +<br /> +Riley, James Whitcomb, childhood impressions of, iv, 341; vii, 13;<br /> +<span style="margin-left: 1em;">nomination of, for U. S. president, ix, 80.</span><br /> +<br /> +<i>Rinaldo</i>, Handel, xiv, <a href='#XIV_Page_257'><b>257</b></a>.<br /> +<br /> +<i>Ring and the Book, The</i>, Browning, v, 65.<br /> +<br /> +Ripley, Rev. George, organizer of the Brook Farm Community, viii, 402.<br /> +<br /> +Roberts, John E., ix, 283.<br /> +<br /> +Robespierre, ii, 265;<br /> +<span style="margin-left: 1em;">Marat and, vii, 224;</span><br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 178.</span><br /> +<br /> +Robinson, Beverly, iii, 19.<br /> +<br /> +Robinson, Crabb, ii, 23.<br /> +<br /> +<i>Robinson Crusoe</i>, Heinrich Campe's translation of, xii, 130.<br /> +<br /> +Rob Roy and Byron compared, v, 221.<br /> +<br /> +Rochambeau, quoted, iii, 27.<br /> +<br /> +Rochester, poet, contemporary of Addison, v, 249.<br /> +<br /> +Rockefeller, John D., xi, 373;<br /> +<span style="margin-left: 1em;">Edison compared with, i, 330.</span><br /> +<br /> +Rodin, Auguste, ix, 198.<br /> +<br /> +Roentgen ray, ii, 169; viii, 359.<br /> +<br /> +Rogers, H. H., xi, 315;<br /> +<span style="margin-left: 1em;">appearance of, xi, 360;</span><br /> +<span style="margin-left: 1em;">beneficences of, xi, 390;</span><br /> +<span class='pagenum'><a name="XIV_Page_441" id="XIV_Page_441">441</a></span><span style="margin-left: 1em;">boyhood of, xi, 362;</span><br /> +<span style="margin-left: 1em;">Helen Keller and, xi, 389;</span><br /> +<span style="margin-left: 1em;">on success, xi, 358;</span><br /> +<span style="margin-left: 1em;">Ida Tarbell and, xi, 359;</span><br /> +<span style="margin-left: 1em;">Mark Twain and, x, 110; xi, 389;</span><br /> +<span style="margin-left: 1em;">Booker T. Washington and, xi, 389.</span><br /> +<br /> +Rogers, Hon. Sherman S., vii, 315.<br /> +<br /> +Romagna, the kingdom of, vi, 43.<br /> +<br /> +Romano Giulio, pupil of Raphael, vi, 33.<br /> +<br /> +Romanticism, French school of, iv, 230.<br /> +<br /> +Romantic love, xiii, 211.<br /> +<br /> +<i>Romantic Love and Personal Beauty</i>, Finck, xiii, 39.<br /> +<br /> +Rome, decline of, iii, 232.<br /> +<br /> +Rome, Greece and Judea compared with, x, 36;<br /> +<span style="margin-left: 1em;">in winter, iv, 296;</span><br /> +<span style="margin-left: 1em;">policy of the Church of, vii, 140;</span><br /> +<span style="margin-left: 1em;">wonders of, iv, 56.</span><br /> +<br /> +Romeike habit, the, iii, 113.<br /> +<br /> +<i>Romeo and Juliet</i>, Shakespeare, i, 317; v, 216.<br /> +<br /> +Romney, the artist, xii, 170;<br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 175;</span><br /> +<span style="margin-left: 1em;">Emma Lyon and, xiii, 410.</span><br /> +<br /> +<i>Romola</i>, George Eliot, vi, 90.<br /> +<br /> +Roosevelt, Theodore, ix, 393.<br /> +<br /> +Rose, George B., <i>Renaissance Masters</i>, vi, 39.<br /> +<br /> +Roseberry, Lord, quoted, vii, 186, 199.<br /> +<br /> +Ross, Admiral Sir John, Arctic explorer, grave of, i, 231.<br /> +<br /> +Rossetti, Christina, mother of, ii, 117;<br /> +<span style="margin-left: 1em;">London home of, ii, 125;</span><br /> +<span style="margin-left: 1em;">literary productions of, ii, 129.</span><br /> +<br /> +Rossetti, Dante Gabriel, ii, 115; iv, 51;<br /> +<span style="margin-left: 1em;">influence of, on William Morris, v, 16;</span><br /> +<span style="margin-left: 1em;">Walter Hamilton on, xiii, 272.</span><br /> +<br /> +Rossetti, William Michael, i, 170; ii, 115; iv, 143;<br /> +<span style="margin-left: 1em;">William Sharp on, xiii, 271;</span><br /> +<span style="margin-left: 1em;">on Herbert Spencer, viii, 344;</span><br /> +<span style="margin-left: 1em;">on Walt Whitman, xiii, 18.</span><br /> +<br /> +Rossini, G., musician, iv, 230;<br /> +<span style="margin-left: 1em;">friendship of, for Dore, iv, 340.</span><br /> +<br /> +Rothschild, Mayer Anselm, Goethe and, xi, 134, 145;<br /> +<span style="margin-left: 1em;">the Landgrave of Hesse-Cassel and, xi, 146;</span><br /> +<span style="margin-left: 1em;">parents of, xi, 138.</span><br /> +<br /> +Rothschild, Nathan, at the battle of Waterloo, xi, 161.<br /> +<br /> +Rothschilds, rise of the, xi, 157.<br /> +<br /> +Rousseau, Jean Jacques, boyhood of, ix, 374;<br /> +<span style="margin-left: 1em;">John Burroughs and, ix, 394;</span><br /> +<span style="margin-left: 1em;">on education, xii, 128;</span><br /> +<span style="margin-left: 1em;"><i>Emile</i>, ix, 371;</span><br /> +<span style="margin-left: 1em;">greatness of, ix, 370;</span><br /> +<span style="margin-left: 1em;">influence of, on American patriots, ix, 388;</span><br /> +<span style="margin-left: 1em;">Pestalozzi and, x, 252;</span><br /> +<span style="margin-left: 1em;">Madame de Stael compared with, ii, 183;</span><br /> +<span style="margin-left: 1em;">Madame De Warens and, ix, 375;</span><br /> +<span class='pagenum'><a name="XIV_Page_442" id="XIV_Page_442">442</a></span><span style="margin-left: 1em;"><i>New Heloise</i>, ix, 393;</span><br /> +<span style="margin-left: 1em;">quoted, ix, 390;</span><br /> +<span style="margin-left: 1em;">referred to, i, pp. xxxii, 306; iii, 261; vi, 273; x, 117; xii, 179;</span><br /> +<span style="margin-left: 1em;">Ernest Thompson Seton and, ix, 394;</span><br /> +<span style="margin-left: 1em;">criticized by Voltaire, ix, 384;</span><br /> +<span style="margin-left: 1em;">Voltaire compared with, vii, 207; ix, 373, 385.</span><br /> +<br /> +Rousseau, Theodore, artist, iv, 279.<br /> +<br /> +Roustabouts, artistic, vi, 300.<br /> +<br /> +Rowan, Andrew, i, p xxix.<br /> +<br /> +Royal Academy, charter members of, iv, 306.<br /> +<br /> +Royce, Josiah, the Boston street-car conductor and, viii, 166;<br /> +<span style="margin-left: 1em;">on Kant, viii, 154.</span><br /> +<br /> +Roycrofters, The, ii, p ix;<br /> +<span style="margin-left: 1em;">origin of name, i, p xix;</span><br /> +<span style="margin-left: 1em;">Ali Baba and, ii, p x.</span><br /> +<br /> +Roycroft Inn, ii, p xi.<br /> +<br /> +Roycroft, Samuel and Thomas, i, p xviii.<br /> +<br /> +Rubens, Peter Paul, iv, 47, 81;<br /> +<span style="margin-left: 1em;">parents of, iv, 81;</span><br /> +<span style="margin-left: 1em;">birthplace of, iv, 88;</span><br /> +<span style="margin-left: 1em;">early home of, iv, 88;</span><br /> +<span style="margin-left: 1em;">appearance of, iv, 89;</span><br /> +<span style="margin-left: 1em;">pupil of Tobias Verhaecht, iv, 91;</span><br /> +<span style="margin-left: 1em;">pupil of Adam van Noort, iv, 92;</span><br /> +<span style="margin-left: 1em;">pupil of Otto van Veen, iv, 92;</span><br /> +<span style="margin-left: 1em;">attache of the Duke of Mantua, iv, 98;</span><br /> +<span style="margin-left: 1em;">travels of, iv, 103;</span><br /> +<span style="margin-left: 1em;">literary style of, iv, 106;</span><br /> +<span style="margin-left: 1em;">influence of, iv, 108;</span><br /> +<span style="margin-left: 1em;">marriage of, iv, 111;</span><br /> +<span style="margin-left: 1em;">Ruskin's criticism of, iv, 113;</span><br /> +<span style="margin-left: 1em;">work of, in England, iv, 114;</span><br /> +<span style="margin-left: 1em;">Whistler's criticism of, iv, 116;</span><br /> +<span style="margin-left: 1em;">Hamerton's criticism of, iv, 116;</span><br /> +<span style="margin-left: 1em;">letter of, to Chieppo, secretary of the Duke of Mantua, iv, 80;</span><br /> +<span style="margin-left: 1em;">jealousy of, iv, 176;</span><br /> +<span style="margin-left: 1em;">Macaulay compared with, v, 176;</span><br /> +<span style="margin-left: 1em;">Millet's admiration for, iv, 268;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 183;</span><br /> +<span style="margin-left: 1em;">Titian and, iv, 153;</span><br /> +<span style="margin-left: 1em;">Van Dyck and, iv, 173;</span><br /> +<span style="margin-left: 1em;">Velasquez and, vi, 181;</span><br /> +<span style="margin-left: 1em;">the blonde women of, vi, 164.</span><br /> +<br /> +Ruffner, Gen. Lewis, x, 190.<br /> +<br /> +Rugby Grammar School, x, 229.<br /> +<br /> +Rum, Romanism and Rebellion, ix, 63.<br /> +<br /> +Rush, Dr. Benjamin, patriot, xi, 94;<br /> +<span style="margin-left: 1em;">friend of Thomas Paine, ix, 157.</span><br /> +<br /> +Ruskiniana, i, 89.<br /> +<br /> +Ruskin, John, i, p xxvii; iv, 166;<br /> +<span style="margin-left: 1em;">home of, i, 90;</span><br /> +<span style="margin-left: 1em;">married life of, i, 96;</span><br /> +<span style="margin-left: 1em;">versatility of, i, 98;</span><br /> +<span style="margin-left: 1em;">eccentricities of, i, 87; viii, 255;</span><br /> +<span style="margin-left: 1em;">influence of, i, 89;</span><br /> +<span style="margin-left: 1em;">Augustine Birrell on, vi, 126;</span><br /> +<span style="margin-left: 1em;">Botticelli and, vi, 71;</span><br /> +<span style="margin-left: 1em;">criticism of Rubens, iv, 113;</span><br /> +<span style="margin-left: 1em;">on Correggio, vi, 222;</span><br /> +<span style="margin-left: 1em;">influence of, on William Morris, v, 13;</span><br /> +<span style="margin-left: 1em;"><i>Modern Painters</i>, vi, 329;</span><br /> +<span style="margin-left: 1em;">Morris compared with, xiii, 253;</span><br /> +<span class='pagenum'><a name="XIV_Page_443" id="XIV_Page_443">443</a></span><span style="margin-left: 1em;">quoted, i, 137; ii, p viii; iii, 94; iv, 51; vi, 16;</span><br /> +<span style="margin-left: 1em;">Turner and, vi, 58;</span><br /> +<span style="margin-left: 1em;">description of Turner's <i>Old Temeraire</i>, i, 137;</span><br /> +<span style="margin-left: 1em;">on Velasquez, vi, 158;</span><br /> +<span style="margin-left: 1em;">on Venetian art, vi, 255;</span><br /> +<span style="margin-left: 1em;">views on woman suffrage, i, 93;</span><br /> +<span style="margin-left: 1em;">Whistler and, vi, 330.</span><br /> +<br /> +Russell, Edmund, list of seven immortals in art, vi, 244.<br /> +<br /> +Russia, Czar of, quoted, ii, 83.<br /> +<br /> +<br /> +Sacrilege, vii, 26;<br /> +<span style="margin-left: 1em;">laws against, xii, 368.</span><br /> +<br /> +"Sailors' Latin," vi, 109.<br /> +<br /> +St. Anne, mother of Mary, vi, 61.<br /> +<br /> +St. Anthony, father of Christian monasticism, x, 303.<br /> +<br /> +St. Augustine, i, p xxxii;<br /> +<span style="margin-left: 1em;"><i>Confessions</i> of, vi, 273.</span><br /> +<br /> +St. Basil, on astronomy, xii, 100.<br /> +<br /> +St. Benedict, vii, 114;<br /> +<span style="margin-left: 1em;">book of rules, x, 324;</span><br /> +<span style="margin-left: 1em;">captain of industry, x, 320;</span><br /> +<span style="margin-left: 1em;">physical strength of, x, 312;</span><br /> +<span style="margin-left: 1em;">teachings of, x, 302.</span><br /> +<br /> +St. Cassiodorus, patron saint of bookmakers, x, 320.<br /> +<br /> +St. Cecilia, mother of sacred music, vi, 62.<br /> +<br /> +St. Chrysostom, vi, 74.<br /> +<br /> +Sainte-Beuve, Charles, French critic, xii, 301.<br /> +<br /> +Sainte-Hilaire, August de, xii, 371.<br /> +<br /> +St. Gaudens, Augustus, Elbert Hubbard and, vi, 117.<br /> +<br /> +St. Genevieve, patron saint of Paris, i, 202.<br /> +<br /> +St. Gregory, on the death of St. Benedict, x, 322.<br /> +<br /> +St. Helena, island of, i, 233.<br /> +<br /> +St. Jerome, x, 303.<br /> +<br /> +St. Lorenzo, church of, Florence, vii, 90.<br /> +<br /> +St. Louis, as an art center, iv, 142.<br /> +<br /> +St. Luke, Brotherhood of, in Antwerp, iv, 173.<br /> +<br /> +St. Mark's monastery, Florence, vii, 88.<br /> +<br /> +<i>St. Martin Dividing His Cloak With Two Beggars</i>, Van Dyck, iv, 184.<br /> +<br /> +St. Patrick's Cathedral, Dublin, i, 144, 157.<br /> +<br /> +<i>St. Paul, Conversion of</i>, Michelangelo, iv, 34.<br /> +<br /> +<i>St. Paul in Prison</i>, Rembrandt, iv, 64.<br /> +<br /> +St. Paul, referred to, i, 306; iii, 41;<br /> +<span style="margin-left: 1em;">Gallio and, viii, 46; ix, 189;</span><br /> +<span style="margin-left: 1em;">Seneca and, viii, 47;</span><br /> +<span style="margin-left: 1em;">quoted, ii, 189; xi, 307;</span><br /> +<span style="margin-left: 1em;">compared with Walt Whitman, i, 170.</span><br /> +<br /> +<i>St. Peter, Crucifixion of</i>, Michelangelo, iv, 34.<br /> +<br /> +St. Peter's, church of, in Cologne, iv, 86.<br /> +<br /> +St. Peter's, Rome, iv, 19;<br /> +<span class='pagenum'><a name="XIV_Page_444" id="XIV_Page_444">444</a></span><span style="margin-left: 1em;">dome of, Michelangelo's finest monument, iv, 35.</span><br /> +<br /> +"Saints and Sinners" corner, the, v, 356.<br /> +<br /> +<i>Saints' Everlasting Rest, The</i>, Richard Baxter, iii, 34.<br /> +<br /> +Saintship, xiv, <a href='#XIV_Page_176'><b>176</b></a>.<br /> +<br /> +Saint-Simon and Auguste Comte, viii, 247, 277.<br /> +<br /> +St. Thomas Aquinas, vii, 82.<br /> +<br /> +Sairy Gamp, the profession of, viii, 12.<br /> +<br /> +Salamanders, vi, 277.<br /> +<br /> +Salesmanship, xi, 27;<br /> +<span style="margin-left: 1em;">old school of, xi, 342.</span><br /> +<br /> +Salome and John the Baptist, vi, 76.<br /> +<br /> +Samson, i, 75.<br /> +<br /> +Sanborn, Kate, iii, 194.<br /> +<br /> +Sand, George, xiv, <a href='#XIV_Page_76'><b>76</b></a>;<br /> +<span style="margin-left: 1em;">Frederic Chopin and, xiv, <a href='#XIV_Page_96'><b>96</b></a>;</span><br /> +<span style="margin-left: 1em;">Franz Liszt and, xiv, <a href='#XIV_Page_194'><b>194</b></a>;</span><br /> +<span style="margin-left: 1em;">on the influence of Rousseau, ix, 387.</span><br /> +<br /> +Sangamon county, referred to, by Lincoln, iii, 275.<br /> +<br /> +Sangamon river, the, iii, 281.<br /> +<br /> +Sanitarium bacillus, the, vi, 226.<br /> +<br /> +Santa Claus, belief in, viii, 269.<br /> +<br /> +Sapphira, i, 75.<br /> +<br /> +Sappho, writings of, x, 283.<br /> +<br /> +Sargent, John S., American painter, vi, 323.<br /> +<br /> +Satan, v, 320;<br /> +<span style="margin-left: 1em;">Milton's conception of, iv, 32.</span><br /> +<br /> +Satolli, Cardinal, referred to, i, 155;<br /> +<span style="margin-left: 1em;">on religious zeal, xii, 81.</span><br /> +<br /> +<i>Saul</i>, Handel, xiv, <a href='#XIV_Page_269'><b>269</b></a>.<br /> +<br /> +Savage, Rev. Minot, ix, 283;<br /> +<span style="margin-left: 1em;">preaching of, vii, 309.</span><br /> +<br /> +Savagery and civilization, iv, 263.<br /> +<br /> +Savannah, experiences of John Wesley in, ix, 31.<br /> +<br /> +Saviors of mankind, ii, 197.<br /> +<br /> +Savonarola, Girolamo, iv, 23; vi, 50; vii, 81;<br /> +<span style="margin-left: 1em;">Pope Alexander and, vii, 101;</span><br /> +<span style="margin-left: 1em;">Garibaldi compared with, ix, 124;</span><br /> +<span style="margin-left: 1em;">Lorenzo de Medici and, vii, 97;</span><br /> +<span style="margin-left: 1em;">monastic life of, vii, 85.</span><br /> +<br /> +Scamping defined, x, 174.<br /> +<br /> +Scandal and rumor, xiii, 197.<br /> +<br /> +<i>Scenes From a Private Life</i>, Balzac, xiii, 290.<br /> +<br /> +Scheffer, Ary, artistic evolution of, iv, 225;<br /> +<span style="margin-left: 1em;">influence of women on, iv, 225;</span><br /> +<span style="margin-left: 1em;">mother of, iv, 225;</span><br /> +<span style="margin-left: 1em;">home of, in Paris, iv, 227;</span><br /> +<span style="margin-left: 1em;">appearance of, iv, 231;</span><br /> +<span style="margin-left: 1em;">friendship for Lafayette, iv, 236;</span><br /> +<span style="margin-left: 1em;">acquaintance of Augustin Thierry with, iv, 237;</span><br /> +<span class='pagenum'><a name="XIV_Page_445" id="XIV_Page_445">445</a></span><span style="margin-left: 1em;">member of the household of Duke of Orleans, iv, 238;</span><br /> +<span style="margin-left: 1em;">his love for Princess Marie, iv, 242;</span><br /> +<span style="margin-left: 1em;">captain in the National Guard, iv, 248;</span><br /> +<span style="margin-left: 1em;">marriage of, iv, 253;</span><br /> +<span style="margin-left: 1em;">death of, iv, 255.</span><br /> +<br /> +Schiller, ii, 184;<br /> +<span style="margin-left: 1em;">Lord Byron compared with, v, 230;</span><br /> +<span style="margin-left: 1em;">on love, vi, 241;</span><br /> +<span style="margin-left: 1em;">Thackeray's estimate of, i, 234.</span><br /> +<br /> +Schlatter, Francis, divine healer, v, 109.<br /> +<br /> +Schlegel, Friedrich, ii, 184.<br /> +<br /> +Schleiermacher, Friedrich, German philosopher, v, 306.<br /> +<br /> +Schliemann, Heinrich, archeologist, vii, 11.<br /> +<br /> +Scholastica, twin sister of St. Benedict, x, 322.<br /> +<br /> +<i>School for Scandal</i>, Sheridan, iii, 122.<br /> +<br /> +Schoolhouse, the little red, iii, 255.<br /> +<br /> +School mothers, x, 262.<br /> +<br /> +<i>School of Athens</i>, Raphael, vi, 32.<br /> +<br /> +Schoolteaching, x, 219.<br /> +<br /> +Schopenhauer, Arthur, education of, viii, 369;<br /> +<span style="margin-left: 1em;">Goethe and, viii, 371;</span><br /> +<span style="margin-left: 1em;">on humanity, viii, 362;</span><br /> +<span style="margin-left: 1em;">on Immanuel Kant, viii, 170;</span><br /> +<span style="margin-left: 1em;">literary style of, viii, 378;</span><br /> +<span style="margin-left: 1em;">on love, xiv, <a href='#XIV_Page_313'><b>313</b></a>;</span><br /> +<span style="margin-left: 1em;"><i>Metaphysics of Love</i>, viii, 382;</span><br /> +<span style="margin-left: 1em;">on morality, viii, 377;</span><br /> +<span style="margin-left: 1em;">on paternity, viii, 363;</span><br /> +<span style="margin-left: 1em;">on pose, v, 123;</span><br /> +<span style="margin-left: 1em;">on republics, xii, 245;</span><br /> +<span style="margin-left: 1em;">on suicide, viii, 385;</span><br /> +<span style="margin-left: 1em;">on will, viii, 380.</span><br /> +<br /> +Schubert, Franz Peter, xiv, <a href='#XIV_Page_126'><b>126</b></a>.<br /> +<br /> +Schumann, Robert, boyhood of, xiv, <a href='#XIV_Page_111'><b>111</b></a>;<br /> +<span style="margin-left: 1em;">death of, xiv, <a href='#XIV_Page_349'><b>349</b></a>;</span><br /> +<span style="margin-left: 1em;">Heinrich Heine and, xiv, <a href='#XIV_Page_117'><b>117</b></a>;</span><br /> +<span style="margin-left: 1em;">as a piano-player, viii, 173;</span><br /> +<span style="margin-left: 1em;">personality of, xiv, <a href='#XIV_Page_335'><b>335</b></a>;</span><br /> +<span style="margin-left: 1em;">Schubert and, xiv, <a href='#XIV_Page_126'><b>126</b></a>;</span><br /> +<span style="margin-left: 1em;">Clara Wieck and, xiv, <a href='#XIV_Page_121'><b>121</b></a>.</span><br /> +<br /> +Science, of living, x, 51;<br /> +<span style="margin-left: 1em;">distinguished from metaphysics and theology, viii, 267;</span><br /> +<span style="margin-left: 1em;">Dr. Nordau as the Barnum of, i, 163;</span><br /> +<span style="margin-left: 1em;">poetry and, x, 114;</span><br /> +<span style="margin-left: 1em;">theology and, xii, 155.</span><br /> +<br /> +Scientist, the true, iii, 59.<br /> +<br /> +Scissors age, the, iv, 315.<br /> +<br /> +Scotch, the, v, 94;<br /> +<span style="margin-left: 1em;">humor of, xiii, 11;</span><br /> +<span style="margin-left: 1em;">manners of, i, 72;</span><br /> +<span style="margin-left: 1em;">penuriousness of, xi, 264;</span><br /> +<span style="margin-left: 1em;">religion of, i, 72;</span><br /> +<span style="margin-left: 1em;">two kinds of, xi, 169.</span><br /> +<br /> +Scotch-Irish, the, xi, 196.<br /> +<br /> +Scotch whisky, i, 72.<br /> +<br /> +Scotland in literature, xi, 263.<br /> +<br /> +Scott, Clement, quoted, v, 69.<br /> +<br /> +Scott, Thomas A., and Andrew Carnegie, xi, 273.<br /> +<br /> +Scott, Sir Walter, i, 52;<br /> +<span style="margin-left: 1em;">Lord Byron compared with, v, 230;</span><br /> +<span class='pagenum'><a name="XIV_Page_446" id="XIV_Page_446">446</a></span><span style="margin-left: 1em;">his friendship for Turner, i, 132;</span><br /> +<span style="margin-left: 1em;">lameness of, v, 211;</span><br /> +<span style="margin-left: 1em;">Landseer and, iv, 321;</span><br /> +<span style="margin-left: 1em;">on monasticism, x, 320;</span><br /> +<span style="margin-left: 1em;">Thorwaldsen and, vi, 115;</span><br /> +<span style="margin-left: 1em;">the Wordsworths and, i, 215;</span><br /> +<span style="margin-left: 1em;">his life of Dean Swift, i, 143.</span><br /> +<br /> +Scriptorium, the, x, 321.<br /> +<br /> +<i>Seasons, The</i>, Thomson, v, 31; xiii, 58.<br /> +<br /> +Secondhand Thought and New Thought, x, 284.<br /> +<br /> +Sect, the limitations of, viii, 149.<br /> +<br /> +Sedley, poet, contemporary of Addison, v, 249.<br /> +<br /> +Seine river, the, ii, 56.<br /> +<br /> +Self-complacency, vi, 201.<br /> +<br /> +Self-confidence, vii, 251.<br /> +<br /> +Self-consciousness, ix, 356.<br /> +<br /> +Self-interest, enlightened, vi, 251.<br /> +<br /> +Self-preservation, xi, 13.<br /> +<br /> +Self-reliance, v, 175; vi, 332.<br /> +<br /> +<i>Self-Reliance</i>, Emerson's essay on, i, 278; ii, 286.<br /> +<br /> +Selfridge, Harry G., xi, 326.<br /> +<br /> +Seneca, Lucius Annæus, stoic philosopher, viii, 49;<br /> +<span style="margin-left: 1em;">banishment of, viii, 60;</span><br /> +<span style="margin-left: 1em;">mother of, viii, 51;</span><br /> +<span style="margin-left: 1em;">Julius Cæsar compared with, viii, 72;</span><br /> +<span style="margin-left: 1em;">Canon Farrar on, viii, 80;</span><br /> +<span style="margin-left: 1em;">St. Paul and, viii, 47;</span><br /> +<span style="margin-left: 1em;">Renan on, viii, 80;</span><br /> +<span style="margin-left: 1em;">Voltaire on, viii, 80.</span><br /> +<br /> +Sensationalism in religion, ix, 283.<br /> +<br /> +<i>Sense and Sensibility</i>, Jane Austen, ii, 236.<br /> +<br /> +Sensualist, the, v, 235.<br /> +<br /> +Sensuality, vii, 73;<br /> +<span style="margin-left: 1em;">asceticism and, vi, 91.</span><br /> +<br /> +Sentimentality, iv, 246.<br /> +<br /> +Servant-girl problem, the, viii, 259.<br /> +<br /> +Servetus and Calvin, ix, 201;<br /> +<span style="margin-left: 1em;">Cardinal Newman compared with, ix, 202.</span><br /> +<br /> +Service, vii, 319;<br /> +<span style="margin-left: 1em;">religion by, ix, 188, 191.</span><br /> +<br /> +<i>Sesame and Lilies</i>, Ruskin, i, 95; iv, 166.<br /> +<br /> +Seven ages of man, iii, 261.<br /> +<br /> +Seward, William H., father of, iii, 262;<br /> +<span style="margin-left: 1em;">birthplace of, in Florida, N. Y., iii, 262;</span><br /> +<span style="margin-left: 1em;">Governor of N. Y., iii, 265;</span><br /> +<span style="margin-left: 1em;">political work of, iii, 266;</span><br /> +<span style="margin-left: 1em;">attitude of, on slavery, iii, 267;</span><br /> +<span style="margin-left: 1em;">presidential candidacy of, iii, 271;</span><br /> +<span style="margin-left: 1em;">as senator, iii, 270;</span><br /> +<span style="margin-left: 1em;">sons of, iii, 273;</span><br /> +<span style="margin-left: 1em;">wife of, iii, 273;</span><br /> +<span style="margin-left: 1em;">secretary of State, iii, 273;</span><br /> +<span style="margin-left: 1em;">attempted assassination of, iii, 275;</span><br /> +<span style="margin-left: 1em;">death of, iii, 276;</span><br /> +<span style="margin-left: 1em;">Henry Clay compared with, iii, 222;</span><br /> +<span style="margin-left: 1em;">referred to, iv, 128; iv, 71.</span><br /> +<br /> +Sewing-machines, ii, 70.<br /> +<br /> +Sex, immanence of, ii, 202;<br /> +<span style="margin-left: 1em;">religion and, ii, 201;</span><br /> +<span style="margin-left: 1em;">in Nature, v, 103.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_447" id="XIV_Page_447">447</a></span>Shadows, Rembrandt's use of, iv, 62.<br /> +<br /> +Shaftesbury, Earl of, referred to, iii, 37.<br /> +<br /> +Shakers, the, ii, 189.<br /> +<br /> +Shakespeare, William, father of, i, 304;<br /> +<span style="margin-left: 1em;">relations with Ann Hathaway, i, 306;</span><br /> +<span style="margin-left: 1em;">birthplace of, i, 309;</span><br /> +<span style="margin-left: 1em;">epitaph of, i, 311;</span><br /> +<span style="margin-left: 1em;">grave of, i, 311;</span><br /> +<span style="margin-left: 1em;">Addison and, v, 246;</span><br /> +<span style="margin-left: 1em;">Bacon and, vi, 47;</span><br /> +<span style="margin-left: 1em;">Byron compared with, v, 204, 230;</span><br /> +<span style="margin-left: 1em;">characters of, i, 270;</span><br /> +<span style="margin-left: 1em;">childhood impressions of, iv, 341;</span><br /> +<span style="margin-left: 1em;">Cromwell and, ix, 307;</span><br /> +<span style="margin-left: 1em;">on democracy, i, 179;</span><br /> +<span style="margin-left: 1em;">Dryden and, i, 124;</span><br /> +<span style="margin-left: 1em;">Victor Hugo on, i, 200;</span><br /> +<span style="margin-left: 1em;">Ingersoll on, xii, 319;</span><br /> +<span style="margin-left: 1em;">Milton and, v, 119;</span><br /> +<span style="margin-left: 1em;">Plato compared with, x, 116;</span><br /> +<span style="margin-left: 1em;">quoted, xi, 284;</span><br /> +<span style="margin-left: 1em;">referred to, i, p xxvii, 49, 134, 223, 248; iii, 28; iv, 81, 159; v, 26, 83, 97, 149; xii, 57;</span><br /> +<span style="margin-left: 1em;">on religion, x, 350;</span><br /> +<span style="margin-left: 1em;">Swedenborg compared with, viii, 177;</span><br /> +<span style="margin-left: 1em;">Thackeray on, vi, 42;</span><br /> +<span style="margin-left: 1em;">the universal man, vi, 178;</span><br /> +<span style="margin-left: 1em;">vogue of, xiii, 209;</span><br /> +<span style="margin-left: 1em;">Voltaire's opinion of, i, 134.</span><br /> +<br /> +Shareholding, xi, 25.<br /> +<br /> +"Sharps and Flats" Corner, Field's, v, 256.<br /> +<br /> +Sharp, William, on Dante Gabriel Rosetti, xiii, 271.<br /> +<br /> +Shaw, George Bernard, xi, 283;<br /> +<span style="margin-left: 1em;">on absentee landlordism, xiii, 177;</span><br /> +<span style="margin-left: 1em;">his description of the disagreeable girl, xiii, 111;</span><br /> +<span style="margin-left: 1em;">on marriage, ix, 44;</span><br /> +<span style="margin-left: 1em;">on Voltaire, viii, 320;</span><br /> +<span style="margin-left: 1em;">on Whistler, vi, 341.</span><br /> +<br /> +Shawneetown, Ill., life of Ingersoll in, vii, 245.<br /> +<br /> +Sheedy, Colonel Patrick, vi, 72.<br /> +<br /> +Sheldon, Arthur F., and Cobden, ix, 138.<br /> +<br /> +Shelley, Mary W., birth of, ii, 293;<br /> +<span style="margin-left: 1em;">mother of, ii, 293;</span><br /> +<span style="margin-left: 1em;">meeting of, with Percy B. Shelley, 300;</span><br /> +<span style="margin-left: 1em;">elopement of, ii, 303;</span><br /> +<span style="margin-left: 1em;">literary work of, ii, 305;</span><br /> +<span style="margin-left: 1em;">children of, ii, 306;</span><br /> +<span style="margin-left: 1em;">death of, ii, 307;</span><br /> +<span style="margin-left: 1em;">quoted, ii, 284;</span><br /> +<span style="margin-left: 1em;">referred to, xiii, 106.</span><br /> +<br /> +Shelley, Percy Bysshe, influence of women on, ii, 287;<br /> +<span style="margin-left: 1em;">compared with Emerson, ii, 287;</span><br /> +<span style="margin-left: 1em;">apostle of the good, the true and the beautiful, ii, 288;</span><br /> +<span style="margin-left: 1em;">meeting of, with Mary Wollstonecraft Godwin, ii, 289;</span><br /> +<span style="margin-left: 1em;">marriage of, to Harriet Westbrook, ii, 297;</span><br /> +<span style="margin-left: 1em;">death of, ii, 307;</span><br /> +<span style="margin-left: 1em;">referred to, xii, 57; iv, 160; v, 50, 97;</span><br /> +<span style="margin-left: 1em;">Aubrey Beardsley compared with, vi, 73;</span><br /> +<span style="margin-left: 1em;">Lord Byron and, v, 229;</span><br /> +<span style="margin-left: 1em;">Coleridge and, v, 310;</span><br /> +<span style="margin-left: 1em;">Giorgione compared with, vi, 254;</span><br /> +<span style="margin-left: 1em;">Southey and, v, 283;</span><br /> +<span class='pagenum'><a name="XIV_Page_448" id="XIV_Page_448">448</a></span><span style="margin-left: 1em;">Spurgeon's estimate of, i, 135;</span><br /> +<span style="margin-left: 1em;">Thorwaldsen and, vi, 116;</span><br /> +<span style="margin-left: 1em;">Wordsworth compared with, i, 222.</span><br /> +<br /> +Sheridan, Richard Brinsley, xii, 179;<br /> +<span style="margin-left: 1em;">Gainsborough and, vi, 144;</span><br /> +<span style="margin-left: 1em;"><i>The School for Scandal</i>, iii, 122;</span><br /> +<span style="margin-left: 1em;">Daniel Webster compared with, iii, 204.</span><br /> +<br /> +Sherman, Gen. William Tecumseh, x, 159;<br /> +<span style="margin-left: 1em;">on war, xiv, <a href='#XIV_Page_313'><b>313</b></a>.</span><br /> +<br /> +Ship-money, ix, 315.<br /> +<br /> +<i>Shirley</i>, Charlotte Bronte, ii, 112.<br /> +<br /> +<i>Shoeing</i>, Landseer, iv, 320.<br /> +<br /> +<i>Sidera Medicea</i>, Galileo, xii, 69.<br /> +<br /> +Sidney, Sir Philip, ii, 49; xi, 200;<br /> +<span style="margin-left: 1em;">Giordano Bruno and, xii, 51.</span><br /> +<br /> +<i>Silverado Squatters, The</i>, Stevenson, xiii, 35.<br /> +<br /> +Simeon Stylites, x, 295.<br /> +<br /> +Simmias, disciple of Socrates, viii, 29.<br /> +<br /> +Simonetta, Botticelli and, vi, 83;<br /> +<span style="margin-left: 1em;">Maurice Hewlett on the death of, vi, 87.</span><br /> +<br /> +Simons, Menno, contemporary of Luther, viii, 211.<br /> +<br /> +Simple life, the, x, 108.<br /> +<br /> +Sincerity, v, 169.<br /> +<br /> +Sinclair, Upton, x, 117; xi, 359;<br /> +<span style="margin-left: 1em;">on Packingtown, xi, 179.</span><br /> +<br /> +Singing, congregational, vii, 338.<br /> +<br /> +Single tax, the, ix, 86.<br /> +<br /> +Sinnekaas, the, viii, 45.<br /> +<br /> +<i>Sinners in the Hands of an Angry God</i>, Jonathan Edwards, iii, 176.<br /> +<br /> +Sin, perverted power, iii, 40.<br /> +<br /> +Sioux Indians, i, 99; ii, 75.<br /> +<br /> +Sisera, i, 75.<br /> +<br /> +Sistine chapel, the, iv, 28.<br /> +<br /> +Sixtus, Pope, iv, 101.<br /> +<br /> +Skibo Castle, xi, 283.<br /> +<br /> +Slaughter-houses, xi, 180.<br /> +<br /> +Slavery, in New York State, iii, 247, 267;<br /> +<span style="margin-left: 1em;">Emerson on, vii, 393;</span><br /> +<span style="margin-left: 1em;">General Gordon on, vii, 393;</span><br /> +<span style="margin-left: 1em;">petition for abolishment of, vii, 239;</span><br /> +<span style="margin-left: 1em;">John Wesley on, ix, 81.</span><br /> +<br /> +Slaves, freeing of the, x, 188.<br /> +<br /> +Sloane, Hans, collector of curiosities, i, 124.<br /> +<br /> +Slums, city, ix, 83.<br /> +<br /> +Smiles, Dr. Samuel, v, 173.<br /> +<br /> +Smith, Adam, Scotch economist, i, 73; v, 94;<br /> +<span style="margin-left: 1em;">on capital, xi, 323;</span><br /> +<span style="margin-left: 1em;">Samuel Johnson and, v, 163;</span><br /> +<span style="margin-left: 1em;">on university education, ix, 21;</span><br /> +<span style="margin-left: 1em;">quoted, ix, 83; xi, 268.</span><br /> +<br /> +Smith, Donald Alexander, xi, 422.<br /> +<br /> +Smith, F. Hopkinson, i, 242; vi, 65.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_449" id="XIV_Page_449">449</a></span>Smith, John Raphael, the engraver, i, 126.<br /> +<br /> +Smith, Sydney, iv, 320;<br /> +<span style="margin-left: 1em;">grave of, i, 231;</span><br /> +<span style="margin-left: 1em;">on Macaulay, v, 178.</span><br /> +<br /> +Smollett, Tobias, iv, 302.<br /> +<br /> +Snobs, Thackeray on, vi, 66.<br /> +<br /> +Snuffboxes, iv, 120.<br /> +<br /> +Sobieski, John, xiv, <a href='#XIV_Page_86'><b>86</b></a>.<br /> +<br /> +<i>Social Contract, The</i>, Rousseau, i, 205; vii, 207; ix, 389.<br /> +<br /> +Socialism, xii, 342;<br /> +<span style="margin-left: 1em;">William Morris and, v, 22.</span><br /> +<br /> +Socialists, Christian, v, 22;<br /> +<span style="margin-left: 1em;">classes of, xi, 42.</span><br /> +<br /> +Social ostracism, vi, 172.<br /> +<br /> +<i>Social Statics</i>, Spencer, viii, 336.<br /> +<br /> +Society, fashionable, vi, 170.<br /> +<br /> +Society of Friends, ix, 217.<br /> +<br /> +Society for the Prevention of Cruelty to Children, ii, 20; v, 123.<br /> +<br /> +Socrates, birth of, viii, 11;<br /> +<span style="margin-left: 1em;">appearance of, viii, 11;</span><br /> +<span style="margin-left: 1em;">parents of, viii, 11;</span><br /> +<span style="margin-left: 1em;">wife of, viii, 22;</span><br /> +<span style="margin-left: 1em;">death of, viii, 37;</span><br /> +<span style="margin-left: 1em;">referred to, ii, 195;</span><br /> +<span style="margin-left: 1em;">Aspasia and, vii, 32; viii, 20;</span><br /> +<span style="margin-left: 1em;">Bronson Alcott compared with, viii, 27;</span><br /> +<span style="margin-left: 1em;">on character, viii, 27;</span><br /> +<span style="margin-left: 1em;">Confucius compared with, x, 50, 60;</span><br /> +<span style="margin-left: 1em;">the first democrat, x, 112;</span><br /> +<span style="margin-left: 1em;">disciples of, viii, 29;</span><br /> +<span style="margin-left: 1em;">Emerson and, viii, 16;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 204; x, 99;</span><br /> +<span style="margin-left: 1em;">Thomas Jefferson compared with, xi, 97;</span><br /> +<span style="margin-left: 1em;">Samuel Johnson compared with, v, 168;</span><br /> +<span style="margin-left: 1em;">Plato and, viii, 11, 29; x, 102;</span><br /> +<span style="margin-left: 1em;">the Sophists and, viii, 18;</span><br /> +<span style="margin-left: 1em;">Tolstoy and, viii, 22;</span><br /> +<span style="margin-left: 1em;">compared with Walt Whitman, i, 170;</span><br /> +<span style="margin-left: 1em;">his opinion of women, viii, 21;</span><br /> +<span style="margin-left: 1em;">Xenophon and, viii, 11, 29.</span><br /> +<br /> +Solitude, ii, 285; v, 175, 268.<br /> +<br /> +Solomon's ideal wife, ii, 69.<br /> +<br /> +Somers, Bishop Manners, and George III, vii, 200.<br /> +<br /> +<i>Song of the Open Road</i>, quotation from, i, 162.<br /> +<br /> +<i>Song Without Words</i>, Mendelssohn, vi, 117; xiv, <a href='#XIV_Page_183'><b>183</b></a>.<br /> +<br /> +<i>Sonnets From the Portuguese</i>, E. B. Browning, ii, 36.<br /> +<br /> +Sonnets of Michelangelo, iv, 4.<br /> +<br /> +Sophistication, the art of, viii, 202.<br /> +<br /> +Sophists, Socrates and the, viii, 18;<br /> +<span style="margin-left: 1em;">the Stoics compared with, viii, 53.</span><br /> +<br /> +Sophocles, v, 230.<br /> +<br /> +<i>Sordello</i>, Browning, v, 39.<br /> +<br /> +Sorrow, vii, 84.<br /> +<br /> +<i>Sortie of the Civic Guard</i>, Rembrandt, vi, 66.<br /> +<br /> +Soul, Emerson on the, viii, 403;<br /> +<span class='pagenum'><a name="XIV_Page_450" id="XIV_Page_450">450</a></span><span style="margin-left: 1em;">growth of the, vi, 109;</span><br /> +Plato on the, viii, 403.<br /> +<br /> +Southey, Robert, ii, 225;<br /> +<span style="margin-left: 1em;">Greta Hall, home of, v, 279;</span><br /> +<span style="margin-left: 1em;">parents of, v, 279;</span><br /> +<span style="margin-left: 1em;">monument of, v, 281;</span><br /> +<span style="margin-left: 1em;">Lord Byron, v, 281;</span><br /> +<span style="margin-left: 1em;">Coleridge and, v, 301;</span><br /> +<span style="margin-left: 1em;">his sonnet to Robert Emmett, v, 264;</span><br /> +<span style="margin-left: 1em;">his estimate of Jane Austen, ii, 254;</span><br /> +<span style="margin-left: 1em;">Lovell and, v, 301;</span><br /> +<span style="margin-left: 1em;">on Lord Nelson, xiii, 398;</span><br /> +<span style="margin-left: 1em;">Shelley and, v, 283;</span><br /> +<span style="margin-left: 1em;">Mary Wollstonecraft and, xiii, 102;</span><br /> +<span style="margin-left: 1em;">the Wordsworths and, i, 214; v, 303.</span><br /> +<br /> +Spain, England and, in the 16th century, iv, 81;<br /> +<span style="margin-left: 1em;">senility of, iii, 232;</span><br /> +<span style="margin-left: 1em;">under the rule of Philip II, vi, 171;</span><br /> +<span style="margin-left: 1em;">dominion in the Netherlands, iv, 81.</span><br /> +<br /> +Spalding, Bishop, on Mill, xiii, 162.<br /> +<br /> +Spanish colonies in America, xii, 145.<br /> +<br /> +Spanish Inquisition, the, vi, 171.<br /> +<br /> +Sparrows, Grant Allen on, viii, 400.<br /> +<br /> +Spear, William G., custodian of the Quincy Historical Society, iii, 134; vi, 315.<br /> +<br /> +Specialist, age of the, iv, 120.<br /> +<br /> +<i>Speech for Unlicensed Printing</i>, Milton, xiii, 85.<br /> +<br /> +Speed, Joshua, Lincoln's law partner, iii, 303.<br /> +<br /> +Spelling-bees, iii, 255.<br /> +<br /> +Spencer, Herbert, parents of, viii, 325;<br /> +<span style="margin-left: 1em;">personality of, viii, 352;</span><br /> +<span style="margin-left: 1em;">as a civil engineer, viii, 352;</span><br /> +<span style="margin-left: 1em;">as assistant editor <i>Westminster Review</i>, viii, 334;</span><br /> +<span style="margin-left: 1em;"><i>Principles of Psychology</i>, viii, 342;</span><br /> +<span style="margin-left: 1em;"><i>Manners and Fashion,</i> viii, 342;</span><br /> +<span style="margin-left: 1em;">Poultney Bigelow and, viii, 189;</span><br /> +<span style="margin-left: 1em;">Charles Bradlaugh compared with, viii, 334;</span><br /> +<span style="margin-left: 1em;">the Carlyles and, xii, 340;</span><br /> +<span style="margin-left: 1em;">Comte and, viii, 261;</span><br /> +<span style="margin-left: 1em;">Madame Curie and, viii, 259;</span><br /> +<span style="margin-left: 1em;">Mrs. Eddy and, viii, 189;</span><br /> +<span style="margin-left: 1em;">on education, xi, 171;</span><br /> +<span style="margin-left: 1em;">Mary Ann Evans and, viii, 335;</span><br /> +<span style="margin-left: 1em;">on genius, vii, 316;</span><br /> +<span style="margin-left: 1em;">W. E. Gladstone and, xii, 230;</span><br /> +<span style="margin-left: 1em;">Haeckel compared with, xii, 257;</span><br /> +<span style="margin-left: 1em;">on the herding instinct, viii, 149;</span><br /> +<span style="margin-left: 1em;">Huxley and, viii, 345;</span><br /> +<span style="margin-left: 1em;">George Henry Lewes and, viii, 337;</span><br /> +<span style="margin-left: 1em;">on morality, ix, 191;</span><br /> +<span style="margin-left: 1em;">on Sir Isaac Newton, x, 366;</span><br /> +<span style="margin-left: 1em;">quoted ii, 75; v, 70, 109;</span><br /> +<span style="margin-left: 1em;">referred to, i, 56; ii, 290; v, 174, 289; xii, 207, 371; xiii, 85;</span><br /> +<span style="margin-left: 1em;">Michael Rossetti on, viii, 344;</span><br /> +<span style="margin-left: 1em;">on science, xi, 386;</span><br /> +<span style="margin-left: 1em;"><i>Social Statics,</i> viii, 336;</span><br /> +<span style="margin-left: 1em;">on Swedenborg, viii, 190;</span><br /> +<span style="margin-left: 1em;">on John Tyndall, xii, 34, 356;</span><br /> +<span style="margin-left: 1em;">on the Unknowable, viii, 173;</span><br /> +<span class='pagenum'><a name="XIV_Page_451" id="XIV_Page_451">451</a></span><span style="margin-left: 1em;">Prof. E. L. Youmans and, viii, 344.</span><br /> +<br /> +Spencerian system of writing, vi, 134.<br /> +<br /> +Spenser, Edmund, iv, 197; v, 14.<br /> +<br /> +Spinoza, Benedict, xi, 129;<br /> +<span style="margin-left: 1em;">excommunication of, viii, 224;</span><br /> +<span style="margin-left: 1em;">Grotius compared with, viii, 228;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 206;</span><br /> +<span style="margin-left: 1em;">on the Mennonites, viii, 211;</span><br /> +<span style="margin-left: 1em;">Novalis on, viii, 233;</span><br /> +<span style="margin-left: 1em;">parents of, viii, 210;</span><br /> +<span style="margin-left: 1em;">philosophy of, viii, 234;</span><br /> +<span style="margin-left: 1em;">Renan on, viii, 229, 233;</span><br /> +<span style="margin-left: 1em;"><i>Tractatus Theologico-Politicus</i>, viii, 232;</span><br /> +<span style="margin-left: 1em;">Van der Spijck and, viii, 228.</span><br /> +<br /> +Spirit, of the hive, vii, 245;<br /> +<span style="margin-left: 1em;">of mutual giving, vi, 237.</span><br /> +<br /> +Spiritism, Alfred Russel Wallace's views on, xii, 392.<br /> +<br /> +Spirits, disembodied, viii, 176.<br /> +<br /> +Spiritual companionship, v, 227;<br /> +<span style="margin-left: 1em;">gravity, v, 241;</span><br /> +<span style="margin-left: 1em;">relationship, vii, 385.</span><br /> +<br /> +Spiritualism, x, 342.<br /> +<br /> +Spirituality, religion and, iv, 236;<br /> +<span style="margin-left: 1em;">sex and, xiii, 346.</span><br /> +<br /> +Spirit-world, the, i, 298.<br /> +<br /> +<i>Spirit World</i>, Swedenborg, viii, 172.<br /> +<br /> +Spooner, Rev. Peleg, viii, 45.<br /> +<br /> +Spoons, collecting, iv, 120.<br /> +<br /> +Sport, the college type described, v, 152.<br /> +<br /> +Sporza, Francisco, equestrian statue of, vi, 54.<br /> +<br /> +<i>Sposalizio</i>, Raphael, vi, 27.<br /> +<br /> +Spring, beauties of, iii, 298;<br /> +<span style="margin-left: 1em;">the coming of, ix, 286.</span><br /> +<br /> +<i>Spring</i>, Botticelli, iv, 159; vi, 78.<br /> +<br /> +Springfield, Ill., home of Abraham Lincoln, iii, 287.<br /> +<br /> +Spurgeon, on Darwinism, xii, 228;<br /> +<span style="margin-left: 1em;">Gustave Dore and, iv, 343;</span><br /> +<span style="margin-left: 1em;">Talmage compared with, ix, 284;</span><br /> +<span style="margin-left: 1em;">his estimate of Shelley, i, 135.</span><br /> +<br /> +Stagecoach days, v, 275.<br /> +<br /> +Standard Oil Co., formation of the, xi, 379.<br /> +<br /> +Standish, Capt. Miles, iii, 128.<br /> +<br /> +Stanley, Dean, quoted, iii, 5.<br /> +<br /> +Stanton, Elizabeth Cady, quoted, xiii, 200.<br /> +<br /> +State and Church, separation of, xiv, <a href='#XIV_Page_231'><b>231</b></a>.<br /> +<br /> +Statesman, definition of, vii, 18.<br /> +<br /> +Statistics, vital, v, 96.<br /> +<br /> +Stead, William T., on America, vi, 340.<br /> +<br /> +Steele, Richard, v, 254;<br /> +<span style="margin-left: 1em;">regarding women, viii, 130.</span><br /> +<br /> +Steinheil, friend of Meissonier, iv, 129.<br /> +<br /> +Stephen, George, xi, 423.<br /> +<br /> +Stephen, Leslie, i, p xx;<br /> +<span class='pagenum'><a name="XIV_Page_452" id="XIV_Page_452">452</a></span><span style="margin-left: 1em;">life of Dean Swift, i, 143.</span><br /> +<br /> +Stephenson, inventor of the steam-locomotive, xi, 246.<br /> +<br /> +Stepmothers, vi, 47;<br /> +<span style="margin-left: 1em;">ministrations of, vi, 23.</span><br /> +<br /> +Sterne, shallowness of, v, 162.<br /> +<br /> +Stevenson, Robert Louis, iv, 178;<br /> +<span style="margin-left: 1em;">Edmund Gosse on, xiii, 42;</span><br /> +<span style="margin-left: 1em;">experience of, on shipboard, xiii, 30;</span><br /> +<span style="margin-left: 1em;">experience of, in New York, xiii, 31;</span><br /> +<span style="margin-left: 1em;">on failure, vi, 169;</span><br /> +<span style="margin-left: 1em;">humor of, xiii, 11;</span><br /> +<span style="margin-left: 1em;">Fanny Osbourne and, xiii, 22;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 314; xi, 73; xiii, 19;</span><br /> +<span style="margin-left: 1em;">on relaxation, xiv, <a href='#XIV_Page_41'><b>41</b></a>;</span><br /> +<span style="margin-left: 1em;">on Velasquez, vi, 154;</span><br /> +<span style="margin-left: 1em;">Walt Whitman and, xiii, 18.</span><br /> +<br /> +Stewart, Alexander T., business methods of, xi, 344;<br /> +<span style="margin-left: 1em;">business palace of, xi, 351;</span><br /> +<span style="margin-left: 1em;">Peter Cooper and, xi, 352;</span><br /> +<span style="margin-left: 1em;">wealth of, xi, 352;</span><br /> +<span style="margin-left: 1em;">the apple-woman and, xi, 220;</span><br /> +<span style="margin-left: 1em;">President Grant and, xi, 334;</span><br /> +<span style="margin-left: 1em;">purchaser of Meissonier's <i>Eighteen Hundred Seven</i>, iv, 142;</span><br /> +<span style="margin-left: 1em;">John Wanamaker and, xi, 353.</span><br /> +<br /> +Stoddard, Charles Warren, iv, 263.<br /> +<br /> +Stoics and Sophists compared, viii, 53.<br /> +<br /> +Stone Age, the, x, 16.<br /> +<br /> +Stoner, Winifred Sackville, ix, 283.<br /> +<br /> +<i>Stones of Venice</i>, Ruskin, i, 89.<br /> +<br /> +Story, Judge, and Daniel Webster, iii, 197.<br /> +<br /> +<i>Story of a Country Town</i>, E. W. Howe, x, 247.<br /> +<br /> +<i>Story of France</i>, Thomas E. Watson, viii, 241; ix, 380.<br /> +<br /> +<i>Story of German Love</i>, Max Muller, viii, 192.<br /> +<br /> +<i>Story of My Life, The</i>, George Sand, xiv, <a href='#XIV_Page_76'><b>76</b></a>.<br /> +<br /> +Story, W. W., sculptor, xi, 327.<br /> +<br /> +Stowe, Harriet Beecher, v, 207.<br /> +<br /> +Strabismus, v, 100.<br /> +<br /> +<i>Stratford</i>, Browning, v, 55.<br /> +<br /> +"Strap-oil," vii, 243.<br /> +<br /> +Stratford-on-Avon, i, 49.<br /> +<br /> +Strawberry Hill, home of Horace Walpole, iv, 302.<br /> +<br /> +Street preaching, ix, 38.<br /> +<br /> +Stupidity, Irish, xii, 336.<br /> +<br /> +Sublime Porte, the, viii, 82.<br /> +<br /> +Submission, religion by, ix, 188.<br /> +<br /> +<i>Substance and Show</i>, Starr King, vii, 328.<br /> +<br /> +Substitution, religion by, ix, 188.<br /> +<br /> +<i>Subterranean Vegetation</i>, Humboldt, xii, 139.<br /> +<br /> +Success in business, xi, 355.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_453" id="XIV_Page_453">453</a></span>Suicide, Schopenhauer on, viii, 385.<br /> +<br /> +Sullivan, Sir Arthur, on Handel, xiv, <a href='#XIV_Page_254'><b>254</b></a>.<br /> +<br /> +Sumner, Charles, iii, 271;<br /> +<span style="margin-left: 1em;">Wendell Phillips and, vii, 399.</span><br /> +<br /> +Sunday School books, old-time, iii, 7.<br /> +<br /> +Sunday, Rev. William, x, 331.<br /> +<br /> +Sunshine, definition of, i, 339.<br /> +<br /> +Superior class, the, v, 291; xiv, <a href='#XIV_Page_320'><b>320</b></a>.<br /> +<br /> +Superstition, iv, 124; v, 153; vii, 17; ix, 182; x, 366;<br /> +<span style="margin-left: 1em;">Hypatia on, x, 275;</span><br /> +<span style="margin-left: 1em;">Voltaire on, viii, 293.</span><br /> +<br /> +Supreme Court, first chief justice of, iii, 246.<br /> +<br /> +Surveying, the business of, xii, 389.<br /> +<br /> +Swedenborg, Emanuel, the mystic, iii, 28; viii, 174;<br /> +<span style="margin-left: 1em;">parents of, viii, 181;</span><br /> +<span style="margin-left: 1em;"><i>The Animal Kingdom</i>, viii, 194;</span><br /> +<span style="margin-left: 1em;">his experiments in motive power, xii, 21;</span><br /> +<span style="margin-left: 1em;"><i>Conjugal Love</i>, viii, 191;</span><br /> +<span style="margin-left: 1em;">Darwin compared with, viii, 179;</span><br /> +<span style="margin-left: 1em;"><i>The Economy of the Universe</i>, viii, 194;</span><br /> +<span style="margin-left: 1em;">Mary Baker Eddy and, viii, 190; x, 355;</span><br /> +<span style="margin-left: 1em;">Emerson on, viii, 177;</span><br /> +<span style="margin-left: 1em;">inventive genius of, viii, 186;</span><br /> +<span style="margin-left: 1em;">love-affair of, viii, 183;</span><br /> +<span style="margin-left: 1em;">on marriage, viii, 191;</span><br /> +<span style="margin-left: 1em;"><i>Principia</i>, viii, 192;</span><br /> +<span style="margin-left: 1em;">quoted, xiv, <a href='#XIV_Page_170'><b>170</b></a>;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer on, viii, 190;</span><br /> +<span style="margin-left: 1em;">Shakespeare compared with, viii, 177;</span><br /> +<span style="margin-left: 1em;"><i>Spirit World</i>, viii, 172;</span><br /> +<span style="margin-left: 1em;">travels of, viii, 186.</span><br /> +<br /> +Swedenborgians, the, viii, 196.<br /> +<br /> +Sweden, Florida compared with, viii, 182;<br /> +<span style="margin-left: 1em;">literacy of, viii, 181.</span><br /> +<br /> +Swett, Leonard, friend of Lincoln, iii, 288.<br /> +<br /> +Swift, Jonathan, mother of, i, 143;<br /> +<span style="margin-left: 1em;">birthplace of, i, 144;</span><br /> +<span style="margin-left: 1em;">youth of, i, 145;</span><br /> +<span style="margin-left: 1em;">misanthropy of, i, 146;</span><br /> +<span style="margin-left: 1em;">ambition of, i, 148;</span><br /> +<span style="margin-left: 1em;">wit of, i, 149;</span><br /> +<span style="margin-left: 1em;">popularity of, i, 151;</span><br /> +<span style="margin-left: 1em;">personality of, i, 152;</span><br /> +<span style="margin-left: 1em;">religion of, i, 152;</span><br /> +<span style="margin-left: 1em;">love-affair of, i, 158;</span><br /> +<span style="margin-left: 1em;">grave of, i, 160;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 60; v, 258; xiv, <a href='#XIV_Page_262'><b>262</b></a>;</span><br /> +<span style="margin-left: 1em;">on the celibacy of the Catholic clergy, i, 153;</span><br /> +<span style="margin-left: 1em;">epitaph of, i, 158;</span><br /> +<span style="margin-left: 1em;">his characterization of Lord Halifax, v, 250;</span><br /> +<span style="margin-left: 1em;">Stella and, vi, 177;</span><br /> +<span style="margin-left: 1em;">Voltaire and, viii, 295.</span><br /> +<br /> +Swimming, the art of, viii, 328.<br /> +<br /> +Swinburne, Algernon Charles, ii, 127;<br /> +<span style="margin-left: 1em;">his description of Elizabeth Eleanor Siddal, xiii, 265.</span><br /> +<br /> +Swing, David, reformer, ix, 282;<br /> +<span style="margin-left: 1em;">Philip D. Armour and, xi, 186.</span><br /> +<br /> +Swinton, Prof., and Henry George, ix, 76.<br /> +<br /> +Switzerland, supremacy of, vi, 193.<br /> +<br /> +<i>Sybil</i>, Disraeli, v, 341.<br /> +<br /> +Symonds, John Addington, referred to, i, 170; iv, 27;<br /> +<span class='pagenum'><a name="XIV_Page_454" id="XIV_Page_454">454</a></span><span style="margin-left: 1em;">on Cellini, vi, 274.</span><br /> +<br /> +Sympathy, v, 169, 239.<br /> +<br /> +<i>Synthetic Philosophy</i>, Spencer, viii, 344.<br /> +<br /> +<br /> +Taine, M., on Lord Byron, v, 215;<br /> +<span style="margin-left: 1em;">on Carlyle, viii, 312;</span><br /> +<span style="margin-left: 1em;">on Dickens, i, 265;</span><br /> +<span style="margin-left: 1em;"><i>English Literature</i>, xiii, 171;</span><br /> +<span style="margin-left: 1em;">on educated Englishmen, vi, 274; viii, 328;</span><br /> +<span style="margin-left: 1em;">on Leonardo, vi, 38;</span><br /> +<span style="margin-left: 1em;">quoted, vii, 180;</span><br /> +<span style="margin-left: 1em;">on Thackeray, i, 240.</span><br /> +<br /> +<i>Taking of the Smalah of Abd-el-Kader</i>, Vernet, iv, 215.<br /> +<br /> +Talent, xiv, <a href='#XIV_Page_302'><b>302</b></a>;<br /> +<span style="margin-left: 1em;">distinguished from genius, vi, 56.</span><br /> +<br /> +<i>Tale of a Tub</i>, Swift, i, 142.<br /> +<br /> +<i>Tale of the Hollow Land, The</i>, William Morris, v, 15.<br /> +<br /> +<i>Tales From Shakespeare</i>, Mary Lamb, ii, 233.<br /> +<br /> +Talleyrand, quoted, ii, 166, 173, 280; iv, 97.<br /> +<br /> +Talmage, Rev. T. De Witt, ix, 283;<br /> +<span style="margin-left: 1em;">compared with Beecher, vii, 359;</span><br /> +<span style="margin-left: 1em;">on Darwinism, xii, 228;</span><br /> +<span style="margin-left: 1em;">as an orator, vii, 22;</span><br /> +<span style="margin-left: 1em;">on regeneration, iii, 41;</span><br /> +<span style="margin-left: 1em;">Spurgeon compared with, ix, 284.</span><br /> +<br /> +Tamerlane, Tatar conqueror of Asia, xii, 38.<br /> +<br /> +<i>Tancred</i>, Disraeli, v, 341.<br /> +<br /> +<i>Tannhauser</i>, Wagner, iv, 259; xiv, <a href='#XIV_Page_29'><b>29</b></a>.<br /> +<br /> +Tantrum, defined, viii, 70.<br /> +<br /> +Tarbell, Ida, xi, 359.<br /> +<br /> +Tarquin referred to, i, 306.<br /> +<br /> +Tasso and Cellini, vi, 282.<br /> +<br /> +Taylor, Bayard, on Mendelssohn, xiv, <a href='#XIV_Page_178'><b>178</b></a>.<br /> +<br /> +Taylor, Gen. Zachary, iii, 269.<br /> +<br /> +Taylor, Jeremy, xii, 338.<br /> +<br /> +Teacher, the ideal, iv, 53.<br /> +<br /> +Teaching, by antithesis, v, 178;<br /> +<span style="margin-left: 1em;">profession of, iii, 99;</span><br /> +<span style="margin-left: 1em;">Thomas Arnold on, x, 237;</span><br /> +<span style="margin-left: 1em;">importance of, vi, 249;</span><br /> +<span style="margin-left: 1em;">object of, vi, 249;</span><br /> +<span style="margin-left: 1em;">John Wesley on, viii, 202.</span><br /> +<br /> +Telepathy, xiii, 223.<br /> +<br /> +Telescope, invention of the, xii, 64.<br /> +<br /> +Temperament, v, 237.<br /> +<br /> +Temperance fanatics, v, 105; xiii, 89.<br /> +<br /> +<i>Tempest, The</i>, Shakespeare, i, 317;<br /> +<span style="margin-left: 1em;">Dore's illustrations of, iv, 338.</span><br /> +<br /> +Temple, Richard Earl, vii, 197.<br /> +<br /> +Tennyson, Alfred, Lord, education of, v, 75;<br /> +<span style="margin-left: 1em;">early poems of, v, 77;</span><br /> +<span style="margin-left: 1em;">appearance of, v, 79;</span><br /> +<span style="margin-left: 1em;">literary position of, v, 81;</span><br /> +<span style="margin-left: 1em;">Poet Laureate, v, 82;</span><br /> +<span style="margin-left: 1em;">marriage of, v, 82;</span><br /> +<span style="margin-left: 1em;">Queen Victoria and, v, 84;</span><br /> +<span style="margin-left: 1em;">friendship with Arthur Hallam, v, 85;</span><br /> +<span class='pagenum'><a name="XIV_Page_455" id="XIV_Page_455">455</a></span><span style="margin-left: 1em;">referred to, i, 91; iv, 165; iv, 253; v, 13, 97, 294; vi, 199; xii, 57;</span><br /> +<span style="margin-left: 1em;">Brookfield and, v, 76;</span><br /> +<span style="margin-left: 1em;">insularism of, v, 83;</span><br /> +<span style="margin-left: 1em;">Kemble and, v, 76;</span><br /> +<span style="margin-left: 1em;">his love of solitude, v, 79;</span><br /> +<span style="margin-left: 1em;">Milnes and, v, 76;</span><br /> +<span style="margin-left: 1em;">Spedding and, v, 76;</span><br /> +<span style="margin-left: 1em;">Wordsworth compared with, i, 222.</span><br /> +<br /> +<i>Ten o'Clock</i>, Lecture, Whistler, vi, 351.<br /> +<br /> +Tenth Legion, Caesar's, vii, 44.<br /> +<br /> +<i>Ten Years of Exile</i>, Madame de Stael, ii, 181.<br /> +<br /> +Terence, Roman poet, quoted, vi, 46.<br /> +<br /> +Terminus, the god, x, 125.<br /> +<br /> +Terry, Ellen, i, 257; xiv, <a href='#XIV_Page_177'><b>177</b></a>.<br /> +<br /> +Tetzel, John, and Martin Luther, vii, 128.<br /> +<br /> +Teufelsdrockh, i, 81.<br /> +<br /> +Thackeray, William Makepeace, birth of, i, 232;<br /> +<span style="margin-left: 1em;">death of, i, 232;</span><br /> +<span style="margin-left: 1em;">mother of, i, 232;</span><br /> +<span style="margin-left: 1em;">humor of, i, 239;</span><br /> +<span style="margin-left: 1em;">acquaintance with Charlotte Bronte, i, 240;</span><br /> +<span style="margin-left: 1em;">stepfather of, i, 242;</span><br /> +<span style="margin-left: 1em;">genius of, i, 242;</span><br /> +<span style="margin-left: 1em;">wife of, i, 234;</span><br /> +<span style="margin-left: 1em;">early hardships of, i, 234;</span><br /> +<span style="margin-left: 1em;">extravagance of, i, 236;</span><br /> +<span style="margin-left: 1em;">friends of, i, 236;</span><br /> +<span style="margin-left: 1em;">visit of, to America, i, 243;</span><br /> +<span style="margin-left: 1em;">Charlotte Bronte and, ii, 109;</span><br /> +<span style="margin-left: 1em;">Goldsmith and, i, 209;</span><br /> +<span style="margin-left: 1em;">on George Henry Lewes, viii, 337;</span><br /> +<span style="margin-left: 1em;">on the people of England, vi, 148;</span><br /> +<span style="margin-left: 1em;">quoted, i, 281; ii, 69; v, 128;</span><br /> +<span style="margin-left: 1em;">on Shakespeare, vi, 42; xiv, <a href='#XIV_Page_307'><b>307</b></a>;</span><br /> +<span style="margin-left: 1em;">on snobs, vi, 66;</span><br /> +<span style="margin-left: 1em;">referred to, i, 249; iii, 227; v, 97;</span><br /> +<span style="margin-left: 1em;">on women, viii, 22.</span><br /> +<br /> +<i>Thalaber</i>, Southey, i, 214.<br /> +<br /> +Thales, of Miletus, Greek philosopher, xii, 98.<br /> +<br /> +Thames, river, i, 77.<br /> +<br /> +<i>Thanatopsis</i>, W. C. Bryant, ii, 123; iv, 51.<br /> +<br /> +Thanet, isle of, ii, 130.<br /> +<br /> +The Hague, iii, 242.<br /> +<br /> +Theism, ii, 79.<br /> +<br /> +Themistocles, i, 321;<br /> +<span style="margin-left: 1em;">Pericles and, vii, 28.</span><br /> +<br /> +Theological Quibblers' Club, ix, 189.<br /> +<br /> +Theology, distinguished from metaphysics and science, viii, 267;<br /> +<span style="margin-left: 1em;">Homer's conception of, i, 113;</span><br /> +<span style="margin-left: 1em;">as a profession, iii, 99;</span><br /> +<span style="margin-left: 1em;">as a science, viii, 162;</span><br /> +<span style="margin-left: 1em;">science and, xii, 155;</span><br /> +<span style="margin-left: 1em;">Dr. Talmage as the Barnum of, i, 163.</span><br /> +<br /> +Theophrastus and Aristotle, xii, 268.<br /> +<br /> +<i>Theory of Painting</i>, Richardson, iv, 289.<br /> +<br /> +Theosophy, x, 342.<br /> +<br /> +Thermometer, invention of, xii, 64.<br /> +<br /> +Thetis, mother of Achilles, vii, 14.<br /> +<br /> +Thicknesse, Philip, vii, 199;<br /> +<span style="margin-left: 1em;"><i>Life of Gainsborough</i>, vi, 129;</span><br /> +<span class='pagenum'><a name="XIV_Page_456" id="XIV_Page_456">456</a></span><span style="margin-left: 1em;">Brock-Arnold on, vi, 130.</span><br /> +<br /> +Thierry, Augustin, friend of Ary Scheffer, iv, 237, 247.<br /> +<br /> +Thomas, Hiram W., reformer, ix, 282.<br /> +<br /> +Thompson-Seton, Ernest, and Rousseau, ix, 394.<br /> +<br /> +Thompson, Vance, on Rubens, vi, 164.<br /> +<br /> +Thomson, James, iii, 60;<br /> +<span style="margin-left: 1em;">Voltaire and, viii, 296.</span><br /> +<br /> +Thoreau, Henry David, influence of, viii, 393;<br /> +<span style="margin-left: 1em;">parents of, viii, 395;</span><br /> +<span style="margin-left: 1em;">education of, viii, 396;</span><br /> +<span style="margin-left: 1em;">friends of, viii, 406;</span><br /> +<span style="margin-left: 1em;">life of, in Walden Woods, viii, 412;</span><br /> +<span style="margin-left: 1em;">imprisonment of, viii, 417;</span><br /> +<span style="margin-left: 1em;">Agassiz and, viii, 417;</span><br /> +<span style="margin-left: 1em;">Henry Ward Beecher on, viii, 424;</span><br /> +<span style="margin-left: 1em;">Harrison Blake and, viii, 424;</span><br /> +<span style="margin-left: 1em;">John Brown compared with, viii, 426;</span><br /> +<span style="margin-left: 1em;">John Burroughs on, viii, 423;</span><br /> +<span style="margin-left: 1em;">Ellery Channing and, viii, 397;</span><br /> +<span style="margin-left: 1em;">on the character of Jesus, vii, 316;</span><br /> +<span style="margin-left: 1em;">on college training, viii, 397;</span><br /> +<span style="margin-left: 1em;">Emerson and, viii, 397, 408;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 206;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 59, 219; iv, 322; v, 16, 204; vii, 29; xiii, 49;</span><br /> +<span style="margin-left: 1em;">referred to, i, 89, 195; ii, 285;</span><br /> +<span style="margin-left: 1em;">George Francis Train compared with, viii, 425;</span><br /> +<span style="margin-left: 1em;">Walt Whitman and, viii, 422;</span><br /> +<span style="margin-left: 1em;">on work, x, 318.</span><br /> +<br /> +Thorwaldsen, Bertel, birthplace of, vi, 98;<br /> +<span style="margin-left: 1em;">ancestry of, vi, 95;</span><br /> +<span style="margin-left: 1em;">father of, vi, 98;</span><br /> +<span style="margin-left: 1em;">early life of, vi, 98;</span><br /> +<span style="margin-left: 1em;">experience of, with statue of Charles XII, vi, 99;</span><br /> +<span style="margin-left: 1em;">Abildgaard and, vi, 105;</span><br /> +<span style="margin-left: 1em;">his admiration for Napoleon, vi, 118;</span><br /> +<span style="margin-left: 1em;">Hans Christian Andersen and, vi, 100;</span><br /> +<span style="margin-left: 1em;">Byron and, vi, 116;</span><br /> +<span style="margin-left: 1em;">Canova and, vi, 108;</span><br /> +<span style="margin-left: 1em;">Flaxman and, vi, 110;</span><br /> +<span style="margin-left: 1em;">indolence of, vi, 107;</span><br /> +<span style="margin-left: 1em;">the King of Bavaria and, vi, 114;</span><br /> +<span style="margin-left: 1em;">life of, in Rome, vi, 107;</span><br /> +<span style="margin-left: 1em;"><i>Lion of Lucerne</i>, vi, 123;</span><br /> +<span style="margin-left: 1em;">Anna Maria Magnani and, vi, 111;</span><br /> +<span style="margin-left: 1em;">Maria Louise, second wife of Napoleon, and, vi, 118;</span><br /> +<span style="margin-left: 1em;">his love for mythology, vi, 97;</span><br /> +<span style="margin-left: 1em;">Mendelssohn and, vi, 116;</span><br /> +<span style="margin-left: 1em;">Sir Walter Scott and, vi, 115;</span><br /> +<span style="margin-left: 1em;">Shelley and, vi, 116;</span><br /> +<span style="margin-left: 1em;">social qualities of, vi, 115.</span><br /> +<br /> +Thorwaldsen Museum at Copenhagen, vi, 120.<br /> +<br /> +<i>Through Nature to God</i>, Fiske, xii, 396.<br /> +<br /> +Thucydides, contemporary of Pericles, iii, 93; v, 185; vii, 15, 24.<br /> +<br /> +Thursday lecture, the, in Boston, ix, 294, 358.<br /> +<br /> +Tiberius, Roman emperor, viii, 49.<br /> +<br /> +Tieck, Ludwig, on Correggio, vi, 220.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_457" id="XIV_Page_457">457</a></span>Tietjens, Madame, grave of, i, 321.<br /> +<br /> +Tilden, Dr., quoted, xi, 53.<br /> +<br /> +Tilghman, death of, Washington on, iii, 4.<br /> +<br /> +Tilton, Theodore, vii, 375; xi, 258.<br /> +<br /> +<i>Timbuctoo</i>, Tennyson, v, 77.<br /> +<br /> +Time, the great avenger, iii, 40.<br /> +<br /> +Tingley, Katharine, ix, 283.<br /> +<br /> +Tintoretto, iv, 99;<br /> +<span style="margin-left: 1em;">Paul Veronese compared with, iv, 148.</span><br /> +<br /> +Titian, Reynolds on, iv, 146;<br /> +<span style="margin-left: 1em;">birth of, iv, 153;</span><br /> +<span style="margin-left: 1em;">Rubens at grave of, iv, 153;</span><br /> +<span style="margin-left: 1em;">Cadore, birthplace of, iv, 153;</span><br /> +<span style="margin-left: 1em;">pupil of Gian Bellini, iv, 157;</span><br /> +<span style="margin-left: 1em;">acquaintance of, with Giorgione, iv, 158;</span><br /> +<span style="margin-left: 1em;">paintings of, iv, 166;</span><br /> +<span style="margin-left: 1em;">religion of, iv, 166;</span><br /> +<span style="margin-left: 1em;">pictures by, in England, iv, 189;</span><br /> +<span style="margin-left: 1em;">Raphael and, vi, 35;</span><br /> +<span style="margin-left: 1em;">Van Dyck and, iv, 193;</span><br /> +<span style="margin-left: 1em;">referred to, iv, 60, 99; v, 323;</span><br /> +<br /> +<i>Toilers, The</i>, Hugo, i, 200.<br /> +<br /> +<i>To Jeannie</i>, Robert Burns, v, 92.<br /> +<br /> +Toleration Act, the, ix, 220.<br /> +<br /> +Tolstoy, Leo, v, 237;<br /> +<span style="margin-left: 1em;"><i>Anna Karenina</i>, xiv, <a href='#XIV_Page_351'><b>351</b></a>;</span><br /> +<span style="margin-left: 1em;">daughter of, ii, 192;</span><br /> +<span style="margin-left: 1em;">on religious persecution, ix, 181;</span><br /> +<span style="margin-left: 1em;">Socrates and, viii, 22;</span><br /> +<span style="margin-left: 1em;">story of, ii, p xi;</span><br /> +<span style="margin-left: 1em;">his story of a peasant, xi, 90;</span><br /> +<span style="margin-left: 1em;">Wanamaker and, viii, 205;</span><br /> +<span style="margin-left: 1em;">wife of, v, 133.</span><br /> +<br /> +Tomb, of Napoleon, i, 315;<br /> +<span style="margin-left: 1em;">of Wellington, i, 315.</span><br /> +<br /> +<i>Tom Peartree</i>, Gainsborough, vi, 133.<br /> +<br /> +<i>To My Wife</i>, Stevenson, xiii, 42.<br /> +<br /> +Tooke, Horne, and Thomas Paine, ix, 175.<br /> +<br /> +Torah, Jewish Book of the Law, x, 33.<br /> +<br /> +Torrigiano, Pietro, and Cellini, vi, 281.<br /> +<br /> +Total depravity as a doctrine, viii, 357.<br /> +<br /> +Touchstone and King Lear, vi, 334.<br /> +<br /> +Tower of Babel, iv, 115.<br /> +<br /> +Townshend and Joshua Reynolds, iv, 304.<br /> +<br /> +<i>Tractatus Theologico-Politicus</i>, Spinoza, viii, 232.<br /> +<br /> +Trafalgar, battle of, xiii, 424.<br /> +<br /> +Tragedy, v, 240.<br /> +<br /> +Train, George Francis, vii, 397;<br /> +<span style="margin-left: 1em;">on Emerson, vii, 325;</span><br /> +<span style="margin-left: 1em;">imprisonment of, viii, 178.</span><br /> +<br /> +Transcendentalism, viii, 403;<br /> +<span style="margin-left: 1em;">of Hypatia, x, 280;</span><br /> +<span style="margin-left: 1em;">the new, ii, 53;</span><br /> +<span style="margin-left: 1em;">Thoreau on, viii, 427.</span><br /> +<br /> +Transmutation of metals, xii, 36.<br /> +<br /> +Transplantation, vi, 234; xiii, 50.<br /> +<br /> +Trappists, the, v, 235; x, 318.<br /> +<br /> +Traubel, Horace L., and Whitman, i, 167.<br /> +<br /> +Travel as a means of education, i, 233; v, 221.<br /> +<br /> +<i>Traveler, The</i>, Goldsmith, i, 296.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_458" id="XIV_Page_458">458</a></span><i>Travel on the Amazon and Rio Negro</i>, Wallace, xii, 380.<br /> +<br /> +<i>Travels of Humboldt and Bonpland, in the Interior of America</i>, Humboldt's great work, xii, 149.<br /> +<br /> +Treason and heresy, ix, 24.<br /> +<br /> +<i>Treasure Island</i>, Stevenson, xiii, 37.<br /> +<br /> +Tremont Temple, Boston, i, p xxxvii.<br /> +<br /> +Trevelyan, Lord, v, 192.<br /> +<br /> +<i>Tribune</i>, the Chicago, in war-time, iii, 296.<br /> +<br /> +Triggsology, xii, 243.<br /> +<br /> +Trigonometry, science of, xii, 103.<br /> +<br /> +<i>Trilby</i>, referred to, i, 257; iii, 138.<br /> +<br /> +Trinity Church, New York, xi, 327.<br /> +<br /> +<i>Tristram Shandy</i>, Sterne, v, 162.<br /> +<br /> +<i>Triumph of the Cross, The</i>, Savonarola, vii, 95.<br /> +<br /> +Trolley-car, invention of, i, 329.<br /> +<br /> +Trollope, Anthony, ii, 39;<br /> +<span style="margin-left: 1em;">his friendship for Thackeray, i, 236.</span><br /> +<br /> +Tropics, the, v, 282.<br /> +<br /> +Truth, xiv, <a href='#XIV_Page_333'><b>333</b></a>;<br /> +<span style="margin-left: 1em;">Aristotle on, viii, 100;</span><br /> +<span style="margin-left: 1em;">a point of view, viii, 388.</span><br /> +<br /> +Tsonnundawaonas, Indian tribe, viii, 45.<br /> +<br /> +Tufts college, i, p xxxiv.<br /> +<br /> +Turgot, Anne Robert, viii, 241.<br /> +<br /> +Turner, Joseph Mallord William, youth of, i, 124;<br /> +<span style="margin-left: 1em;">apprenticeship of, i, 126;</span><br /> +<span style="margin-left: 1em;">influence of Claude Lorraine on, i, 126;</span><br /> +<span style="margin-left: 1em;">appearance of, i, 131;</span><br /> +<span style="margin-left: 1em;">friendship of, with Sir Walter Scott, i, 132;</span><br /> +<span style="margin-left: 1em;">gentleness of, i, 135;</span><br /> +<span style="margin-left: 1em;">character of, i, 136;</span><br /> +<span style="margin-left: 1em;">religion of, i, 139;</span><br /> +<span style="margin-left: 1em;">grave of, i, 140; iv, 198;</span><br /> +<span style="margin-left: 1em;">Corot compared with, vi, 189;</span><br /> +<span style="margin-left: 1em;">public estimate of, i, 129;</span><br /> +<span style="margin-left: 1em;">Hamerton on, i, 168; iv, 135;</span><br /> +<span style="margin-left: 1em;">quoted, vi, 137;</span><br /> +<span style="margin-left: 1em;">Ruskin and, v, 246; vi, 58;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 28;</span><br /> +<span style="margin-left: 1em;">Ruskin's defense of, v, 13;</span><br /> +<span style="margin-left: 1em;">subtlety of, iv, 325.</span><br /> +<br /> +Tuskegee Institute, i, p xxiii; x, 202.<br /> +<br /> +Tussaud, Madame, iv, 344.<br /> +<br /> +<i>Twilight</i>, Michelangelo, iv, 32.<br /> +<br /> +<i>Two in a Gondola</i>, Browning, v, 56.<br /> +<br /> +Tyndale, William, martyr, xii, 335.<br /> +<br /> +Tyndall, John, influence of Carlyle on, xii, 349;<br /> +<span style="margin-left: 1em;">on education, xii, 346;</span><br /> +<span style="margin-left: 1em;">influence of Emerson on, xii, 349;</span><br /> +<span style="margin-left: 1em;">Michael Faraday and, xii, 352;</span><br /> +<span style="margin-left: 1em;">Alexander Humboldt and, xii, 351;</span><br /> +<span style="margin-left: 1em;">Professor James of Harvard on, xii, 358;</span><br /> +<span style="margin-left: 1em;">as a mountain-climber, xii, 355;</span><br /> +<span style="margin-left: 1em;">Robert Owen and, ix, 225; xi, 48; xii, 344;</span><br /> +<span style="margin-left: 1em;">on the efficacy of prayer, xii, 357;</span><br /> +<span style="margin-left: 1em;">Herbert Spencer on, xii, 340, 359;</span><br /> +<span class='pagenum'><a name="XIV_Page_459" id="XIV_Page_459">459</a></span><span style="margin-left: 1em;">the University of Toronto and, xii, 356;</span><br /> +<span style="margin-left: 1em;">Alfred Russel Wallace compared with, xii, 342.</span><br /> +<br /> +Tyranny, v, 186; ix, 57.<br /> +<br /> +<br /> +Uffizi gallery, the, iv, 101.<br /> +<br /> +Ugly, philosophy of the, vi, 73.<br /> +<br /> +Ulysses, iv, 303.<br /> +<br /> +Umbrian school, the, vi, 29.<br /> +<br /> +Uncle Billy Bushnell, i, p xxv.<br /> +<br /> +<i>Uncle Tom's Cabin</i>, Harriet Beecher Stowe, x, 28.<br /> +<br /> +Unitarianism, v, 299; ix, 279;<br /> +<span style="margin-left: 1em;">Pantheism and, ix, 295;</span><br /> +<span style="margin-left: 1em;">Universalism and, vii, 326.</span><br /> +<br /> +United States Steel Corporation, the, xi, 297.<br /> +<br /> +Universal coinage, xii, 114.<br /> +<br /> +Universal energy, v, 123.<br /> +<br /> +Universality of great souls, vi, 97.<br /> +<br /> +University, advantages of the, x, 166;<br /> +<span style="margin-left: 1em;">origin of, xiii, 123.</span><br /> +<br /> +University of Hard Knocks, i, p xxxiv; i, 249, 344; iii, 218.<br /> +<br /> +Unknowable, the, viii, 174.<br /> +<br /> +Upsala, university of, viii, 185.<br /> +<br /> +Uranus, discovery of, xii, 186.<br /> +<br /> +Utah, prisons in, ii, 191.<br /> +<br /> +Utopia, v, 238.<br /> +<br /> +<i>Utopia</i>, Sir Thomas More, x, 171.<br /> +<br /> +<br /> +Vaccination, Wallace on, xii, 393.<br /> +<br /> +<i>Vailima Prayers</i>, Stevenson, xiii, 10.<br /> +<br /> +Valedictorians, vi, 325.<br /> +<br /> +Value sense, the, v, 70.<br /> +<br /> +<i>Vampire, The</i>, Burne-Jones, vi, 75.<br /> +<br /> +Vanderbilt, Commodore, iii, 261;<br /> +<span style="margin-left: 1em;">his experience with his son William, viii, 289.</span><br /> +<br /> +Vanderbilts, the, and Meissonier, iv, 139.<br /> +<br /> +Van Dyck, Anthony, Cowley's elegy on, iv, 172;<br /> +<span style="margin-left: 1em;">the name Van Dyck in Holland, iv, 173;</span><br /> +<span style="margin-left: 1em;">parents of, iv, 173;</span><br /> +<span style="margin-left: 1em;">influence of Rubens on, iv, 112, 173;</span><br /> +<span style="margin-left: 1em;">Rubens' jealousy of, iv, 176;</span><br /> +<span style="margin-left: 1em;">love-affairs of, iv, 181, 195;</span><br /> +<span style="margin-left: 1em;">residence at Saventhem, iv, 183;</span><br /> +<span style="margin-left: 1em;">journeys of, in Italy, iv, 187;</span><br /> +<span style="margin-left: 1em;">residence in England, iv, 192;</span><br /> +<span style="margin-left: 1em;">appearance of, iv, 193;</span><br /> +<span style="margin-left: 1em;">his paintings of Charles I, iv, 195;</span><br /> +<span style="margin-left: 1em;">marriage of, iv, 196;</span><br /> +<span style="margin-left: 1em;">death of, iv, 197;</span><br /> +<span style="margin-left: 1em;">monument of, iv, 198;</span><br /> +<span style="margin-left: 1em;">grave of, iv, 198;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 183.</span><br /> +<br /> +Vane, Sir Henry, and Anne Hutchinson, ix, 358.<br /> +<br /> +Van Horne, Sir William, xi, 425.<br /> +<br /> +Vanity, v, 238.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_460" id="XIV_Page_460">460</a></span><i>Vanity Fair</i>, Thackeray, i, 233.<br /> +<br /> +Vasari, Italian painter, iv, 8; vi, 19;<br /> +<span style="margin-left: 1em;">quoted, iv, 163;</span><br /> +<span style="margin-left: 1em;">on the Bellinis, vi, 253;</span><br /> +<span style="margin-left: 1em;">Cellini and, vi, 288.</span><br /> +<br /> +Vase, a, defined, xiii, 76.<br /> +<br /> +Vassar, Matthew, xi, 242.<br /> +<br /> +Vatican, the, iv, 101;<br /> +<span style="margin-left: 1em;">dampness of, iv, 296;</span><br /> +<span style="margin-left: 1em;">Michelangelo's home in the, iv, 18.</span><br /> +<br /> +Vegetarianism, viii, 53.<br /> +<br /> +Velasquez, Diego de Silva, birth of, vi, 158;<br /> +<span style="margin-left: 1em;">inspirer of artists, vi, 157, 167;</span><br /> +<span style="margin-left: 1em;">Herrera and, vi, 160;</span><br /> +<span style="margin-left: 1em;">Murillo and, vi, 183;</span><br /> +<span style="margin-left: 1em;">Olivarez and, vi, 167;</span><br /> +<span style="margin-left: 1em;">Pacheco and, vi, 161;</span><br /> +<span style="margin-left: 1em;">Rubens and, vi, 181;</span><br /> +<span style="margin-left: 1em;">the wife of, vi, 164;</span><br /> +<span style="margin-left: 1em;">pictures by, in England, iv, 189;</span><br /> +<span style="margin-left: 1em;">influence of, vi, 184;</span><br /> +<span style="margin-left: 1em;">Raphael Menges on, vi, 158;</span><br /> +<span style="margin-left: 1em;">Reynolds on, vi, 158;</span><br /> +<span style="margin-left: 1em;">Ruskin on, vi, 158;</span><br /> +<span style="margin-left: 1em;">Stevenson on, vi, 154;</span><br /> +<span style="margin-left: 1em;">Sir David Wilkie and, vi, 158;</span><br /> +<span style="margin-left: 1em;">Whistler on, vi, 177;</span><br /> +<span style="margin-left: 1em;">influence of, on Whistler, vi, 346;</span><br /> +<span style="margin-left: 1em;">Fortuny compared with, iv, 208.</span><br /> +<br /> +Venice, canals of, vi, 23, 257;<br /> +<span style="margin-left: 1em;">Antwerp compared with, xiv, <a href='#XIV_Page_224'><b>224</b></a>;</span><br /> +<span style="margin-left: 1em;">wonders of, iv, 56;</span><br /> +<span style="margin-left: 1em;">glass-factories of, iv, 155;</span><br /> +<br /> +Venus, ii, 43.<br /> +<br /> +Verdi, Giuseppe, Bulwer-Lytton on, xiv, <a href='#XIV_Page_274'><b>274</b></a>;<br /> +<span style="margin-left: 1em;">early hardships of, xiv, <a href='#XIV_Page_282'><b>282</b></a>;</span><br /> +<span style="margin-left: 1em;">influence of Hugo on, xiv, <a href='#XIV_Page_292'><b>292</b></a>.</span><br /> +<br /> +Verestchagin, Russian painter, xii, 89.<br /> +<br /> +Vergil, i, 179.<br /> +<br /> +Verne, Jules, i, 164; vi, 146.<br /> +<br /> +Vernon, Admiral, iii, 16.<br /> +<br /> +Veronese, Paul, iv, 60;<br /> +<span style="margin-left: 1em;">pictures by, in England, iv, 189;</span><br /> +<span style="margin-left: 1em;">his fondness for dogs, vi, 240;</span><br /> +<span style="margin-left: 1em;">Tintoretto compared with, iv, 148.</span><br /> +<br /> +Verrocchio, Andrea del, Italian painter, vi, 51.<br /> +<br /> +Vespasian, Emperor, iv, 102.<br /> +<br /> +Vesuvius, ii, 96.<br /> +<br /> +<i>Vicar of Wakefield</i>, Goldsmith, i, 294.<br /> +<br /> +Victoria, Queen of England, i, 72; iv, 324; vi, 139;<br /> +<span style="margin-left: 1em;">Alfred Tennyson and, v, 84.</span><br /> +<br /> +<i>Villette</i>, Charlotte Bronte, ii, 112.<br /> +<br /> +Vincent, Dr. George, psychologist, quoted, vi, 335.<br /> +<br /> +<i>Vindication of Natural Society, The</i>, Burke, vii, 168.<br /> +<br /> +<i>Vindication of the Rights of Woman, A</i>, Mary Wollstonecraft, ii, 290.<br /> +<br /> +Virginia controversy, the, iii, 267.<br /> +<br /> +<i>Virginians, The</i>, Thackeray, i, 236.<br /> +<br /> +Vital statistics, v, 96.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_461" id="XIV_Page_461">461</a></span>Vivakenandi, H. Darmapala, viii, 27.<br /> +<br /> +<i>Vivian Gray</i>, Disraeli, v, 324.<br /> +<br /> +Voice, the inner, x, 31;<br /> +<span style="margin-left: 1em;">the prophetic, i, 181.</span><br /> +<br /> +Voltaire, ii, 183; xii, 57; 179;<br /> +<span style="margin-left: 1em;">at the English Court, viii, 296;</span><br /> +<span style="margin-left: 1em;">financial ability of, viii, 298;</span><br /> +<span style="margin-left: 1em;">home of, in Switzerland, viii, 314;</span><br /> +<span style="margin-left: 1em;">as a pamphleteer, viii, 317;</span><br /> +<span style="margin-left: 1em;">his contempt for the clergy, viii, 280;</span><br /> +<span style="margin-left: 1em;">imprisonment of, viii, 285;</span><br /> +<span style="margin-left: 1em;">death of, viii, 276;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 275;</span><br /> +<span style="margin-left: 1em;"><i>Life of Charles XII</i>, viii, 297;</span><br /> +<span style="margin-left: 1em;"><i>My Private Life</i>, viii, 312;</span><br /> +<span style="margin-left: 1em;"><i>Henriade</i>, viii, 296;</span><br /> +<span style="margin-left: 1em;"><i>Oedipe</i>, viii, 287;</span><br /> +<span style="margin-left: 1em;"><i>Philosophical Dictionary</i>, xi, 106;</span><br /> +<span style="margin-left: 1em;">Frederick the Great and, viii, 309;</span><br /> +<span style="margin-left: 1em;">Thomson and, viii, 296;</span><br /> +<span style="margin-left: 1em;">the Abbe de Chateauneuf and, viii, 278;</span><br /> +<span style="margin-left: 1em;">the Chevalier de Rohan and, viii, 292;</span><br /> +<span style="margin-left: 1em;">Congreve and, viii, 295;</span><br /> +<span style="margin-left: 1em;">Horace Walpole and, viii, 296;</span><br /> +<span style="margin-left: 1em;">Pope and, viii, 295;</span><br /> +<span style="margin-left: 1em;">Catherine of Russia and, viii, 315;</span><br /> +<span style="margin-left: 1em;">Madame du Chatelet and, viii, 301;</span><br /> +<span style="margin-left: 1em;">Dean Swift and, viii, 295;</span><br /> +<span style="margin-left: 1em;">John Gay and, viii, 295;</span><br /> +<span style="margin-left: 1em;">Madame Dunoyer and, viii, 282;</span><br /> +<span style="margin-left: 1em;">Ninon de Lenclos and, viii, 277;</span><br /> +<span style="margin-left: 1em;">on marriage and divorce, viii, 290;</span><br /> +<span style="margin-left: 1em;">on Newton, x, 366; xii, 409;</span><br /> +<span style="margin-left: 1em;">on Shakespeare, i, 134;</span><br /> +<span style="margin-left: 1em;">on Seneca, viii, 80;</span><br /> +<span style="margin-left: 1em;">on superstition, viii, 293;</span><br /> +<span style="margin-left: 1em;">quoted, xiii, 162;</span><br /> +<span style="margin-left: 1em;">referred to, i, 306;</span><br /> +<span style="margin-left: 1em;">Charles Dickens compared with, viii, 283;</span><br /> +<span style="margin-left: 1em;">Rousseau's criticism of, ix, 384;</span><br /> +<span style="margin-left: 1em;">Disraeli compared with, viii, 295;</span><br /> +<span style="margin-left: 1em;">Rousseau compared with, vii, 207; ix, 373, 385.</span><br /> +<br /> +Von Humboldt, Alexander, i, 342;<br /> +<span style="margin-left: 1em;">education of, x, 257.</span><br /> +<br /> +<br /> +<i>Wagner at Bayreuth</i>, Nietzsche, xiv, <a href='#XIV_Page_36'><b>36</b></a>.<br /> +<br /> +Wagner, Parson, ix, 393.<br /> +<br /> +Wagner, Richard, mother of, xiv, <a href='#XIV_Page_14'><b>14</b></a>;<br /> +<span style="margin-left: 1em;">marriage of, xiv, <a href='#XIV_Page_16'><b>16</b></a>;</span><br /> +<span style="margin-left: 1em;">composition of his music, xiv, <a href='#XIV_Page_24'><b>24</b></a>;</span><br /> +<span style="margin-left: 1em;">exile of, xiv, <a href='#XIV_Page_31'><b>31</b></a>;</span><br /> +<span style="margin-left: 1em;">character of, xiv, <a href='#XIV_Page_42'><b>42</b></a>;</span><br /> +<span style="margin-left: 1em;">referred to, v, 267;</span><br /> +<span style="margin-left: 1em;">on art, xiv, <a href='#XIV_Page_22'><b>22</b></a>;</span><br /> +<span style="margin-left: 1em;">on Beethoven, xiv, <a href='#XIV_Page_22'><b>22</b></a>;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 205;</span><br /> +<span style="margin-left: 1em;">Franz Liszt and, xiv, <a href='#XIV_Page_30'><b>30</b></a>;</span><br /> +<span style="margin-left: 1em;">Millet compared with, iv, 259;</span><br /> +<span style="margin-left: 1em;">William Morris compared with, xiv, <a href='#XIV_Page_24'><b>24</b></a>;</span><br /> +<span style="margin-left: 1em;">Friedrich Nietzsche and, xiv, <a href='#XIV_Page_35'><b>35</b></a>;</span><br /> +<span style="margin-left: 1em;">Whitman compared with, xiv, <a href='#XIV_Page_23'><b>23</b></a>.</span><br /> +<br /> +Walden Pond, Thoreau's home at, viii, 413.<br /> +<br /> +Waldorf-Astoria, i, p xxxvii.<br /> +<br /> +Walker, Emery, and William Morris v, 29.<br /> +<br /> +Wallace, Alfred Russel, referred to, v, 289;<br /> +<span class='pagenum'><a name="XIV_Page_462" id="XIV_Page_462">462</a></span><span style="margin-left: 1em;">Darwin and, xii, 223, 372;</span><br /> +<span style="margin-left: 1em;">Humboldt compared with, xii, 380;</span><br /> +<span style="margin-left: 1em;">on the orang-utan, xii, 382;</span><br /> +<span style="margin-left: 1em;">on spiritism, xii, 392;</span><br /> +<span style="margin-left: 1em;">spiritualistic tendencies of, x, 342;</span><br /> +<span style="margin-left: 1em;">travels of, in Brazil, xii, 378;</span><br /> +<span style="margin-left: 1em;">travels of, in the Malay Archipelago, xii, 381;</span><br /> +<span style="margin-left: 1em;">John Tyndall compared with, xii, 342.</span><br /> +<br /> +Wallace line, the, xii, 387.<br /> +<br /> +Wallflowers, v, 49.<br /> +<br /> +Walpole, Horace, iv, 302; vii, 191; ix, 164; xii, 179;<br /> +<span style="margin-left: 1em;">on William Herschel, xii, 183;</span><br /> +<span style="margin-left: 1em;"><i>Anecdotes of Painting</i>, iv, 101;</span><br /> +<span style="margin-left: 1em;">Reynolds and, iv, 299;</span><br /> +<span style="margin-left: 1em;">Voltaire and, viii, 296.</span><br /> +<br /> +Walpole, Sir Robert, vii, 191.<br /> +<br /> +Wanamaker, John, and A.T. Stewart, xi, 353;<br /> +<span style="margin-left: 1em;">Tolstoy and, viii, 205.</span><br /> +<br /> +War, v, 238;<br /> +<span style="margin-left: 1em;">Thomas Paine on, ix, 173;</span><br /> +<span style="margin-left: 1em;">poetry of, ii, 271.</span><br /> +<br /> +War of 1812, iii, 221.<br /> +<br /> +<i>Warfare of Science and Religion</i>, Andrew D. White, xii, 222.<br /> +<br /> +Warwickshire, i, 49, 304.<br /> +<br /> +Warner, Charles Dudley, quoted, xiv, <a href='#XIV_Page_225'><b>225</b></a>.<br /> +<br /> +Washington, Booker T., parents of, x, 185;<br /> +<span style="margin-left: 1em;">Andrew Carnegie and, xi, 290;</span><br /> +<span style="margin-left: 1em;">Napoleon compared with, x, 211;</span><br /> +<span style="margin-left: 1em;">H. H. Rogers and, xi, 389;</span><br /> +<span style="margin-left: 1em;">Gen. Ruffner and, x, 190.</span><br /> +<br /> +Washington, George, character of, iii, 6;<br /> +<span style="margin-left: 1em;">Weems' life of, iii, 7; v, 41; vi, 129;</span><br /> +<span style="margin-left: 1em;">lineage of, iii, 8;</span><br /> +<span style="margin-left: 1em;">home of, at Mount Vernon, iii, 16;</span><br /> +<span style="margin-left: 1em;">Indian name of, iii, 17;</span><br /> +<span style="margin-left: 1em;">appearance of, iii, 17;</span><br /> +<span style="margin-left: 1em;">love-affairs of, iii, 18;</span><br /> +<span style="margin-left: 1em;">marriage of, iii, 20;</span><br /> +<span style="margin-left: 1em;">appointed commander of the army, iii, 23;</span><br /> +<span style="margin-left: 1em;">strategy of, iii, 24;</span><br /> +<span style="margin-left: 1em;">humor of, iii, 25;</span><br /> +<span style="margin-left: 1em;">detractors of, iii, 28;</span><br /> +<span style="margin-left: 1em;">statue of, iii, 5;</span><br /> +<span style="margin-left: 1em;">letter of John Jay to, iii, 230;</span><br /> +<span style="margin-left: 1em;">Lincoln and, iii, 29;</span><br /> +<span style="margin-left: 1em;">on Thomas Paine, xiii, 84;</span><br /> +<span style="margin-left: 1em;">Mary Philipse and, xi, 217;</span><br /> +<span style="margin-left: 1em;">quoted, iii, 245;</span><br /> +<span style="margin-left: 1em;">referred to, iii, 90; xii, 57, 179;</span><br /> +<span style="margin-left: 1em;">Ary Scheffer's admiration for, iv, 235.</span><br /> +<br /> +Waterloo, battle of, i, 233; iv, 82; xi, 161.<br /> +<br /> +Watson, Thomas, <i>Story of France</i>, viii, 241; ix, 380.<br /> +<br /> +Watson, Sir William, astronomer, xii, 182.<br /> +<br /> +Watterson, Henry, on Lincoln, vii, 393.<br /> +<br /> +Watt, James, xi, 68; xii, 179;<br /> +<span style="margin-left: 1em;">Humphrey Gainsborough and, vi, 133.</span><br /> +<br /> +Wax-works, Madame Tussaud's, iv, 344.<br /> +<br /> +<i>Wealth of Nations</i>, Adam Smith, i, 73; v, 94, 163; ix, 64.<br /> +<br /> +<span class='pagenum'><a name="XIV_Page_463" id="XIV_Page_463">463</a></span>Wealth, the handicap of, vi, 169.<br /> +<br /> +Webb, Philip, architect, v, 20.<br /> +<br /> +Webster, Daniel, birthplace of, iii, 191;<br /> +<span style="margin-left: 1em;">education of, iii, 192;</span><br /> +<span style="margin-left: 1em;">association of, with his brother Ezekiel, iii, 195;</span><br /> +<span style="margin-left: 1em;">graduation of, iii, 196;</span><br /> +<span style="margin-left: 1em;">his greatest speech, iii, 196;</span><br /> +<span style="margin-left: 1em;">his favorite theme, iii, 197;</span><br /> +<span style="margin-left: 1em;">debate of, with Hayne, iii, 198;</span><br /> +<span style="margin-left: 1em;">son of, iii, 200;</span><br /> +<span style="margin-left: 1em;">influence of, iii, 201;</span><br /> +<span style="margin-left: 1em;">the Stephen Girard case, iii, 201;</span><br /> +<span style="margin-left: 1em;">the Dartmouth College case, iii, 202;</span><br /> +<span style="margin-left: 1em;">effectiveness of, iii, 203;</span><br /> +<span style="margin-left: 1em;">death of, iii, 204;</span><br /> +<span style="margin-left: 1em;">on liberty, vii, 337;</span><br /> +<span style="margin-left: 1em;">James Oliver compared with, xi, 78;</span><br /> +<span style="margin-left: 1em;">on the practise of law, xi, 274;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 253.</span><br /> +<br /> +Wedgwood, Josiah, xii, 203;<br /> +<span style="margin-left: 1em;">S. T. Coleridge and, v, 305;</span><br /> +<span style="margin-left: 1em;">Gladstone on, xiii, 60;</span><br /> +<span style="margin-left: 1em;">Robert Owen and, ix, 225;</span><br /> +<span style="margin-left: 1em;">John Wesley and, xiii, 53.</span><br /> +<br /> +Wedgwood, Julia, biographer of John Wesley, ix, 15.<br /> +<br /> +Weems, Rev. Mason L., iii, 7;<br /> +<span style="margin-left: 1em;"><i>Life of Washington</i>, v, 41; vii, 199.</span><br /> +<br /> +Wehrgeld, vii, 125.<br /> +<br /> +Weimar, Germany, i, 58, 233.<br /> +<br /> +Weir, Robert, Professor, vi, 342.<br /> +<br /> +Wellesley, Arthur, Duke of Wellington, i, 280, 313; v, 253; xii, 179, 338;<br /> +<span style="margin-left: 1em;">mother of, viii, 57.</span><br /> +<br /> +<i>Werther</i>, Coleridge's translation of, v, 307.<br /> +<br /> +Wesley, Charles, hymn-writer, ix, 11, 41.<br /> +<br /> +Wesley, John, American experiences of, ix, 29;<br /> +<span style="margin-left: 1em;">education of, ix, 21;</span><br /> +<span style="margin-left: 1em;">influence of, ix, 11, 46;</span><br /> +<span style="margin-left: 1em;">marital experience of, ix, 44;</span><br /> +<span style="margin-left: 1em;">the Moravians and, ix, 31;</span><br /> +<span style="margin-left: 1em;">Governor Oglethorpe and, ix, 27;</span><br /> +<span style="margin-left: 1em;">on teaching, viii, 202;</span><br /> +<span style="margin-left: 1em;">Josiah Wedgwood and, xiii, 52.</span><br /> +<br /> +Wesley, Susanna, ix, 221;<br /> +<span style="margin-left: 1em;">children of, ix, 11.</span><br /> +<br /> +West, Benjamin, American artist, iv, 306; xi, 94; xii, 179;<br /> +<span style="margin-left: 1em;">Thomas Gainsborough and, vi, 150.</span><br /> +<br /> +West Indies, the, iii, 110.<br /> +<br /> +Whale-oil industry, decline of, xi, 369.<br /> +<br /> +Wheat-belt, the, xi, 433.<br /> +<br /> +Whigs, Johnson on, v, 164.<br /> +<br /> +Whim, xiv, <a href='#XIV_Page_302'><b>302</b></a>.<br /> +<br /> +Whistler, James Abbott McNeil, vi, 339;<br /> +<span style="margin-left: 1em;">on art, viii, 363;</span><br /> +<span style="margin-left: 1em;">his criticism of Gustave Dove, iv, 329;</span><br /> +<span style="margin-left: 1em;">his dual character, vi, 333;</span><br /> +<span style="margin-left: 1em;"><i>Etching and Dry Points</i>, vi, 351;</span><br /> +<span style="margin-left: 1em;">Judge Gaynor on, vi, 333;</span><br /> +<span style="margin-left: 1em;"><i>The Gentle Art of Making Enemies</i>, vi, 330, 351;</span><br /> +<span class='pagenum'><a name="XIV_Page_464" id="XIV_Page_464">464</a></span><span style="margin-left: 1em;">life of, in Russia, vi, 341;</span><br /> +<span style="margin-left: 1em;"><i>Nocturne</i>, vi, 345;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 116, 220; v, 16; xii, 155;</span><br /> +<span style="margin-left: 1em;">Ruskin and, vi, 330;</span><br /> +<span style="margin-left: 1em;">the <i>Ten o'Clock</i> lecture, vi, 351;</span><br /> +<span style="margin-left: 1em;">Velasquez and, vi, 177, 346.</span><br /> +<br /> +White, Andrew D., <i>The Warfare of Science and Religion</i>, xii, 222.<br /> +<br /> +Whitefield, George, colleague of the Wesleys, ix, 27, 41.<br /> +<br /> +White Pigeon, v, 269;<br /> +<span style="margin-left: 1em;">description of, vi, 40.</span><br /> +<br /> +Whitlock, Brand, ix, 283.<br /> +<br /> +Whitman, Walt, Lincoln's opinion of, i, 164;<br /> +<span style="margin-left: 1em;">appearance of, i, 165;</span><br /> +<span style="margin-left: 1em;">Dr. Bucke's characterization of, i, 166;</span><br /> +<span style="margin-left: 1em;">Horace L. Traubel on, i, 167;</span><br /> +<span style="margin-left: 1em;">home of, in Camden i, 168;</span><br /> +<span style="margin-left: 1em;">Symonds' opinion of, i, 170;</span><br /> +<span style="margin-left: 1em;">Rossetti's opinion of, i, 170;</span><br /> +<span style="margin-left: 1em;">democracy of, i, 174;</span><br /> +<span style="margin-left: 1em;">the poet of humanity, i, 179;</span><br /> +<span style="margin-left: 1em;">Edward Carpenter and, x, 46;</span><br /> +<span style="margin-left: 1em;">as a clerk, v, 26;</span><br /> +<span style="margin-left: 1em;">Corot compared with, vi, 190;</span><br /> +<span style="margin-left: 1em;">on death, i, 175;</span><br /> +<span style="margin-left: 1em;">on the human voice, vii, 314;</span><br /> +<span style="margin-left: 1em;">influence of, viii, 205;</span><br /> +<span style="margin-left: 1em;">influence of, on R. L. Stevenson, xiii, 18;</span><br /> +<span style="margin-left: 1em;">kingliness of, x, 109;</span><br /> +<span style="margin-left: 1em;">compared with Millet, iv, 259;</span><br /> +<span style="margin-left: 1em;">William Morris' estimate of, v, 32;</span><br /> +<span style="margin-left: 1em;">opinions regarding, vi, 191;</span><br /> +<span style="margin-left: 1em;">quoted, iv, 161; vi, 66; xii, 88;</span><br /> +<span style="margin-left: 1em;">referred to, i, p xxvii, 90, 195; ii, 285; v, 83; xi, 94;</span><br /> +<span style="margin-left: 1em;">Thoreau and, viii, 422;</span><br /> +<span style="margin-left: 1em;">Wagner compared with, xiv, <a href='#XIV_Page_23'><b>23</b></a>.</span><br /> +<br /> +Whitney, Eli, xi, 69.<br /> +<br /> +Widows, the lot of, xii, 14.<br /> +<br /> +Wife-beating, iv, 240.<br /> +<br /> +Wife, Solomon's ideal, ii, 69.<br /> +<br /> +Wight, isle of, i, 196.<br /> +<br /> +Wilberforce, Samuel, and Charles Darwin, xii, 202.<br /> +<br /> +Wilberforce, William, philanthropist, vii, 196.<br /> +<br /> +Wilcox, Ella Wheeler, xi, 284.<br /> +<br /> +Wilkie, Sir David, and Velasquez, vi, 158.<br /> +<br /> +Willard, Frances E., ii, 52.<br /> +<br /> +William the Conqueror, i, 252; ii, 198; x, 148; xiv, <a href='#XIV_Page_40'><b>40</b></a>.<br /> +<br /> +William the Silent, Prince of Orange, iv, 81.<br /> +<br /> +Williams, Roger, and Anne Hutchinson, ix, 359, 361.<br /> +<br /> +Willis, N. P., on Disraeli, v, 329.<br /> +<br /> +Will, force of, ii, 162;<br /> +<span style="margin-left: 1em;">Pentecost on, xiv, <a href='#XIV_Page_66'><b>66</b></a>;</span><br /> +<span style="margin-left: 1em;">power of, iv, 330;</span><br /> +<span style="margin-left: 1em;">Schopenhauer on the, viii, 380.</span><br /> +<br /> +<span class='pagenum'><a name="XIV_Page_465" id="XIV_Page_465">465</a></span>Wilson, Francis, and Eugene Field, v, 256.<br /> +<br /> +Wilson, James, Judge, iii, 14.<br /> +<br /> +Windermere, lake, i, 87, 218.<br /> +<br /> +Windows, stained-glass, v, 22.<br /> +<br /> +<i>Wine of Cyprus</i>, E. B. Browning, ii, 21.<br /> +<br /> +<i>Winter's Tale, The</i>, Shakespeare, i, 317.<br /> +<br /> +Winter, William, i, 51;<br /> +<span style="margin-left: 1em;">on Shakespeare, i, 312.</span><br /> +<br /> +Winthrop, John, Governor of Massachusetts Colony, ix, 337.<br /> +<br /> +Wisdom, v, 240;<br /> +<span style="margin-left: 1em;">ignorance and, Starr King on, vii, 308;</span><br /> +<span style="margin-left: 1em;">knowledge and, vii, 217;</span><br /> +<span style="margin-left: 1em;">learning and, x, 74;</span><br /> +<span style="margin-left: 1em;">mintage of, i, p xii.</span><br /> +<br /> +Wishart, George, and John Knox, ix, 206.<br /> +<br /> +Witchcraft, iii, 101; x, 352.<br /> +<br /> +Wizard, definition of, xii, 67;<br /> +<span style="margin-left: 1em;">Edison on, vi, 42.</span><br /> +<br /> +Woffington, Peg, friend of Reynolds, iv, 305.<br /> +<br /> +Wollstonecraft, Mary, birth of, ii, 289;<br /> +<span style="margin-left: 1em;">literary achievements of, ii, 290;</span><br /> +<span style="margin-left: 1em;">views of, ii, 291;</span><br /> +<span style="margin-left: 1em;">meeting of, with Gilbert Imlay, ii, 292;</span><br /> +<span style="margin-left: 1em;">marriage of, to William Godwin, ii, 293;</span><br /> +<span style="margin-left: 1em;">death of, ii, 294;</span><br /> +<span style="margin-left: 1em;">Charlotte Perkins Gilman compared with, xiii, 92;</span><br /> +<span style="margin-left: 1em;">Coleridge and, xiii, 102;</span><br /> +<span style="margin-left: 1em;">Dr. Samuel Johnson and, xiii, 90;</span><br /> +<span style="margin-left: 1em;">Thomas Paine and, ix, 175;</span><br /> +<span style="margin-left: 1em;">Robert Southey and, xiii, 102;</span><br /> +<span style="margin-left: 1em;"><i>The Rights of Woman</i>, xiii, 85.</span><br /> +<br /> +Womanhood in Greece, vii, 32.<br /> +<br /> +Woman suffrage, i, 93.<br /> +<br /> +Women, Botticelli's, vi, 81;<br /> +<span style="margin-left: 1em;">capacity of, for intellectual endeavor, ix, 346;</span><br /> +<span style="margin-left: 1em;">characterization of, i, 159;</span><br /> +<span style="margin-left: 1em;">degradation and, vi, 74;</span><br /> +<span style="margin-left: 1em;">in relation to divorce, viii, 133;</span><br /> +<span style="margin-left: 1em;">emancipation of, ii, 70;</span><br /> +<span style="margin-left: 1em;">emotional, xiii, 315;</span><br /> +<span style="margin-left: 1em;">in France, ii, 173;</span><br /> +<span style="margin-left: 1em;">helpfulness of, i, 75;</span><br /> +<span style="margin-left: 1em;">influence of, i, 131; iv, 36, 225;</span><br /> +<span style="margin-left: 1em;">the inspirers of music, xiv, <a href='#XIV_Page_120'><b>120</b></a>;</span><br /> +<span style="margin-left: 1em;">of Ireland, i, 275;</span><br /> +<span style="margin-left: 1em;">Dr. Johnson concerning, xiii, 91;</span><br /> +<span style="margin-left: 1em;">Kipling and, vi, 74;</span><br /> +<span style="margin-left: 1em;">Mahomet on the truthfulness of, iv, 86;</span><br /> +<span style="margin-left: 1em;">Michelangelo's figures of, iv, 9;</span><br /> +<span style="margin-left: 1em;">the new woman, ii, 53;</span><br /> +<span style="margin-left: 1em;">in politics, viii, 51;</span><br /> +<span style="margin-left: 1em;">Socrates' opinion of, viii, 21;</span><br /> +<span style="margin-left: 1em;">souls of, iii, 101;</span><br /> +<span class='pagenum'><a name="XIV_Page_466" id="XIV_Page_466">466</a></span><span style="margin-left: 1em;">Richard Steele regarding, viii, 130;</span><br /> +<span style="margin-left: 1em;">as teachers, x, 259;</span><br /> +<span style="margin-left: 1em;">Washington's regard for, iii, 18.</span><br /> +<br /> +<i>Wonders of the Invisible World</i>, Mather, i, 238.<br /> +<br /> +Woodhull, Victoria, xi, 258.<br /> +<br /> +Woodward Gardens, San Francisco, ix, 63.<br /> +<br /> +Wooing, the art of, viii, 328.<br /> +<br /> +Wordsworth, Dorothy, i, 212; ii, 228;<br /> +<span style="margin-left: 1em;">Coleridge and, vi, 304.</span><br /> +<br /> +Wordsworth, William, home of, i, 212;<br /> +<span style="margin-left: 1em;">life of, at Rydal Mount, i, 216;</span><br /> +<span style="margin-left: 1em;">grave of, i, 222;</span><br /> +<span style="margin-left: 1em;">rank as poet, i, 222;</span><br /> +<span style="margin-left: 1em;">influence of, i, 223;</span><br /> +<span style="margin-left: 1em;">Robert Browning and, v, 55;</span><br /> +<span style="margin-left: 1em;">as a government employee, v, 26;</span><br /> +<span style="margin-left: 1em;">quoted, ii, 233, 285;</span><br /> +<span style="margin-left: 1em;">referred to, i, 88; ii, 28; v, 270;</span><br /> +<span style="margin-left: 1em;">Southey and, v, 303.</span><br /> +<br /> +Work, v, 24;<br /> +<span style="margin-left: 1em;">Martin Luther on, vii, 110;</span><br /> +<br /> +<i>Works and Days</i>, R. W. Emerson, ii, 286.<br /> +<br /> +World poets, v, 83.<br /> +<br /> +World's Congress of Religions, i, 135.<br /> +<br /> +World-weariness, xiv, <a href='#XIV_Page_78'><b>78</b></a>.<br /> +<br /> +Worms, Luther at the Diet of, vii, 143.<br /> +<br /> +Worry, iii, 260.<br /> +<br /> +Wren, Christopher, architect, iii, 61.<br /> +<br /> +Writing academies, American, vi, 134.<br /> +<br /> +Wu Ting Fang, on Ireland, xi, 335.<br /> +<br /> +Wythe, George, and Patrick Henry, iii, 62.<br /> +<br /> +<br /> +Xantippe, wife of Socrates, i, 75; viii, 22.<br /> +<br /> +Xenophon and Socrates, viii, 11, 29.<br /> +<br /> +<br /> +Yale university, art-gallery at, vi, 71.<br /> +<br /> +Yates, Dick, friend of Lincoln, iii, 288.<br /> +<br /> +<i>Yesterdays With Authors</i>, Fields, i, 235.<br /> +<br /> +Yorkshire folks, ii, 104.<br /> +<br /> +Youmans, Edward L., and Herbert Spencer, viii, 344;<br /> +<span style="margin-left: 1em;">Darwinism and, xii, 231.</span><br /> +<br /> +Young, Brigham, x, 117; xi, 72.<br /> +<br /> +Youth, characterized, v, 18.<br /> +<br /> +<br /> +Zangwill, Israel, i, 163; ii, 193; iv, 243; v, 319; viii, 217;<br /> +<span style="margin-left: 1em;">on genius, xiv, <a href='#XIV_Page_309'><b>309</b></a>;</span><br /> +<span style="margin-left: 1em;">on Scotland, xi, 77;</span><br /> +<span style="margin-left: 1em;">on the Ghetto, xi, 128;</span><br /> +<span style="margin-left: 1em;">his stories of the Ghetto, viii, 219.</span><br /> +<br /> +Zola, Emile, iv, 139.<br /> +<br /> +<i>Zoonomia</i>, Erasmus Darwin, xii, 371.<br /> +<br /> +Zueblin, Charles, on William Morris, xi, 356.<br /> +</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Little Journeys to the Homes of the +Great - Volume 14, by Elbert Hubbard + +*** END OF THIS PROJECT GUTENBERG EBOOK GREAT MUSICIANS *** + +***** This file should be named 20318-h.htm or 20318-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/0/3/1/20318/ + +Produced by Janet Blenkinship and the Online Distributed +Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/20318-h/images/img01.jpg b/20318-h/images/img01.jpg Binary files differnew file mode 100644 index 0000000..4b1cba3 --- /dev/null +++ b/20318-h/images/img01.jpg diff --git a/20318-h/images/img011.jpg b/20318-h/images/img011.jpg Binary files differnew file mode 100644 index 0000000..3e79c2a --- /dev/null +++ b/20318-h/images/img011.jpg diff --git a/20318-h/images/img017.jpg b/20318-h/images/img017.jpg Binary files differnew file mode 100644 index 0000000..a091652 --- /dev/null +++ b/20318-h/images/img017.jpg diff --git a/20318-h/images/img024.jpg b/20318-h/images/img024.jpg Binary files differnew file mode 100644 index 0000000..391500e --- /dev/null +++ b/20318-h/images/img024.jpg diff --git a/20318-h/images/img049.jpg b/20318-h/images/img049.jpg Binary files differnew file mode 100644 index 0000000..3645a46 --- /dev/null +++ b/20318-h/images/img049.jpg diff --git a/20318-h/images/img051.jpg b/20318-h/images/img051.jpg Binary files differnew file mode 100644 index 0000000..5af75bc --- /dev/null +++ b/20318-h/images/img051.jpg diff --git a/20318-h/images/img079.jpg b/20318-h/images/img079.jpg Binary files differnew file mode 100644 index 0000000..53625fd --- /dev/null +++ b/20318-h/images/img079.jpg diff --git a/20318-h/images/img081.jpg b/20318-h/images/img081.jpg Binary files differnew file mode 100644 index 0000000..6874fb0 --- /dev/null +++ b/20318-h/images/img081.jpg diff --git a/20318-h/images/img113.jpg b/20318-h/images/img113.jpg Binary files differnew file mode 100644 index 0000000..3604a4d --- /dev/null +++ b/20318-h/images/img113.jpg diff --git a/20318-h/images/img115.jpg b/20318-h/images/img115.jpg Binary files differnew file mode 100644 index 0000000..23a666a --- /dev/null +++ b/20318-h/images/img115.jpg diff --git a/20318-h/images/img117.jpg b/20318-h/images/img117.jpg Binary files differnew file mode 100644 index 0000000..6faf617 --- /dev/null +++ b/20318-h/images/img117.jpg diff --git a/20318-h/images/img127.jpg b/20318-h/images/img127.jpg Binary files differnew file mode 100644 index 0000000..05b2ec6 --- /dev/null +++ b/20318-h/images/img127.jpg diff --git a/20318-h/images/img141.jpg b/20318-h/images/img141.jpg Binary files differnew file mode 100644 index 0000000..b69cbe4 --- /dev/null +++ b/20318-h/images/img141.jpg diff --git a/20318-h/images/img145.jpg b/20318-h/images/img145.jpg Binary files differnew file mode 100644 index 0000000..b08b0b2 --- /dev/null +++ b/20318-h/images/img145.jpg diff --git a/20318-h/images/img148.jpg b/20318-h/images/img148.jpg Binary files differnew file mode 100644 index 0000000..a1fc76f --- /dev/null +++ b/20318-h/images/img148.jpg diff --git a/20318-h/images/img171.jpg b/20318-h/images/img171.jpg Binary files differnew file mode 100644 index 0000000..3565542 --- /dev/null +++ b/20318-h/images/img171.jpg diff --git a/20318-h/images/img197.jpg b/20318-h/images/img197.jpg Binary files differnew file mode 100644 index 0000000..a2ae5cd --- /dev/null +++ b/20318-h/images/img197.jpg diff --git a/20318-h/images/img235.jpg b/20318-h/images/img235.jpg Binary files differnew file mode 100644 index 0000000..83c53f8 --- /dev/null +++ b/20318-h/images/img235.jpg diff --git a/20318-h/images/img254.jpg b/20318-h/images/img254.jpg Binary files differnew file mode 100644 index 0000000..ca5b264 --- /dev/null +++ b/20318-h/images/img254.jpg diff --git a/20318-h/images/img265.jpg b/20318-h/images/img265.jpg Binary files differnew file mode 100644 index 0000000..ad98d4c --- /dev/null +++ b/20318-h/images/img265.jpg diff --git a/20318-h/images/img267.jpg b/20318-h/images/img267.jpg Binary files differnew file mode 100644 index 0000000..cac3cb4 --- /dev/null +++ b/20318-h/images/img267.jpg diff --git a/20318-h/images/img276.jpg b/20318-h/images/img276.jpg Binary files differnew file mode 100644 index 0000000..b7ce353 --- /dev/null +++ b/20318-h/images/img276.jpg diff --git a/20318-h/images/img291.jpg b/20318-h/images/img291.jpg Binary files differnew file mode 100644 index 0000000..a3eca01 --- /dev/null +++ b/20318-h/images/img291.jpg diff --git a/20318-h/images/img297.jpg b/20318-h/images/img297.jpg Binary files differnew file mode 100644 index 0000000..e3f02a0 --- /dev/null +++ b/20318-h/images/img297.jpg diff --git a/20318-h/images/img317.jpg b/20318-h/images/img317.jpg Binary files differnew file mode 100644 index 0000000..1519ad2 --- /dev/null +++ b/20318-h/images/img317.jpg diff --git a/20318-h/images/img325.jpg b/20318-h/images/img325.jpg Binary files differnew file mode 100644 index 0000000..0ebb58e --- /dev/null +++ b/20318-h/images/img325.jpg diff --git a/20318-h/images/img340.jpg b/20318-h/images/img340.jpg Binary files differnew file mode 100644 index 0000000..1ef99f3 --- /dev/null +++ b/20318-h/images/img340.jpg diff --git a/20318-h/images/img353.jpg b/20318-h/images/img353.jpg Binary files differnew file mode 100644 index 0000000..8613930 --- /dev/null +++ b/20318-h/images/img353.jpg diff --git a/20318.txt b/20318.txt new file mode 100644 index 0000000..ce3c4ca --- /dev/null +++ b/20318.txt @@ -0,0 +1,17028 @@ +The Project Gutenberg EBook of Little Journeys to the Homes of the Great - +Volume 14, by Elbert Hubbard + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Little Journeys to the Homes of the Great - Volume 14 + Little Journeys to the Homes of Great Musicians + +Author: Elbert Hubbard + +Release Date: January 9, 2007 [EBook #20318] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK GREAT MUSICIANS *** + + + + +Produced by Janet Blenkinship and the Online Distributed +Proofreading Team at https://www.pgdp.net + + + + + + + + + + Little + Journeys + To the Homes of the Great + + + Elbert Hubbard + + Anniversary Edition + + + Printed and made into a Book by + The Roycrofters, who are in East + Aurora, Erie County, New York + + Wm. H. Wise & Co. + New York + + + + + Copyright, 1916, + By The Roycrofters + + + + + CONTENTS + + + RICHARD WAGNER 9 + + PAGANINI 47 + + FREDERIC CHOPIN 75 + + ROBERT SCHUMANN 107 + + SEBASTIAN BACH 133 + + FELIX MENDELSSOHN 161 + + FRANZ LISZT 185 + + LUDWIG VAN BEETHOVEN 221 + + GEORGE HANDEL 249 + + GIUSEPPE VERDI 273 + + WOLFGANG MOZART 297 + + JOHANNES BRAHMS 331 + + INDEX + + ++---------------------------------------------------------------------+ +|Transcriber's note: Obvious spelling and punctuation errors have been| +|corrected. All other inconsistencies are as in the original. | ++---------------------------------------------------------------------+ + + + + +[Illustration: RICHARD WAGNER] + +RICHARD WAGNER + + + Was ever work like mine created for no purpose? Am I a miserable + egotist, possessed of stupid vanity? It matters not, but of this I + feel positive; yes, as positive as that I live, and this is, my + "Tristan and Isolde," with which I am now consumed, does not find + its equal in the world's library of music. Oh, how I yearn to hear + it; I am feverish; I am worn. Perhaps that causes me to be agitated + and anxious, but my "Tristan" has been finished now these three + years and has not been heard. When I think of this I wonder whether + it will be with this as with "Lohengrin," which now is thirteen + years old, and is still dead to me. But the clouds seem breaking, + they are breaking--I am going to Vienna soon. There they are going + to give me a surprise. It is supposed to be kept a secret from me, + but a friend has informed me that they are going to bring out + "Lohengrin." + + --_Wagner in a Letter to Praeger_ + + +RICHARD WAGNER + +Absurd and silly people make jokes about mothers-in-law, stepmothers and +stepfathers--we will none of this. My heart warms to the melancholy +Jacques, who dedicated his book to his mother-in-law, "my best friend, +who always came when she was needed and never left so long as there was +work to do." Richard Wagner's stepfather was his patient, loving and +loyal friend. + +The father of Wagner died when the child was six months old. The mother, +scarcely turned thirty, had a brood of seven, no money and many debts. +There is trouble for you--ye silken, perfumed throng, who nibble +cheese-straws, test the hyson when it is red, and discuss the +heartrending aspects of the servant-girl problem to the lascivious +pleasings of a lute! + +But the widow Wagner was not cast down to earth--she resolved on keeping +her family together, caring for them all as best she could. The +suggestion from certain kinsmen that the children should be given out +for adoption was quickly vetoed. The fine spirit of the woman won the +admiration of a worthy actor, in slightly reduced circumstances, who had +lodgings in the house of the widow. This actor, Ludwig Geyer by name, +loved the widow and all of the brood, and he proposed that they pool +their poverty. + +And so before Mrs. Wagner had been a widow a twelvemonth they were +married. + +In this marriage Geyer seemed to be moved to a degree by the sentiment +of friendship for his friend, the deceased husband. Geyer was a man of +many virtues--amiable, hopeful, kind. He had the artistic temperament +without its faults. To writers of novels, in search of a very choice +central character, Ludwig Geyer affords great possibilities. He was as +hopeful as Triplett and a deal more versatile. The histrionic art +afforded him his income of eleven dollars a week; but painting was his +forte--if he only had time to devote to the technique! Yet all the arts +being one he had written a play; he also modeled in clay and sang tenor +parts as understudy to the great Schudenfeldt. Hope, good-cheer and a +devotion to art were the distinguishing features of Mein Herr Geyer. + +All this was in the city of Leipzig; but Herr Geyer becoming a member of +the Court Theater, the family moved to Dresden, where at this time lived +one Weber, a composer, who used to walk by the Geyer home and +occasionally stop in for a little rest. At such times one of the +children would be sent out with a pitcher, and the great composer and +Herr Geyer would in fancy roam the realm of art, and Herr Geyer would +impart to Herr Weber valuable ideas that had never been used. The little +boy, Richard, used to cherish these visits of Weber, and would sit and +watch for hours for the coming of the queer old man in the long gray +cloak. + +The stork, one fine day, brought Richard a little sister. He was scarce +two years older than she. These two sort of grew up together, and were +ever the special pets of Herr Geyer, who used to take them to the +theater and seat them on a bench in the wings where they could watch him +lead the assault in "The Pirate's Revenge." + +Richard regarded his stepfather with all the affection that ever a child +had for its own parent; and until he was twenty-one was known to the +world as Richard Wilhelm Geyer. + +The comparison of Ludwig Geyer with Triplett is hardly fair, for Geyer's +fine effervescence and hopeful, rainbow-chasing qualities were confined +to early life. + +As the years passed Geyer settled down to earnest work and achieved a +considerable success both as an actor and as a painter. The unselfish +quality of the man is shown in that his income was freely used to +educate the Wagner children. He was sure that Richard had the germ of +literary ability in his mental make-up, and his ambition was that the +boy should become a writer. But alas! Geyer did not live long enough to +know the true greatness of this child he had fostered and befriended. + +Unlike so many musicians Richard was not precocious. He was slow, +thoughtful and philosophic; and music did not attract him so much as +letters. Incidentally he took lessons in music with his other studies, +and his first teacher, Gottlieb Muller, has left on record the statement +that the boy was "self-willed and eccentric, and not fluid enough in +spirit to succeed in music." + +The mother of Wagner seems to have been a woman of marked mentality--not +especially musical or poetic, but possessing a fine appreciation of all +good things, and best of all, she had commonsense. She very early came +to regard Richard as her most promising child, and before he was ten +years of age, said to a friend, "Richard will be able to succeed at +anything he concentrates his mind upon." + +The truth of the remark has often been reiterated. The youth was superb +in his mental equipment--strong, capable, independent. Had he turned his +attention to any other profession, or any branch of art or science, he +could have probed the problem to its depths, and made his mark upon the +age in which he lived. + +In height Wagner was a little under size, but his deep chest, well-set +neck, and large, shapely head gave him a commanding look. In physique he +resembled the "big little men" like Columbus, Napoleon, Aaron Burr, +Alexander Hamilton and John Bright--men born to command, with ability to +do the thinking for a nation. + +It's magnificent to be a great musician, and many musicians are nothing +else, but it is better to be a man than a musician. Richard Wagner was a +man. Environment forced literature upon his attention: he desired to be +a great poet. He wrote essays, stories, quatrains, epics. Chance sent +the work of Beethoven within his radius, and he became filled with the +melody of the master. Young men of this type, full of the pride of +youth, overflowing with energy, search for a something on which to try +their steel. Wagner could write poetry, that was sure, and more, he +could prepare the score and set his words to music. He fell upon the +work like one possessed--and he was. To his amazement the difficulties +of music all faded away, and that which before seemed like a hopeless +task, now became luminous before the heat of his spirit. + +Nothing is difficult when you put your heart in it. + +The obstacles to be overcome in setting words to sounds were like a game +of chess--a pleasing diversion. In a month he knew as much of the +science of music as many men did who had grubbed at the work a lifetime. +"The finances! Get your principles right and then 'tis a mere matter of +detail, requiring only concentration--I will arrange it," said Napoleon. + +Wagner focused on music, yet here seems a good place to say that he +never learned either to play the piano or to sing. He had to trust the +"details" to others. Yet at twenty he led an orchestra. Soon after he +became conductor of the opera at Magdeburg. + +In some months more he drifted to Konigsberg, and there acted as +conductor at the Royal Theater. In the company of this theater was a +young woman by the name of Wilhelmina Planer. Wagner got acquainted with +her across the footlights. She was young, comely and all that--they +became engaged. Shortly afterwards, one fine moonlight night, in +response to her merry challenge, they rang up the "Dom" and were +married. They got better acquainted afterward. + + * * * * * + +It is a fact that Wagner's imprudent marriage at the age of twenty-three +has been much regretted and oft lamented. "What," say the Impressionable +Ones, "Oh, what could he not have accomplished with a proper mate!" + +It is very true that Minna Planer had no comprehension of the genius of +her husband; that her two feet were always flatly planted on earth, and +her head never reached the clouds; and true it is that she was a weary +weight to him for the twenty-five years they lived together. Still men +grow strong by carrying burdens; and we must remember that Wagner was +what he was on account of what he endured and suffered. + +Wagner expressed himself in his art, and all great art is simply the +honest, spontaneous, individual expression of soul-emotion. Had Wagner's +emotions been different he would have produced a totally different sort +of art. That is to say, if Wagner in his youth had loved and wedded a +woman who was capable of giving his soul peace, we would have had no +Wagner; we would have had some one else, and therefore a totally +different expression, or no expression at all. Probably the man would +have been quite content to be a village Kapellmeister. His life being +reasonably complete, his spirit would not have roamed the Universe +crying for rest. The ideals of his wife were so low and commonplace that +she influenced his career by antithesis. His soul was ahungered for the +bread of life, and stones were given him in way of the dull, the ugly, +the affected, the smug, the ridiculous. Wagner's life was a revolt from +the ossified commonplace, a struggle for right adjustment--a heart +tragedy. And all this reaching out of the spirit, all the prayers, +hopes, fears and travail of his soul, are told and told again in his +poetry and in his music. + +All art is autobiography. + +Minna Planer was amiable and kind, but the frantic effort she made at +times, in public, to be profound or chic must have touched the great man +on the raw. He sought, however, to protect her, and at public gatherings +used to keep very near to her in order that she should not fall into the +clutches of some sharp-witted enemy and be lead on into unseemliness of +speech. The scoffs of critics and the ready-made gibes and jeers of the +mob were to her gospel truth; her husband's genius was a vagary to be +stoutly endured. So for many years she was inclined to pose as one to be +pitied--and so she was. That she suffered at times can not be denied, +yet God is good, and so has put short limit on the sensibilities of the +vain. + +But Wagner would never tolerate an unkind word spoken of Minna in his +presence, and once rebuked a friend who sought to console him by saying, +"Never mind, Minna lives her life the best she can, and expresses the +thoughts that come to her--what more do you and I do?" + +And in his later years, when calm philosophy was his, he realized that +Minna Planer had supplied him a stinging discontent, a continued unrest +that formed the sounding-board on which his sorrow and his hope and his +faith in the Ideal were echoed forth. + +Love is the recurring motif in all of Wagner's plays. A man and a woman, +joined by God, but separated by unkind condition, play their parts, and +our hearts are made by the Master to vibrate in sympathy with the +central idea. Only a broken-hearted man could have conjured forth from +his soul such couples as these: Senta and the Dutchman, Elizabeth and +Tannhauser, Elsa and Lohengrin, Tristan and Isolde, Siegmund and +Sieglinde, Walter and Eva, Siegfried and Brunhilde. + +Wagner's unhappy marriage forms the keynote of his art. Every opera he +wrote depicts a soul in bonds. From "The Flying Dutchman" to "Parsifal" +we are shown the struggle of a strong man with cruel Fate; a reaching +out for liberty and light; the halting between duty and inclination; and +the endless search for a woman who shall give deliverance through her +abiding love and faith. + + * * * * * + +All art seems controlled by fad and fashion. No fashion endures, else +'twere not fashion, and in its character the fad is essentially +transient. Still we need not rail at fashion; it is a form of +periodicity, and periodicity exists through all Nature. There are day +and night, winter and summer, equinox and solstice, work and rest, years +of plenty and years of famine. Comets return, and all fashions come +back. Keep your old raiment long enough and it will be in style. + +All things move in an orbit, even theories and religions. Certain forms +of fanaticism come with the centuries--every new heresy is old. All +extremes cure themselves, for when matters get pushed to a point where +the balance of things is in danger of being disturbed, a Reformer +appears and utters his stentorian protest. This man is always ridiculed, +hooted, reviled, mobbed, and very happy indeed is his fate if he is +hanged, crucified or made to drink of the deadly hemlock; for then his +place in the affection of men is made secure, sealed with blood, and we +proclaim him liberator or savior. The Piazza Signora is sacred soil +because there it was that Savonarola died; John Brown's body lies +a-moldering in the grave, but his soul goes marching on; J. Wilkes Booth +linked his own name with that of Judas Iscariot and made his victim +known to the Ages as the Emancipator of Men. + +These strong men, sent at the pivotal points in history, are born out +of a sore need--they are sent from God. Yet strong men always exist, but +it is the needs of the hour that develop and bring them to our +attention. Not always have the Reformers been fortunate in their takings +off--many have lingered out lengthening, living deaths in walled-up +cells. The Bastile, Chillon, London Tower, that prison joined to a +palace by the Bridge of Sighs, and all other such plague-spots of blood +are haunted by the ghosts of infamy. Before the memory of all those who +wrote immortal books behind grated bars we stand uncovered. + +Exile has been the lot of many who tried to live for sanity, justice and +truth when mad riot raged. Dante, Victor Hugo, Prince Kropotkin and +Wagner are types to which we turn. Then there is an attenuated form of +persecution known as ostracism, which consists in being exiled at home, +but of this it is not worth while to speak. + +Wagner was a strong, honest man who simply desired to express his better +self. The elements of caution and expediency were singularly lacking in +his character. These qualities of independence and self-reliance brought +him into speedy collision with those who stood in the front rank of the +artistic world of his day, and he became a marked man. His offense was +that he expressed his honest self. + +In Eighteen Hundred Forty-three, when he appeared upon the scene in +Dresden as Hofkapellmeister of the Royal Theater, matters musical were +just about where the stage now is in America. In this Year of Grace, +Nineteen Hundred One, the great Shakespeare has been elbowed from the +stage by the author of "A Texas Steer"; and where once the haughty +Richard trod the boards, the skirt-dance assumes the center of the stage +and looms lurid like the spirit of the Brocken. Recently a vaudeville +"turn" of Hamlet has been presented, where the gravediggers do their +gruesome tasks to ragtime; and on every hand we behold the Lyceum giving +way to the McClure Continuous, Lim. + +Wagner abhorred the mere tune for the sake of tune. "You can not produce +art and leave man out," he said. All art must suggest something. Mere +verbal description is not literature: it is only words, words, words; a +picture must be charged with soul, otherwise a photograph would outrank +"The Angelus." Music must be more than jingling tunes and mincing +sounds. And thus we find Wagner at thirty years of age boldly putting +forth "The Flying Dutchman," with music not written for the text, nor +text written for the music, but words and music created at the same +time--the melody mirroring forth the soul of the words. + +In this play Wagner for the first time sacrificed every precedent of +musical construction and all thought of symmetrical form, in order to +make the music tell the tale. "The Flying Dutchman" is to opera what +Walt Whitman's "Leaves of Grass" is to poetry, or Millet's "Sower" is +to painting. There is strength, heroic strength, in each of these +masterpieces I have named, but the "Dutchman" needs a listener, "Leaves +of Grass" requires a reader who has experienced, and the "Sower" demands +one who has eyes to see, before its lesson of love and patience and the +pathetic truth of endless toil are bodied forth. + +Whitman's book was well looked after by the local Antonius Ash-Box +inspector of the day, its publication forbidden, and the author +incidentally deprived of his clerkship at Washington; Millet did service +as the butt for jokes of artistic Paris, and was dubbed "The Wild Man"; +Wagner's play was hooted off the stage. + + * * * * * + +Every man is but a type representing his class. Of course the class may +be small and one man may even be its sole living representative: but +Wagner had his double in William Morris. These men were brothers in +temperament, physique, habit of thought and occupation. + +Wagner wrote largely on the subjects of Art and Sociology, and made his +appeal for the toiler in that the man should be allowed to share the +joys of Art by producing it. His argument is identical with that of +William Morris; and yet the essays of Wagner were not translated into +English until after Morris had written his "Dream of John Ball," and +Morris did not read German. + +Both men hark back to a time when Man and Nature were on friendly terms; +when the thought, best exemplified by the early Greeks, of the +sacredness of the human body was recognized; when the old medieval +feeling of helpful brotherhood yet lingered; and the restless misery of +competition and all the train of woe, squalor and ugliness that +"civilization" has brought were unknown. + +Wagner's music is made up of the sounds of Nature conventionalized. You +hear the sighing of the breeze, the song of the birds, the cries of +animals, the rush of the storm. Wagner's essay, entitled, "Art and +Revolution," is the twin to the lecture, "Art and Socialism," by Morris; +and in the "Art-Work of the Future," Wagner works out at length the +favorite recurring theme of Morris: work is for the worker, and art is +the expression of man's joy in his work. + +In Eighteen Hundred Forty-four, when Morris was ten years of age, Wagner +wrote: + +"I compose for myself; it is just a question between me and my Maker. I +grow as I exercise my faculties, and expression is a necessary form of +spiritual exercise. How shall I live? Express what I think or feel, or +what you feel? + +"No, I must be honest and sincere. I must, for the need of myself, live +my own life, for work is for the worker, at the last. Each man must +please himself, and Nature has placed her approbation on this by +supplying the greatest pleasure men ever know as a reward for doing good +work. I hate this fast-growing tendency to chain men to machines in big +factories and deprive them of all joy in their efforts--the plan will +lead to cheap men and cheap products. I set my face against it and plead +for the dignity and health of the open air, and the olden time." + +This sort of talk led straight to Wagner's arrest in the streets of +Dresden on the charge of inciting a riot; and it was the identical line +of argument that caused the arrest of Morris in Trafalgar Square, +London, when he was taken struggling to the station-house. + +Wagner was exiled and Morris merely "cautioned," placed under police +surveillance and ostracized. The difference in time explains the +difference in punishment. A century earlier and both men would have +forfeited their heads. + +In all of Wagner's operas the scene is laid at a time when the +festivals, games and religious ceremonies were touched with the thought +of beauty. Men were strong, plain, blunt and honest. Affectation, +finesse, pretense and veneer were unknown. Art had not resolved itself +into the possession of a class of idlers and dilettantes who hired +long-haired men and fussy girls in Greek gowns to make pretty things for +them. All worked with their hands, through need, and when they made +things they worked for utility and beauty. They gave things a beautiful +form, because men and women worked together, and for each other. And +wherever men and women work together we find Beauty. Men who live only +with other men are never beautiful in their work, or speech, or lives, +neither are women. But at this early time life was largely communal, +natural, and Art was the possession of all, because all had a share in +its production. Observe the setting of any Wagner opera where Walter +Damrosch has his way and get that flavor of bold, free, wholesome, +honest Beauty. And yet no stage was ever large enough to quite satisfy +Wagner, and all the properties, if he had had his way, would have been +works of Art, thought out in detail and materialized for the purpose by +human hands. + +Now turn to "The Story of the Glittering Plain," "Gertha's Lovers," +"News From Nowhere" or "The Hollow Land," by William Morris, and note +the same stage-setting, the same majesty, dignity and sense of power. +Observe the great underlying sense of joy in life, the gladness of mere +existence. A serenity and peace pervades the work of both of these men; +they are mystic, fond of folklore and legend; they live in the open, are +deeply religious without knowing it, have nothing they wish to conceal, +and are one with Nature in all her many moods and manifestations--sons +of God! + + * * * * * + +In the history of letters there is a writer by the name of Green, who +exists simply because he reviled a contemporary poet by the name of +Shakespeare. Green's name is embalmed in immortal amber with that of +Richard Quiney, who wrote a letter to the author of "The Tempest" +begging the favor of a loan of forty pounds. + +There are several ways of winning fame. Joseph Jefferson has written in +classic style of Count Johannes and James Owen O'Connor, who played +"Hamlet" to large and enthusiastic audiences, behind a wire screen; then +there was John Doe, who fired the Alexandrian Library, and Richard Roe, +the man who struck Billy Patterson. Besides these we have the Reverend +Obadiah Simmons of Nashville, Tennessee, who, in Eighteen Hundred Sixty, +produced a monograph proving that negroes had no souls, the value of +which work, to be sure, is slightly vitiated when we remember that the +same arguments were used, in Seventeen Hundred One, by Bishop Volberg, +in showing that women were in a like predicament. + +And now Henry T. Finck has compiled a list of more than one hundred +names of musical critics who placed themselves on record in opposition +to Richard Wagner and his music. Only such men as proved themselves past +masters in density and adepts in abuse are given a place in this Academy +of Immortals. + +No writer, musician or artist who ever lived brought down on his head +an equal amount of contumely and disparagement as did Richard Wagner. +Turner, Millet and Rodin have been let off lightly compared with the +fate that was Wagner's; and even the shrill outcry that was raised in +Boston at sight of MacMonnies' Bacchante was a passing zephyr to the +storm that broke over the head of Wagner in Paris, when, after one +hundred sixteen rehearsals, "Tannhauser" was produced. + +The derisive laughter, catcalls, shouts, hisses and uproar that greeted +the play were only the shadow of the criticisms that filled the daily +press, done by writers who mistook their own anserine limitations for +inanity on the part of the composer. They scorned the melody they could +not appreciate, like men who deny the sounds they can not hear; or those +who might revile the colors they could not distinguish. And worse than +all this, the aristocratic hoodlums refused to allow any one else to +enjoy, and would not tolerate the thought that that which to them was +"jumbling discord, seven times confounded" might be a succession of +harmonies to one whose perceptions were more fully developed. + +Wagner himself only escaped personal violence by discreetly keeping out +of sight. The result of the Paris experiment was that the poor man lost +nearly a year's time, all of his modest savings were gone, creditors +dogged his footsteps, and the unanimous tone of the critics, for a time, +almost made him doubt his own sanity. What if the critics were really +right? + +And this, we must remember, was in Eighteen Hundred Sixty-one, when +Wagner was forty-eight years of age. + +That even a strong man should doubt his value when he finds a world of +learned men arrayed against him is not strange. Every man who works in a +creative way craves approbation. Some one must approve. After the first +fever of ecstasy there comes the reaction, when the pulse beats slow and +the mind is filled with doubt and melancholy. This desire for approval +is not a weakness--it seems to stand as a natural need of every human +soul. When the great Peg Woffington played, you remember, she begged Sir +Henry Vane to stand in the wings so as to meet her when she came off the +stage, take her in his arms just for an instant, kiss her on the +forehead and say, "Well done!" + +Shallow people may smile at such a scene as this, but those who have +delved in the realm of creative art know this fervent need of a word of +encouragement from One who Understands. + +The one man who held the mirror up to Nature for Wagner was Franz Liszt. +Were it not for the steadfast love and faith of this noble soul, Wagner +must surely have fallen by the way. Wagner worked first to please +himself, and having pleased himself he knew it would please Franz Liszt, +and having pleased Franz Liszt he knew it would please all those as +great, noble, excellent and pure in heart as Franz Liszt. To speak to +an audience made up of such as Liszt, and have them approve, was the +sublime dream and hope of Richard Wagner. + +Some of the enemies of Wagner, having placed themselves on record +against the man, have sought to make out that Wagner and Liszt often +quarreled, but this canard has now all been exploded. Such another +friendship between two strong men I can not recall. That of Goethe and +Schiller seems a mere acquaintanceship, and the friendship of Carlyle +and Emerson a literary correspondence with an eye on posterity, as +compared with this bond of brotherhood that existed between Wagner and +Liszt. + +During the ten years of Wagner's exile in Switzerland he received barely +enough from his work in music to support him, and several times he would +have been in sore need were it not for the "loans" made him by Liszt. He +did not even own a piano, and never heard his scores played, except when +Liszt made a semi-yearly visit. At such times a piano would be borrowed, +and the friends would revel in the new scores, and occasionally talk the +entire night away. + +When Liszt would go home after such visits, Wagner would go off on long +tramps, climbing the mountains, lonely and bereft, sure that the mood +for high and splendid work would never come again. Then some morning the +mist would roll away, the old spirit would come back, and he would apply +himself with all the intense fire and burning imagination of which his +spirit was capable. + +When the score was done it was sent straight to Liszt, before the ink +was dry. + +The "Lohengrin" manuscript was sent along in parts, and Liszt was the +first man to interpret it. On one such occasion we find Liszt writing: +"Your 'Walkure' has arrived--and gladly would I sing to you with a +thousand voices your 'Lohengrin Chorus'--a wonder, a wonder! Dearest +Richard, you are surely a divine man, and my highest joy is to follow +you in your flight and be one with you in spirit!" + +On this occasion, when the "Lohengrin Chorus" first found voice, the +only auditor was the Princess von Wittgenstein, who added a postscript +to Liszt's letter, thus: "I wept bitter tears over the scene between +Siegmund and Sieglinde! This is beautiful--like heaven, like earth--like +eternity!" Was ever a woman so blest in privilege--to be the near, dear +friend of Franz Liszt and hear him play the music of Richard Wagner from +the manuscript, and then add her precious word of appreciation for the +work of the weary exile! The quotation given is only a sample of the +messages that Liszt was constantly sending to his exiled friend. And we +must understand that at this time Liszt had a world-wide reputation as +a composer himself, and was the foremost pianist of his time. And +Wagner--Wagner was only an obscure dreamer, with a penchant for erratic +music! + +The "Lohengrin" was produced at Weimar under the leadership of Liszt, +but even his magic name could not make the people believe--the critics +had their way and wrote it down. + +Yet Liszt lived to see the name of Wagner proclaimed as the greatest +contemporary name in music; and he was too great and good to allow +jealousy to enter his great soul. Yet he knew that as a composer his own +work was quite lost in the shadow of the reputation of his friend. At a +banquet given in Munich in Eighteen Hundred Eighty-one in honor of +Wagner, Liszt said, "I ask no remembrance for myself or my work beyond +this: Franz Liszt was the loved and loving friend of Wagner, and played +his scores with tear-filled eyes; and knew the Heaven-born quality of +the man when all the world seemed filled with doubt." + + * * * * * + +Among men of worth, no man of his time was more thoroughly hated, +detested and denounced than Richard Wagner. Before he became an anarch +of art, he was singled out for distinction by royalty and a price was +placed upon his head. He escaped, and for ten years lived in exile, his +sole offense being that he lifted up his voice for liberty. + +That is the only thing worth lifting up your voice, or pen, or sword +for. The men who live in history are the men who have made freedom's +fight--there is no other. These men fought for us, and some of them died +for us--Socrates, Jesus, Savonarola, John Brown, Lincoln--saviors +all--they died that we might live. + +Instead of dying for us, Wagner lived for us, but he had to run away in +order to do it. There, in exile--in Switzerland--he wrote many of his +most sublime scores, and these he did not hear played till long years +after, for although the man could compose, he could not execute. The +music was in his brain and he could not get it out at his +finger-tips--for him the piano was mute. So now and again Franz Liszt +would come and play for him the scores he had never heard, and tears of +joy would flow down his fine face; then he would stand on his head, walk +on his hands and shout for pure gladness. + +All this, I will admit, was not very dignified. + +Ostracism, exile, hatred, and stupid misunderstanding did not suppress +Wagner. In his work he is often severe, stern, tragic, but the man +himself bubbled with good-cheer. He made foolish puns, and routed the +serious ones of earth by turning their arguments into airy jests. If in +those early days he had been caught and carried in the death-tumbrel to +the Place of the Skull, he would have remarked with Mercutio, "This is a +grave subject." + +Finally, public opinion relaxed, and Wagner found his way back to +Germany. He settled at the town of Bayreuth, and very slowly it dawned +upon the thinking few that at Bayreuth there lived a Man. + +Among the very first who made this discovery was one Friedrich +Nietzsche, an idealist, a dreamer, a thinker, and a revolutionary. +Nietzsche was an honest man of marked intellect, whose nerves were worn +to the quick by the pretense of the times--the mad race for place and +power--the hypocrisy and phariseeism that he saw sitting in high places. +He longed to live a life of genuineness--to be, not to seem. And so he +had wandered here and there, footsore, weary, searching for peace, +scourged forever by the world's displeasure. + +The trouble was, of course, that Nietzsche didn't have anything the +world wanted. In the time of the Crusaders, the tired children would ask +at night-time, when the tents were pitched, "Is this Jerusalem?" + +And the only answer was: "Jerusalem is not yet! Jerusalem is not yet!" + +In Wagner, Nietzsche felt that at last he had found the Moses who would +lead the people out of captivity, into the Promised Land of Celestial +Art. + +Nietzsche came and heard the Wagnerian music and was caught as flotsam +in its whirling eddies. He read everything that Wagner had written, and +having come within the gracious sunshine of the great man's presence, he +rushed to his garret and in white heat wrote the most appreciative +criticism of Wagner and his work that has ever, even yet, been penned. +This booklet, "Wagner at Bayreuth," is a masterpiece of insight and +erudition, written by a man of imagination, who saw and felt, and knew +how to mold his feelings into words--words that burn. It is a rhapsody +of appreciation. + +Art is more a matter of heart than of head. + +The book had a wide circulation, helped on, they do say, by the Master +himself, who confessed that in the main the work rang true. + +The publication of the book sort of linked these two men, Wagner and +Nietzsche. The disciple sat at the feet of the elder man, and vowed he +would be in literature what Wagner was in music. He gazed on him, fed on +him, quoted him, waiting in patience for the pearls of thought. + +Now Wagner was a natural man--a natural son of God. He had the desires, +appetites and ambitions of a man. If he voiced great thoughts and wrote +great scores, he did these things in a mood--and never knew how. At +times he was coarse, perverse, irritable. + +The awful, serious, sober ways of Nietzsche began to pall on Wagner--he +would run away when he saw him coming, for Nietzsche had begun to give +advice about how Wagner should regenerate the race, and also conduct +himself. Now Richard Wagner had no intention of setting the world +straight--he wanted to express himself, that was all, and to make enough +money so he could be free to come and go as he chose. + +Once, at a picnic, Wagner climbed a tree and cawed like a crow; then +hooted like an owl; he ate tarts out of a tin dish with a knife; a +little later he stood on his head and yelled like a Congo chief. When +Nietzsche tearfully interposed, Wagner told him to go and get +married--marry the first woman who was fool enough to have him--she +would relieve him of some of his silliness. + +Shortly after this, the great Wagner festival came on, and Bayreuth was +filled with visitors who had read Nietzsche's book, and bought +excursion-tickets to Bayreuth. + +Wagner was over his ears in work--an orchestra of three hundred players +to manage, new music to arrange, besides the humdrum, but necessary, +work of feeding and housing and caring for the throng. Of course he did +not do all the work, but the responsibility was his. + +In this rush of work, Nietzsche was dropped out of sight--there was no +time now for long conferences on the Over-Soul and Music of the Future. + +Nietzsche was snubbed. He went off to his garret and wrote a scathing +criticism on the work of Richard Wagner. This divine music was not for +the intellectual few at all--it was getting popular and it was getting +bad. Wagner was insincere--commercial--a charlatan. + +Nietzsche was no longer interested in Wagner--he was interested only in +Nietzsche. + +Literary men do not quarrel more than other men--it only seems as if +they did. This is because your writer uses his kazoo in getting even +with his supposed enemy--he flings the rhetorical stinkpot with +precision, and his grievances come into a prominence all out of keeping +with their importance. + +In Eighteen Hundred Eighty-eight, Nietzsche issued his little book, "The +Fall of Wagner." + +After a person has greatly praised another, and wishes to say something +particularly unkind about him, one horn of the dilemma must be taken. If +you admit you were wrong in the first conclusion, you lay yourself open +to the suspicion that you are also wrong in the second--that you are one +who makes snap judgments. The safer way then is to cling close to the +presumption of your own infallibility, without, of course, actually +stating it, and claim that your idol has changed, backslidden--fallen. +This then lends an aura of virtue to your action, as it shows a +wholesome desire on your part not to associate with the base person, +and also an altruistic wish to warn the world so it shall not be undone +by him. + +Of all the bitter, unkind and malicious things ever uttered against +Wagner, none contains more free alkali than the booklet by Nietzsche. + +Nietzsche, not being satisfied with an attack on Wagner's art, also made +a few flings at his pedigree, and declared that the Master's real name +was not Wagner: this was his mother's name, he being a natural son of +Ludwig Geyer, the poet--the Jew. What this has to do with Tannhauser, +Tristan and Isolde, the Ring, Lohengrin, and Parsifal, Nietzsche does +not explain. In any event, the information about Wagner's birth comes +with very bad grace from an avowed enemy, who practically admits that he +got the facts, in confidence, from Wagner himself. Neither does +Nietzsche, the freethinking radical, recognize that good men have long +ceased taunting other men concerning their parentage, or boasting of +their own. + +A man is what he is; and the word "illegitimate" is not in God's +vocabulary, since He smiles on love-children as on none other. If you +know history, you know this: that into their keeping God has largely +given the beauty, talent, energy, strength, skill and power, as well as +that divinity which confuses its possessor with Deity Incarnate. + +Wagner might have replied to Nietzsche in kind, and pointed him out as +the product of "tired sheets," to use the phrase of Shakespeare. Wagner +might have said, "Yes, I am a member of that elect class to which belong +William the Conqueror, Leonardo da Vinci, Erasmus, the Empress +Josephine, Alexander Hamilton and Abraham Lincoln!" But he didn't--he +did better--he said nothing. Wagner had the pride that scorned a +defense--he realized his priceless birthright, and knew that his mother +and father had dowered him with a divine genius. Let those talk who +could do nothing else: silence was his only answer. + +In a year later, Nietzsche was taken to an asylum, dead at the top. He +lingered on until Nineteen Hundred, when his body, too, died, died there +at Weimar, the home of Goethe and the home of Franz Liszt--another of +life's little ironies. It is an obvious thing to say that Friedrich +Nietzsche was insane all the time. The fact is, he was not. He was a +great, sincere and honest soul, intent on living the ideal life. He +wrote thoughts that have passed into the current coin of all the +thinking world. When he praised Wagner to the skies and afterwards +damned him to the lowest depths of perdition, he was sane, and did the +thing that has been done since Cain slew his brother Abel. Take it home +to yourself--haven't the best things and the worst that have ever been +said about you, been expressed by the same person? + +The opinion of any one person concerning any man of genius, or any +product of art, is absolutely valueless. Whim, prejudice, personal bias, +and physical condition color our view and tint our opinions, and when we +cease to love a man personally, to condemn his art is an easy and +natural step. What was before pleasing is now preposterous. + +Of course, it is all a point of view--a matter of perspective, and most +of us are a trifle out of focus. When we change our opinions we change +our friends. + +As a prescription for preserving a just and proper view, and living a +sane life, I would say, climb a tree occasionally, and hoot like an owl +and caw like a crow; stand on your head and yell at times like a +Comanche. + +Robert Louis Stevenson says, "A man who has not had the courage to make +a fool of himself has not lived." + +The man who does not relax and hoot a few hoots voluntarily, now and +then, is in great danger of hooting hoots and standing on his head for +the edification of the pathologist and trained nurse, a little later on. + +The madhouse yawns for the person who always does the proper thing. +Impropriety, in right proportion, relieves congestion, and thus are the +unities preserved. And so here the great Law of Compensation, invented +by Ralph Waldo Emerson, comes in: The sane, healthy man, who +occasionally strips off his dignity and hoots like an owl, or rolls +naked in the snow, will surely be called insane by the self-nominated +elect, but his personal compensation lies in the fact that he knows he +is not. + + * * * * * + +And now look upon the face of this man! Even so, and upon every face is +written the record of the life the man has led: the loves that were his, +the thoughts, the prayers, the aspirations, the disappointments, all he +hoped to be and was not--all are written there--nothing is hidden, nor +can it be. Here was one born in poverty, nurtured in adversity, and yet +uplifted and sustained by homely friendships and rugged companions who +dumbly guessed the latent greatness of their charge. + +With soul athirst he sought for truth, and stubbornly groped his way +alone. Immediate precedent stood to him for little, and his sincerity +and honesty made him the butt of mob and rabble. His ambition to be +himself, to live his life, the desire to express his honest thought, led +straight to deprivation of bread and shelter. He had too much sympathy, +his honesty was not tempered by the graces of a diplomat--a price was +placed upon his head. By the help of that one noble friend, whose love +upheld him to the last, he escaped to a country where freedom of speech +is not a byword. But misunderstanding followed close upon his footsteps, +even his wife doubted his sanity, mistaking his genius for folly, and +died undeceived. Calumny, hate, brutal criticism, the contempt of the +so-called learned class--and all the train of woe that want and debt can +bring to bear were his lot and portion. + +Still he struggled on, refusing to compromise or parley--he would live +his life, expressing the divinity within, and if fate decreed it so, die +the death, misunderstood, reviled, and be forgotten. + +And so he lived, working, praying, hoping, toiling, travailing--but with +days, now and then, when rifts broke the clouds and the sun shone +through, his Other Self giving approbation by saying, "Well done! the +work will live." + +More than half a century had passed over his head, and the frost of +years had whitened his locks; his form was bowed from the many burdens +it had borne; the fine face furrowed with lines of care; his eyes grown +dim from weeping--when gradually the critics grew less severe. + +Advocates were coming to the front, demanding that brutal hands should +no longer mangle this man: grudgingly pardon came for offenses never +committed, and he was permitted to return to his native land. Strong men +and women placed themselves on his side. They declared their faith, and +said his work was sublime; and they boldly stated the patent fact that +those who had done most to cry Wagner down, had themselves done nothing, +nor added an iota to the wealth or the harmony of the world. People +began to listen, to investigate, and they said, "Why, yes, the music of +Wagner has a distinct style--it has individuality." + +Individuality is a departure from a complete type, and so is never +perfect, any more than man is perfect. But Wagner's music is honest and +genuine emotion set to sweet sounds, with words in keeping. It mirrors +the hopes, the disappointments, the aspirations and the love of a great +soul. + +As men and women grew to cultivate the hospitable mind and receptive +heart, tears filled their eyes and as they listened they came to +understand. Honesty and genuineness in souls are too rare to flout--when +found men really uncover before them. The people saw at last that they +had been deceived by the savants, blinded by the dust of paid and +prejudiced critics, fooled by those who led the way for a consideration. +They flocked to see the great composer and listen to his matchless +music, and they gave the man and his work their approval. Such sums were +paid to him as he had only read of in books. Adulation, approbation and +crowning fame were his at last. + +Then love came that way and gentle, trusting affection, and sweet, +spiritual comradeship, such as he had never known except in dreams--all +these were his. His fame increased, and lavish offers from across the +sea came, proffering him such wealth and honor as were not for any other +living artist. + +A theater was built for the presentation of his productions alone; the +lovers of music from every nation made Bayreuth a place of pilgrimage. + +When the man died--passed peacefully away, supported by the arms of the +one woman he had loved--the daughter of Liszt--the art-loving world +paid his genius all the tribute that men can offer to the worth of other +men. + +And now the passing years have brought a confirmation in belief of the +statement made by Franz Liszt, "Richard Wagner is the one true musical +genius of his age." + +Wagner's admirers should, for him, plead guilty to the worst that can be +said: he is everything that his most bitter critics say, but he is so +much more that his faults and follies sink into ashes before the divine +fire of his genius, and we still have the gold. Inconsistent, +paradoxical, preposterous--why, yes, of course! Still he is the greatest +poet of passion the world has ever seen--don't cavil--passion's +consistency consists in being inconsistent. + +"Every sentence must have a man behind it," and so we might say, "Every +bar of music must have a man behind it." That harmony only can live +which once had its dwelling-place in a great and tender heart. + +The province of art is to impart a sublime emotion, and that which +affects to be an emotion, no matter how subtly launched, can never live +as classic art. Honesty here, as elsewhere, must have its reward. Be +yourself, though all the world laugh. + +I will not say that Wagner was--he is. The man himself in life was often +worn to the quick by the deprivations he had to endure, or the stupid +misunderstandings he encountered, so at times he was impatient, +erratic, possibly perverse. But all that is gone--his mistakes have +been washed in the blood of Time--only the good survives. The best that +this great and godlike man ever thought, or felt, or knew, is ours--he +lives immortal in his Art. + + + + +[Illustration: PAGANINI] + +PAGANINI + + + For lo! creation's self is one great choir, + And what is Nature's order but the rhyme + Whereto the worlds keep time, + And all things move with all things from their prime? + Who shall expound the mystery of the lyre? + In far retreats of elemental mind + Obscurely comes and goes + The imperative breath of song, that as the wind + Is trackless, and oblivious whence it blows. + + --_William Watson_ + + +PAGANINI + +Some time ago, after my lecture one night in Boston, I bethought me to +call on my old friend Bliss Carman. I expected he would be sleeping the +sleep of the just, but I was prepared to rout him out, for although my +errand was from a fair, frail young thing, and trivial, yet I was bound +to deliver the message--for that is what one should always do. + +But the poet was not abed--he was pacing the room in a fine burst of +poetic fervor, composing "More Songs From Vagabondia." The songs told of +purling streams, hedgerows, bathers lolling on the river-bank, nodding +wild flowers, chirping pewees, and other such poetic properties, which +the singer conjured forth from boyhood's days, long since gone by. + +This suite of rooms, where the poet worked, was in a fine house on a +fashionable street, and I noticed the place bore every mark of elegant +bachelor ease and convenience that good taste could dictate. The best +"Songs From Vagabondia," I am told, are written in comfortable +apartments, where there are a bath and a Whitely Exerciser; but patient, +persistent effort and work overtime are necessary to lick the lines into +shape so they will live. Good poets run their machinery in double +shifts. + +"Go away!" cried Bliss Carman, when he had opened the door in reply to +my sprightly knock. "Go away! I am giving to airy nothings a local +habitation and a name. This is my busy night--do you not see?" And fully +understanding the conditions, for I am a poet myself, I went away and +left the author to his labors. + +It is a mistake to assume that genius is the capacity for evading hard +work. "La Vie de Boheme" is a beautiful myth that was first worked out +with consummate labor by a man of imagination named Murger, and told +again with variations by Balzac and Du Maurier. Boheme is not down on +the map, because it is not a money-order post-office. It is only a Queen +Mab fairy fabric of a warm, transient desire; its walls being +constructed of the stuff that dreams are made of, and its little life is +rounded with a pipe and tabor, two empties and a brass tray. Yet the +semblance of the thing is there and this often deceives the very elect. +Around every art studio are found the young men in velveteen who smoke +infinite cigarettes, and throw off opinions about this great man and +that, and prate prosaically in blase monotone of the Beautiful. +Sometimes these young persons give lectures on "Art as I Have Found It"; +but do not be deceived by this--the art that lives is probably being +produced by small, shy, red-headed men who work on a top floor, and whom +you can only find with the help of a search-warrant. One sort talks of +art, the other kind produces it. One tells of truth, the other is +living it. + +Edgar Allan Poe wrote the most gruesome stories that have ever been +told, just to prove that life is a tragedy and not worth living. But who +ever lived fuller and applied himself to hard work more conscientiously +in order to make his point? Poe wrote and rewrote, and changed and added +and interlined and balanced it all on his actor's tongue, and read it +aloud before the glass. Poe shortened his days and flung away a valuable +fag-end of his life, trying to show that life is not worth living, and +thus proved it is. Gray spent thirteen years writing his "Elegy," and so +made clear the point that the man who does good work does not at the +last lay him down and rest his head upon the lap of earth, a youth to +fortune and to fame unknown. Gray secured both fame and fortune. He was +so successful that he declined the Laureateship, and had the felicity to +die of gout. Gray's immortality is based upon the fact that his life +gave the lie to his logic. The man who thinks out what he wants to do, +and then works and works hard, will win, and no others do, or ever have, +or can--God will not have it so. + + * * * * * + +As a violinist Paganini far surpassed all other players who ever lived; +and when one follows the story of his life, the fact is apparent that he +succeeded because he worked. + +And yet behold the paradox! The idea existed in his own day, and is +abroad yet, that "the devil guided his hand," for the thought that the +devil is more powerful than God has ever been held by the majority of +men--more especially if a fiddle is concerned. + +Such patience, such persistency, such painstaking effort as the man put +forth for a score of years would have made him master at anything. The +public knows nothing of these long years of labor and preparation--it +sees only the result, and this result shows such consummate ease and +naturalness--all done without effort--that it exclaims, "A genius--the +devil guides his hand!" The remark was made of Titian and his wonderful +color effects, and then again of Rembrandt with his mysterious limpid +shadows--their competitors could not understand it! And so they disposed +of the subject by attributing it to a supernatural agency. + +Things all men can do and explain are natural; things we can not explain +are "supernatural." Progress consists in taking things out of the +supernatural pigeonhole and placing them in the natural. As soon as we +comprehend the supernatural, we are a bit surprised to find it is +perfectly natural. + +But the limitations of great men are seen in that when they have +acquired the skill to do a difficult thing well, and the public cries, +"Genius!" why the genius humors the superstition and begins to allow the +impression to get out mysteriously that he "never had a lesson in his +life." + +Any man who caters to the public is to a great degree spoiled by the +public. Actors act off the stage as well as on, falling victims to their +trade: their lives are stained by pretense and affectation, just as the +dyer's hand is subdued to the medium in which it works. The man of +talent who is much before the public poses because his audience wishes +him to; one step more and the pose becomes natural--he can not divest +himself of it. Paganini by hard work became a consummate player; and +then so the dear public should receive its money's worth, he evolved +into a consummate poseur--but he was still the Artist. + + * * * * * + +A large number of writers have described the appearance and playing of +Niccolo Paganini, but none ever did the assignment with the creepy +vividness of Heinrich Heine. The rest of this chapter is Heine's. I make +the explanation because the passage is so well known that it would be +both indiscreet and inexpedient for me to bring my literary jimmy to +bear and claim it as my own--much as I would like to. + +Says Heinrich Heine: + + I believe that only one man has succeeded in putting Paganini's + true physiognomy upon paper--a deaf painter, Lyser by name, who, in + a frenzy full of genius, has with a few strokes of chalk so well + hit the great violinist's head that one is at the same time amused + and terrified at the truth of the drawing. "The devil guided my + hand," the deaf painter said to me, chuckling mysteriously, and + nodding his head with a good-natured irony in the way he generally + accompanied his genial witticisms. This painter was, however, a + wonderful old fellow; in spite of his deafness he was + enthusiastically fond of music, and he knew how, when near enough + to the orchestra, to read the music in the musicians' faces, and to + judge the more or less skilful execution by the movements of their + fingers; indeed, he wrote critiques on the opera for an excellent + journal at Hamburg. And yet is that peculiarly wonderful? In the + visible symbols of the performance the deaf painter could see the + sounds. There are men to whom the sounds themselves are invisible + symbols in which they hear colors and forms. + + I am sorry that I no longer possess Lyser's little drawing; it + would perhaps have given you an idea of Paganini's outward + appearance. Only with black and glaring strokes could those + mysterious features be seized, features which seemed to belong more + to the sulphurous kingdom of shades than to the sunny world of + life. "Indeed, the devil guided my hand," the deaf painter assured + me, as we stood before the pavilion at Hamburg on the day when + Paganini gave his first concert there. "Yes, my friend, it is true + that he has sold himself to the devil, body and soul, in order to + become the best violinist, to fiddle millions of money, and + principally to escape the damnable galley where he had already + languished many years. For, you see, my friend, when he was + chapel-master at Lucca he fell in love with a princess of the + theater, was jealous of some little abbate, was perhaps deceived by + the faithless amata, stabbed her in approved Italian fashion, came + in the galley to Genoa, and as I said, sold himself to the devil to + escape from it, became the best violin-player, and imposed upon us + this evening a contribution of two thalers each. But, you see, all + good spirits praise God! There in the avenue he comes himself, with + his suspicious impresario." + + It was Paganini himself whom I then saw for the first time. He wore + a dark gray overcoat, which reached to his heels, and made his + figure seem very tall. His long black hair fell in neglected curls + on his shoulders, and formed a dark frame round the pale, + cadaverous face, on which sorrow, genius and hell had engraved + their lines. Near him danced along a little pleasing figure, + elegantly prosaic--with rosy, wrinkled face, bright gray little + coat with steel buttons, distributing greetings on all sides in an + insupportably friendly way, leering up, nevertheless, with + apprehensive air at the gloomy figure who walked earnest and + thoughtful at his side. It reminded one of Retzsch's presentation + of "Faust" and Wagner walking before the gates of Leipzig. The deaf + painter made comments to me in his mad way, and bade me observe + especially the broad, measured walk of Paganini. "Does it not + seem," said he, "as if he had the iron cross-pole still between his + legs? He has accustomed himself to that walk forever. See, too, in + what a contemptuous, ironical way he sometimes looks at his guide + when the latter wearies him with his prosaic questions. But he can + not separate himself from him; a bloody contract binds him to that + companion, who is no other than Satan. The ignorant multitude, + indeed, believe that this guide is the writer of comedies and + anecdotes, Harris from Hanover, whom Paganini has taken with him to + manage the financial business of his concerts. But they do not know + that the devil has only borrowed Herr George Harris' form, and that + meanwhile the poor soul of this poor man is shut up with other + rubbish in a trunk at Hanover, until the devil returns its + flesh-envelope, while he perhaps will guide his master through the + world in a worthier form--namely as a black poodle." + + But if Paganini seemed mysterious and strange enough when I saw him + walking in bright midday under the green trees of the Hamburg + Jungfernstieg, how his awful bizarre appearance startled me at the + concert in the evening! The Hamburg Opera House was the scene of + this concert, and the art-loving public had flocked there so + early, and in such numbers, that I only just succeeded in obtaining + a little place in the orchestra. Although it was post-day, I saw in + the first row of boxes the whole educated commercial world, a whole + Olympus of bankers and other millionaires, the gods of coffee and + sugar by the side of their fat goddesses, Junos of Wandrahm and + Aphrodites of Dreckwall. A religious silence reigned through the + assembly. Every eye was directed towards the stage. Every ear was + making ready to listen. My neighbor, an old furrier, took the dirty + cotton out of his ears in order to drink in better the costly + sounds for which he had paid his two thalers. + + At last a dark figure, which seemed to have arisen from the + underworld, appeared upon the stage. It was Paganini in his black + costume--the black dress-coat and the black waistcoat of a horrible + cut, such as is prescribed by infernal etiquette at the court of + Proserpine. The black trousers hung anxiously around the thin legs. + The long arms appeared to grow still longer, as, holding the violin + in one hand and the bow in the other, he almost touched the floor + with them, while displaying to the public his unprecedented + obeisances. In the angular curves of his body there was a horrible + woodenness, and also something absurdly animal-like, that during + these bows one could not help feeling a strange desire to laugh. + But his face, that appeared still more cadaverously pale in the + glare of the orchestra lights, had about it something so imploring, + so simply humble, that a sorrowful compassion repressed one's + desire to smile. Had he learnt these complimentary bows from an + automaton, or a dog? Is that the entreating gaze of one sick unto + death, or is there lurking behind it the mockery of a crafty + miser? Is that a man brought into the arena at the moment of death, + like a dying gladiator, to delight the public with his convulsions? + Or is it one risen from the dead, a vampire with a violin, who, if + not the blood out of our hearts, at any rate sucks the gold out of + our pockets? + + Such questions crossed our minds while Paganini was performing his + strange bows, but all those thoughts were at once still when the + wonderful master placed his violin under his chin and began to + play. + + As for me, you already know my musical second-sight, my gift of + seeing at each tone a figure equivalent to the sound, and so + Paganini with each stroke of his bow brought visible forms and + situations before my eyes; he told me in melodious hieroglyphics + all kinds of brilliant tales; he, as it were, made a magic lantern + play its colored antics before me, he himself being chief actor. At + the first stroke of his bow the stage scenery around him had + changed; he suddenly stood with his music-desk in a cheerful room, + decorated in a gay, irregular way after the Pompadour style; + everywhere little mirrors, gilded Cupids, Chinese porcelain, a + delightful chaos of ribbons, garlands of flowers, white gloves, + torn lace, false pearls, powder-puffs, diamonds of gold-leaf and + spangles--such tinsel as one finds in the room of a prima donna. + Paganini's outward appearance had also changed, and certainly most + advantageously; he wore short breeches of lily-colored satin, a + white waistcoat embroidered with silver, and a coat of bright blue + velvet with gold buttons; the hair in little carefully curled locks + bordered his face, which was young and rosy, and gleamed with sweet + tenderness as he ogled the pretty young lady who stood near him at + the music-desk, while he played the violin. + + Yes, I saw at his side a pretty young creature, dressed in antique + costume, the white satin swelled out above the waist, making the + figure still more charmingly slender; the high raised hair was + powdered and curled, and the pretty round face shone out all the + more openly with its glancing eyes, its little rouged cheeks, its + tiny beauty-patches, and the sweet, impertinent little nose. In her + hand was a roll of white paper, and by the movements of her lips as + well as by the coquettish waving to and fro of her little upper lip + she seemed to be singing; but none of her trills was audible to me, + and only from the violin with which young Paganini led the lovely + child could I discover what she sang, and what he himself during + her song felt in his soul. + + Oh, what melodies were those! Like the nightingale's notes, when + the fragrance of the rose intoxicates her yearning young heart with + desire, they floated in the twilight. Oh, what melting, languid + delight was that! The sounds kissed each other, then fled away + pouting, and then, laughing, clasped each other and became one, and + died away in intoxicating harmony. Yes, the sounds carried on their + merry game like butterflies, when one, in playful provocation, will + escape from another, hide behind a flower, be overtaken at last, + and then, wantonly joying with the other, fly away into the golden + sunlight. But a spider, a spider can prepare a sudden tragical fate + for such enamored butterflies! + + Did the young heart anticipate this? A melancholy sighing tone, a + sad foreboding of some slowly approaching misfortune, glided softly + through the enrapturing melodies that were streaming from + Paganini's violin. His eyes became moist. Adoringly he knelt down + before his amata. But, alas! as he bowed down to kiss her feet, he + saw under the sofa a little abbate! I do not know what he had + against the poor man, but the Genoese became pale as death. He + seized the little fellow with furious hands, drew a stiletto from + its sheath, and buried it in the young rogue's breast. + + At this moment, however, a shout of "Bravo! Bravo!" broke out from + all sides. Hamburg's enthusiastic sons and daughters were paying + the tribute of their uproarious applause to the great artist, who + had just ended the first of his concert, and was now bowing with + even more angles and contortions than before. And on his face the + abject humility seems to me to have become more intense. From his + eyes stared a sorrowful anxiety like that of a poor malefactor. + "Divine!" cried my neighbor, the furrier, as he scratched his ears; + "that piece alone was worth two thalers." + + When Paganini began to play again a gloom came before my eyes. The + sounds were not transformed into bright forms and colors; the + master's form was clothed in gloomy shades, out of the darkness of + which his music moaned in the most piercing tones of lamentation. + + Only at times, when a little lamp that hung above cast its + sorrowful light over him, could I catch a glimpse of his pale + countenance, on which the youth was not yet extinguished. His + costume was singular, in two colors, yellow and red. Heavy chains + weighed upon his feet. Behind him moved a face whose physiognomy + indicated a lusty goat-nature. And I saw at times long, hairy hands + seize assistingly the strings of the violin on which Paganini was + playing. They often guided the hand which held the bow, and then a + bleat-laugh of applause accompanied the melody, which gushed from + the violin ever more full of sorrow and anguish. They were melodies + which were like the song of the fallen angels who had loved the + daughters of earth, and being exiled from the kingdom of the + blessed, sank into the underworld with faces red with shame. They + were melodies in whose bottomless depths glimmered neither + consolation nor hope. When the saints in heaven hear such melodies, + the praise of God dies upon their paled lips, and they cover their + heads weeping. At times when the obligate goat's laugh bleated in + among the melodious pangs, I caught a glimpse in the background of + a crowd of small women-figures who nodded their odious heads with + wicked wantonness. Then a rush of agonizing sounds came from the + violin, and a fearful groan and a sob, such as was never heard upon + earth before, nor will be perhaps heard upon earth again, unless in + the valley of Jehoshaphat, when the colossal trumpets of doom shall + ring out, and the naked corpses shall crawl forth from the grave to + abide their fate. But the agonized violinist suddenly made one + stroke of the bow, such a mad, despairing stroke, that his chains + fell rattling from him, and his mysterious assistant and the other + foul, mocking forms vanished. + + At this moment my neighbor, the furrier, said, "A pity, a pity! a + string has snapped--that comes from constant pizzicato." + + Had a string of the violin really snapped? I do not know. I only + observed the alternation in the sounds, and Paganini and his + surroundings seemed to me again suddenly changed. I could scarcely + recognize him in the monk's brown dress, which concealed rather + than clothed him. With savage countenance half-hid by the cowl, + waist girt with a cord, and bare feet, Paganini stood, a solitary + defiant figure, on a rocky prominence by the sea, and played his + violin. But the sea became red and redder, and the sky grew paler, + till at last the surging water looked like bright, scarlet blood, + and the sky above became of a ghastly corpse-like pallor, and the + stars came out large and threatening; and those stars were + black--black as glooming coal. But the tones of the violin grew + ever more stormy and defiant, and the eyes of the terrible player + sparkled with such a scornful lust of destruction, and his thin + lips moved with such a horrible haste, that it seemed as if he + murmured some old accursed charms to conjure the storm and loose + the evil spirits that lie imprisoned in the abysses of the sea. + Often, when he stretched his long, thin arm from the broad monk's + sleeve, and swept the air with his bow, he seemed like some + sorcerer who commands the elements with his magic wand; and then + there was a wild wailing from the depth of the sea, and the + horrible waves of blood sprang up so fiercely that they almost + besprinkled the pale sky and the black stars with their red foam. + There was a wailing and a shrieking and a crashing, as if the world + was falling into fragments, and ever more stubbornly the monk + played his violin. He seemed as if by the power of violent will he + wished to break the seven seals wherewith Solomon sealed the iron + vessels in which he had shut up the vanquished demons. The wise + king sank those vessels in the sea and I seemed to hear the voices + of the imprisoned spirits while Paganini's violin growled its most + wrathful bass. + + But at last I thought I heard the jubilee of deliverance, and out + of the red billows of blood emerged the heads of the fettered + demons: monsters of legendary horror, crocodiles with bats' wings, + snakes with stags' horns, monkeys with shells on their heads, seals + with long patriarchal beards, women's faces with one eye, green + camels' heads, all staring with cold, crafty eyes, and long, + fin-like claws grasping at the fiddling monk. From the latter, + however, in the furious zeal of his conjuration, the cowl fell back + and the curly hair, fluttering in the wind, fell round his head in + ringlets, like black snakes. + + So maddening was this vision that to keep my senses I closed my + ears and shut my eyes. When I again looked up the specter had + vanished, and I saw the poor Genoese in his ordinary form, making + his ordinary bows, while the public applauded in the most rapturous + manner. + + "That is the famous performance upon G," remarked my neighbor. "I + myself play the violin, and I know what it is to master the + instrument." Fortunately, the pause was not considerable, or else + the musical furrier would certainly have engaged me in a long + conversation upon art. Paganini again quietly set his violin to his + chin, and with the first stroke of his bow the wonderful + transformation of melodies again began. + + They no longer fashioned themselves so brightly and corporeally. + The melody gently developed itself, majestically billowing and + swelling like an organ chorale in a cathedral, and everything + around, stretching larger and higher, had extended into a colossal + space which, not the bodily eye, but only the eye of the spirit + could seize. In the midst of this space hovered a shining sphere, + upon which, gigantic and sublimely haughty, stood a man who played + the violin. Was that sphere the sun? I do not know. But in the + man's features I recognized Paganini, only ideally lovely, divinely + glorious, with a reconciling smile. His body was in the bloom of + powerful manhood, a bright blue garment enclosed his noble limbs, + his shoulders were covered by gleaming locks of black hair; and as + he stood there, sure and secure, a sublime divinity, and played the + violin, it seemed as if the whole creation obeyed his melodies. He + was the man-planet about which the universe moved with measured + solemnity and ringing out beatific rhythms. Those great lights, + which so quietly gleaming swept around, were they stars of heaven, + and that melodious harmony which arose from their movements, was it + the song of the spheres, of which poets and seers have reported so + many ravishing things? At times, when I endeavored to gaze out into + the misty distance, I thought I saw pure white garments floating + ground, in which colossal pilgrims passed muffled along with white + staves in their hands, and singular to relate, the golden knob of + each staff was even one of those great lights which I had taken for + stars. These pilgrims moved in a large orbit around the great + performer, the golden knobs of their staves shone even brighter at + the tones of the violin, and the chorale which resounded from their + lips, and which I had taken for the song of the spheres, was only + the dying echo of those violin tones. A holy, ineffable ardor dwelt + in those sounds, which often trembled scarce audibly, in mysterious + whisper on the water, then swelled out again with a shuddering + sweetness, like a bugle's notes heard by moonlight, and then + finally poured forth in unrestrained jubilee, as if a thousand + bards had struck their harps and raised their voices in a song of + victory. + + * * * * * + +In Seventeen Hundred Eighty-four, Niccolo Paganini was born at Genoa. +His father was a street-porter who eked out the scanty exchequer by +playing a violin at occasional dances or concerts. That his playing was +indifferent is evident from the fact that he was very poor--his services +were not in demand. + +The poverty of the family and the failure of the father fired the +ambition of the boy to do something worthy. When he was ten years old he +could play as well as his father, and a year or so thereafter could play +better. The lad was tall, slender, delicate and dreamy-eyed. But he had +will plus, and his desire was to sound the possibilities of the violin. +And this reminds me that Hugh Pentecost says there is no such thing as +will--it is all desire: when we desire a thing strongly enough, we have +the will to secure it--but no matter! + +Young Niccolo Paganini practised on his father's violin for six hours a +day; and now when the customers who used to hire his father to play +came, they would say, "We just as lief have Niccolo." + +Soon after this they said, "We prefer to have Niccolo." And a little +later they said, "We must have Niccolo." Some one has written a book to +show that playing second fiddle is just as worthy an office as playing +first. This doubtless is true, but there are so many more men who can +play second, that it behooves every player to relieve the stress by +playing first if he can. Niccolo played first and then was called upon +to play solos. He was making twice as much money as his father ever had, +but the father took all the boy's earnings, as was his legal right. The +father's pride in the success of the son, the young man always said, was +because he was proving a good financial investment. It does not always +pay to raise children--this time it did. It was finally decided to take +the boy to the celebrated musician, Rolla, for advice as to what was +best to do about his education. Rolla was sick abed at the time the boy +called and could not see him; but while waiting in the entry the lad +took up a violin and began to play. The invalid raised himself on one +elbow and pantingly inquired who the great master was that had thus +favored him with a visit. + +"It's the lad who wants you to give him lessons," answered the +attendant. + +"Impossible! no lad could play like that--I can teach that player +nothing!" + +Next the musician Paer was visited, and he passed the boy along to +Giretta, who gave him three lessons a week in harmony and counterpoint. +The boy had abrupt mannerisms and tricks of his own in bringing out +expressions, and these were such a puzzle to the teacher that he soon +refused to go on. + +Niccolo possessed a sort of haughty self-confidence that aggravated the +master; he believed in himself and was fond of showing that he could +play in a way no one else could. Adolescence had turned his desire to +play into a fury of passion for his art: he practised on single passages +for ten or twelve hours a day, and would often sink in a swoon from +sheer exhaustion. This deep, torpor-like sleep saved him from complete +collapse, just as it saved Mendelssohn, and he would arise to go on with +his work. + +Paganini's wisdom was shown at this early age in that he limited his +work to a few compositions, and these he made the most of, just as they +say Bossuet secured his reputation as the greatest preacher of his time +by a single sermon that he had polished to the point of perfection. + +When fifteen years old Paganini contrived to escape from his father and +went to a musical festival at Lucca. He managed to get a hearing, was +engaged at once as a soloist, and soon after gave a concert on his own +account. In a month he had accumulated a thousand pounds in cash. + +Very naturally, such a success turned the head of this lad who never +before had had the handling of money. He began to gamble, and became the +dupe of rogues--male and female--who plunged him into an abyss of wrong. +He even gambled away the "Stradivarius" that had been presented to him, +and when his money, watch and jewels were gone, his new-found friends of +course decamped, and this gave the young man time to ponder on the +vanities of life. + +When he played again it was on a borrowed "Guarnerius," and after the +rich owner, himself a violinist, had heard him play, he said, "No +fingers but yours shall ever play that violin again!" + +Paganini accepted the gift, and this was the violin he played for full +forty years, and which, on his death, was willed to his native city of +Genoa. There it can be seen in its sealed-up glass case. + +Up to his thirtieth year Paganini continued his severe work of subduing +the violin. By that time he had sounded its possibilities, and +thereafter no one heard him play except in concert. It is told that one +man, anxious to know the secrets of Paganini's power, followed him from +city to city, watching him at his concerts, dogging him through the +streets, spying upon him at hotels. At one inn this man of curiosity had +the felicity to secure a room next to the one occupied by Paganini; and +one morning as he watched through the keyhole, he was rewarded by seeing +the master open the case where reposed the precious "Guarnerius." +Paganini lifted the instrument, held it under his chin, took up the bow +and made a few passes in the air--not a sound was heard. Then he kissed +the back of the violin, muttered a prayer, and locked the instrument in +its case. + +At concert rehearsals he always played a mute instrument; and Harris, +his manager, records that for the many years he was with Paganini he +never heard him play a single note except before an audience. + +I have a full-length daguerreotype of Paganini taken when he was forty +years of age. No one ever asked this man, "Kind sir, are you anybody in +particular?" + +Paganini was tall and wofully slim. His hands and feet were large and +bony, his arms long, his form bowed and lacking in all that we call +symmetry. But the long face with its look of abject melancholy, the +curved nose, the thin lips and the sharp, protruding chin, made a +combination that Fate has never duplicated. You could easily believe +that this man knew all the secrets of the Nether World, and had tasted +the joys of Paradise as well. Women pitied and loved him, men feared +him, and none understood him. He lived in the midst of throngs and +multitudes--the loneliest man known in the history of art. + +Paganini, when he had reached his height, played only his own music; he +played divinely and incomprehensibly; next to his passion for music was +his greed for gold. These three facts sum up all we really know about +the master--the rest fades off into mist--mystery, fable and legend. We +do know, however, that he composed several pieces of music so difficult +that he could not play them himself, and of course no one else can. +Imagination can always outrun performance. Paganini had no close +friends; no confidants: he never mingled in society, and he never +married. + +At times he would disappear from the public gaze for several months, +and not even his business associates knew where he was. On one such +occasion a traveler discovered him in a monastic retreat in the Swiss +Mountains, wearing a horsehair robe and a rope girdle; others saw him +disguised as a mendicant; and still another tells of finding him working +as a day-laborer with obscure and ignorant peasants. Then there are +tales told of how he was taken captive by a titled lady of great wealth +and beauty, who carried him away to her bower, where he eschewed the +violin and tinkled only the guitar the livelong day. + +Everywhere the report was current that Paganini had killed a man, and +been sentenced to prison for life. The story ran that in prison he found +an old violin, three strings of which were broken, and so he played on +one string, producing such ravishing music that the keepers feared he +was "possessed." They decided they must get rid of him, and so contrived +to have him thrown overboard from a galley; but he swam ashore, and +although he was everywhere known, no man dared place a hand on him. + +A late writer in a London magazine, however, has given evidence of being +a psychologist and man of sense; he says, and produces proof, that after +the concert season was over Paganini withdrew to a monastery in the +mountains of Switzerland, and there the monks who loved him well, +guarded his retreat. There he found the rest for which his soul craved, +and there he practised on his violin hour after hour, day after day. +All this is better understood when we remember that after each retreat, +Paganini appeared with brand-new effects which electrified his +hearers--"effects taught him by the devil." + +Constant appearing before vast multitudes and ceaseless travel create a +depletion that demands rest. Paganini held the balance true by fleeing +to the mountains; there he worked and prayed. That Paganini had a soft +heart, in spite of the silent, cold and melancholy mood that usually +possessed him, is shown in his treatment of his father and mother, who +lived to know the greatness of their son. He wrote his mother kind and +affectionate letters, some of which we have, and provided lavishly for +every want of both his parents. At times he gave concerts for charity, +and on these occasions vast sums were realized. + +Paganini died in Eighteen Hundred Forty, aged fifty-six years. His will +provided for legacies to various men and women who had befriended him, +and he also gave to others with whom he had quarreled, thus proving he +was not all clay. + +The bulk of his fortune, equal to half a million dollars, was bequeathed +to his son, Baron Achille Paganini. And as if mystery should still +enshroud his memory and this, true to his nature, should be carried out +in his last will, there are those who maintain that Achille Paganini was +not his son at all--only a waif he had adopted. Yet Achille always +stoutly maintained the distinction--but what boots it, since he could +not play his father's violin? + +Yet this we know--Paganini, the man of mystery and moods, once lived and +produced music that, Orpheus-like, transfixed the world. We are better +for his having been and this world is a nobler place in that he lived +and played, for listen closely and you can hear, even now, the sweet, +sad echoes of those vibrant strings, touched by the hand of him who +loved them well. + +And when we remember the prodigious amount of practise that Paganini +schooled himself to in youth; and join this to the recently discovered +record of his long monastic retreats, when for months he worked and +played and prayed, we can guess the secret of his power. If you wish me +to present you a recipe for doing a deathless performance, I would give +you this: Work, travel, solitude, prayer, and yet again--work. + + + + +[Illustration: FREDERIC CHOPIN] + +FREDERIC CHOPIN + + + Nature does not design like art, however realistic she may be. She + has caprices, inconsequences, probably not real, but very + mysterious. Art only rectifies these inconsequences, because it is + too limited to reproduce them. Chopin was a resume of these + inconsequences which God alone can allow Himself to create, and + which have their particular logic. He was modest on principle, + gentle by habit, but he was imperious by instinct and full of a + legitimate pride which was unconscious of itself. Hence arose + sufferings which he did not reason and which did not fix themselves + on a determined object. + + --_George Sand in "The Story of My Life"_ + + +FREDERIC CHOPIN + +Maybe I am all wrong about it, yet I can not help believing that the +spirit of man will live again somewhere in a better world than ours. +Fenelon says, "Justice demands another life in order to make good the +inequalities of this." Astronomers prophesy the existence of stars long +before they can see them. They know where they ought to be, and training +their telescopes in that direction they wait, knowing they will find. + +Materially, no one can imagine anything more beautiful than this earth, +for the simple reason that we can not imagine anything we have not seen; +we may make new combinations, but the whole is all made up of parts of +things with which we are familiar. This great green earth out of which +we have sprung, of which we are a part, that supports our bodies, and to +which our bodies must return to repay the loan, is very, very beautiful. + +But the spirit of man is not fully at home here; as we grow in soul and +intellect, we hear, and hear again, a voice which says, "Arise and get +thee hence, for this is not thy rest." And the greater and nobler and +more sublime the spirit, the more constant the discontent. Discontent +may come from various causes, so it will not do to assume that the +discontented are always the pure in heart, but it is a fact that the +wise and excellent have all known the meaning of world-weariness. The +more you study and appreciate this life, the more sure you are that this +is not all. You pillow your head upon Mother Earth, listen to her +heart-throb, and even as your spirit is filled with the love of her, +your gladness is half-pain and there comes to you a joy that hurts. + +To look upon the most exalted forms of beauty, such as a sunset at sea, +the coming of a storm on the prairie, the shadowy silence of the desert, +or the sublime majesty of the mountains, begets a sense of sadness, an +increasing loneliness. + +It is not enough to say that man encroaches on man so that we are really +deprived of our freedom, that civilization is caused by a bacillus, and +that from a natural condition we have gotten into a hurly-burly where +rivalry is rife--all this may be true, but beyond and outside of all +this there is no physical environment in way of plenty which earth can +supply, that will give the tired soul peace. They are the happiest who +have the least; and the fable of the stricken king and the shirtless +beggar contains the germ of truth. The wise hold all earthly ties very +lightly--they are stripping for eternity. + +World-weariness is only a desire for a better spiritual condition. There +is more to be written on this subject of world-pain--to exhaust the +theme would require a book. And certain it is that I have no wish to +say the final word on any topic. The gentle reader has certain rights, +and among these is the privilege of summing up the case. But the fact +holds that world-pain is a form of desire. All desires are just, proper +and right; and their gratification is the means by which Nature supplies +us that which we need. Desire not only causes us to seek that which we +need, but is a form of attraction by which the good is brought to us, +just as the ameba creates a swirl in the waters that brings its food +within reach. Every desire in Nature has a fixed, definite purpose in +the Divine Economy, and every desire has its proper gratification. If we +desire the friendship of a certain person, it is because that person has +certain soul-qualities that we do not possess, and which complement our +own. Through desire do we come into possession of our own; by submitting +to its beckonings we add cubits to our stature; and we also give out to +others our own attributes, without becoming poorer, for soul is not +limited. + +All Nature is a symbol of spirit, so I believe that somewhere there must +be a proper gratification for this mysterious nostalgia of the soul. The +Eternal Unities require a condition where men and women will live to +love, and not to sorrow; where the tyranny of things hated shall not +ever prevail, nor that for which the heart yearns turn to ashes at our +touch. + + * * * * * + +"I believe Stevie is not quite at home here--he'll not remain so very +long," said a woman to me in Eighteen Hundred Ninety-five. Five years +have gone by, and recently the cable flashed the news that Stephen Crane +was dead. + +Dead at twenty-nine, with ten books to his credit, two of them good, +which is two good books more than most of us scribblers will ever write. +Yes, Stephen Crane wrote two things that are immortal. "The Red Badge of +Courage" is the strongest, most vivid work of imagination ever fished +from an ink-pot by an American. + +"Men who write from the imagination are helpless when in presence of the +fact," said James Russell Lowell. In answer to which I'll point you "The +Open Boat," the sternest, creepiest bit of realism ever penned, and +Stevie was in the boat. + +American critics honored Stephen Crane with more ridicule, abuse and +unkind comment than was bestowed on any other writer of his time. +Possibly the vagueness, and the loose, unsleeked quality of his work +invited the gibes, jeers, and the loud laughter that tokens the vacant +mind; yet as half-apology for the critics we might say that scathing +criticism never killed good work; and this is true, but it sometimes has +killed the man. + +Stephen Crane never answered back, nor made explanation, but that he was +stung by the continued efforts of the press to laugh him down, I am very +sure. + +The lack of appreciation at home caused him to shake the dust of +America from his feet and take up his abode across the sea, where his +genius was being recognized, and where strong men stretched out sinewy +hands of welcome, and words of appreciation were heard, instead of +silly, insulting parody. In passing, it is well to note that the five +strongest writers of America had their passports to greatness viseed in +England before they were granted recognition at home. I refer to Walt +Whitman, Thoreau, Emerson, Poe and Stephen Crane. + +Stevie did not know he cared for approbation, but his constant refusal +to read what the newspapers said about him was proof that he did. He +boycotted the tribe of Romeike, because he knew that nine clippings out +of every ten would be unkind, and his sensitive soul shrank from the +pin-pricks. + +Contemporary estimates are usually wrong, and Crane is only another of +the long list of men of genius to whom Fame brings a wreath and finds +her poet dead. + +Stephen Crane was a reincarnation of Frederic Chopin. Both were small in +stature, slight, fair-haired, and of that sensitive, acute, receptive +temperament--capable of highest joy and keyed for exquisite pain. +Haunted with the prophetic vision of quick-coming death, and with the +hectic desire to get their work done, they often toiled the night away +and were surprised by the rays of the rising sun. Both were shrinking +yet proud, shy but bold, with a tenderness and a feminine longing for +love that earth could not requite. At times mad gaiety, that ill-masked +a breaking heart, took the reins, and the spirits of children just out +of school seemed to hold the road. At other times--and this was the +prevailing mood--the manner was one of placid, patient, calm and smooth, +unruffled hope; but back and behind all was a dynamo of energy, a +brooding melancholy of unrest, and the crouching world-sorrow that would +not down. + +Chopin reached sublimity through sweet sounds; Crane attained the same +heights through the sense of sight and words that symboled color, shapes +and scenes. In each the distinguishing feature is the intense +imagination and active sympathy. Knowledge consists in a sense of +values--of distinguishing this from that, for truth lies in the mass. +The delicate nuances of Chopin's music have never been equaled by +another composer; every note is cryptic, every sound a symbol. And yet +it is dance-music, too, but still it tells its story of baffled hope and +stifled desire--the tragedy of Poland in sweet sounds. + +Stephen Crane was an artist in his ability to convey the feeling by just +the right word, or a word misplaced, like a lady's dress in disarray, or +a hat askew. This daring quality marks everything he wrote. The +recognition that language is fluid, and at best only an expedient, +flavors all his work. He makes no fetish of a grammar--if grammar gets +in the way, so much the worse for the grammar. All is packed with color, +and charged with feeling, yet the work is usually quiet in quality and +modest in manner. + +Art is born of heart, not head; and so it seems to me that the work of +these men whose names I have somewhat arbitrarily linked, will live. +Each sowed in sorrow and reaped in grief. They were tender, kind, +gentle, with a capacity for love that passes the love of woman. They +were each indifferent to the proprieties, very much as children are. +They lived in cloister-like retirement, hidden from the public gaze, or +wandered unnoticed and unknown. They founded no schools, delivered no +public addresses, and in their own day made small impress on the times. +Both were sublimely indifferent to what had been said and done--the term +precedent not being found within the covers of their bright lexicon of +words. In the nature of each was a goodly trace of peroxide of iron that +often manifested itself in the man's work. + +The faults in each spring from an intense personality, uncolored by the +surroundings, and such faults in such men are virtues. + +They belong to that elect few who have built for the centuries. The +influence of Chopin, beyond that of other composers, is alive today, and +moves unconsciously, but profoundly, every music-maker; the seemingly +careless style of Crane is really lapidaric, and is helping to file the +fetters from every writer who has ideas plus, and thoughts that burn. + +Mother Nature in giving out energy gives each man about an equal +portion. But that ability to throw the weight with the blow, to +concentrate the soul in a sonnet, to focus force in a single effort, is +the possession of God's Chosen Few. Chopin put his affection, his +patriotism, his wrath, his hope, and his heroism into his music--as if +the song of all the forest birds could be secured, sealed and saved for +us! + + * * * * * + +The father of Chopin was a Frenchman who went up to Poland seeking gain +and adventure. He became a soldier under Kosciusko and arose to rank of +Captain. He found such favor with the nobility by his gracious ways that +he became a teacher of French in the family of Count Frederic Skarbek. +In the family group was a fair young dependent of nervous +temperament--slight, active, gentle and intelligent. She was descendent +from a line of aristocrats, but in a country where revolutions have been +known to begin and end before breakfast, titles stand for little. + +Nicholas Chopin, ex-soldier, teacher of French and Deportment, married +this fine young girl, and they lived in one of Count Skarbek's +straw-thatched cottages at the little village of Zelazowa-Wola, +twenty-nine miles from Warsaw. Here it was that Frederic Chopin was +born, in Eighteen Hundred Nine--that memorable year when Destiny sent a +flight of great souls to the planet Earth. + +The country was bleak and battle-scarred; it had been drained of its men +and treasure, and served as a dueling-ground and the place of skulls for +kings and such riffraff who have polluted this fair world with their +boastings of a divine power. + +The struggle of Poland to free herself from the grip of the imperial +succubi has generated an atmosphere of ultramarine, so we view the +little land of patriots (and fanatics) through a mist of melancholy. +The history of Poland is written in blood and tears. + +Go ask John Sobieski, who saw his father hanged by order of Ferdinand +Maximilian, and child though he was, realized that banishment was the +fate of himself and mother; and then ten years after, himself, stood +death-guard over this same Maximilian in Mexico, and told that tyrant +the story of his life, and shook hands with him, calling it quits, ere +the bandage was tied over the eyes of the ex-dictator and the sunlight +shut out forever. + +Go ask John Sobieski! + +The woes of Poland have produced strange men. Under such rule as she has +known relentless hate springs up in otherwise gracious hearts from the +scattered dragons' teeth; and in other natures, where there is not quite +so much of the motive temperament, a deep strain of sorrow and religious +melancholy finds expression. The exquisite sensibility, delicate +insight, proud reserve and brooding world-sorrow of Frederic Chopin were +the inheritance of mother to son. This mother's mind was saturated with +the wrongs her people had endured: she herself had suffered every +contumely, for where chance had caused fact to falter, imagination had +filled the void. + +It is easy to say that Chopin's was an abnormal nature, and of course it +was, but when disease divides this world from another only by the +thinnest veil, the mind has been known to see things with a clearness +and vividness never before attained. With Chopin the strands of life +were often taut to the breaking-point, but ere they snapped, their +vibration gave forth to us some exquisite harmonies. + +Curiously enough, this power to see and do is often the possession of +dying men. The life flares up in a flame before it goes out forever. The +passion of the consumptive Camille, as portrayed by Dumas, is +typical--no healthy woman ever loved with that same intense, eager and +almost vindictive desire. It was a race with Death. + +Perfect health brings unconsciousness of body, and disease that almost +relieves the spirit of this weight of flesh produces the same results. +Again we have the Law of Antithesis. + +That such a youth as Frederic Chopin should seek in music a surcease +from his world-sorrow is very natural. A stricken people turns to music; +it forms a necessary part of all religious observance, and the dirge of +mourners, the wail of the "keener," and the songs of the banshee evolve +naturally into being wherever the heart is sore oppressed. It was the +slave-songs that made slavery bearable; and in the long ago, exiles in +Babylon found a solemn joy by singing the songs of Zion. Chopin drank in +the songs of Poland with his mother's milk, and while yet a child began +to give them voice in his own way. + +In the meantime his father's fortunes had mended a bit, and the family +had moved to Warsaw, where Nicholas Chopin was Professor of Languages at +the Lyceum. The title of the office fills the mouth in a very satisfying +way, but the emoluments attached hardly afforded such a gratification. + +In Warsaw there was much misery, for the plunderer had worked +conscription and seizure to its furthest limit. Want and destitution +were on every hand, but still this brave people maintained their +University and clung to its traditions. The family of the Professor of +Languages consisted of himself, wife, three daughters and the son +Frederic. Their income for several years was not over fifteen dollars a +month, but still they managed to maintain an appearance of decency, and +by the help of the public library, the free museum and the open-air +concerts, they kept abreast of the times in literature, art and music. + +There was absolute economy required, every particle of food was saved, +and when cast-off dresses were sent from the home of the Count it was a +godsend for the mother and girls, who measured and patched and pieced, +making garments for themselves, and for Frederic as well; so while their +raiment was not gaudy nor expressed in fancy, it served. + +Chopin once said to George Sand, "I never can think of my mother without +her knitting-needles!" And George Sand has recorded, "Frederic never had +but one passion and that was his mother." Into all of her knitting this +mother's flying needles worked much love. The entire household was one +of mutual service, and gentle, trusting affection. The weekly letters of +Chopin to his mother from Paris, and the cold sweat on his forehead at +the thought of his parents knowing of his relationship with George Sand, +are credit-marks to his character. There is a sweet recompense in mutual +deprivation where trials and difficulties only serve to cement the +affections; and who shall say how much the wondrous blending of strength +and delicacy in the music of Chopin is due to the memory of those early +days of toil and trial, of strength and forbearance, of hope and love? + +To be born into such a family is a great blessing. The value of the +environment is shown in that all three of the sisters became +distinguished in literature. Two of them married men of intellect, +wealth and worth, and through the collaboration of these sisters, books +were produced that did for the plain people of Poland what Harriet +Martineau's books on sociology did for the people of England. Frederic +played and practised at the Lyceum where his father taught, and the +ambition of his parents was that he should grow up and take the place of +Professor of Music in the Lyceum. Adalbert Zevyny, one of the leading +pianists in the city, became attracted to the boy and took him as a +pupil, without pay. + +The teacher soon became a little boastful of his precocious pupil, and +when there came a public concert for the benefit of the poor, we find +reference made to Chopin thus, "A child not yet eight years of age +played, and connoisseurs say he promises to replace Mozart." In reality +the boy was nearer twelve than eight, but his size and looks suggested +to the management the idea of plagiarizing, in advance, our honored +countryman, Phineas T. Barnum. Hence the announcement on the programs. + +But now the nobility of the neighborhood began to send carriages for the +fair-haired lad, so he could play for their invited guests. Then came +snug little honorariums that soon replaced his patched-up wardrobe for +something more fashionable. + +Frederic took all the applause quite as a matter of course, and on one +occasion, after he had played divinely, he asked a proud lady this +question, "How do you like my new collar?" + +He was to the manner born, and the gentle blood of his mother formed him +as a fit companion for aristocrats. + +These occasional musicales at the houses of the great made money matters +easier, and Frederic began to take lessons from Joseph Elsner, who +taught him the science of composition, and introduced him into the +deeper mysteries of music-making. Elsner, it was, more than any other +man, who forced the truth upon Chopin that he must play to satisfy +himself, and in composition be his own most exacting critic. In other +words, Elsner developed and strengthened in Chopin the artistic +conscience--that impulse which causes an artist to scorn doing anything +save his best. + +From little excursions to neighboring towns and country houses about +Warsaw, Chopin now ventured farther away from home, chaperoned by his +friend, Prince Radziwill. He visited Berlin, Venice, Prague, Heidelberg, +and mingled on an absolute equality with the nobility. If they had +titles, he had talents. And his talents often made their decorations +sing small. + +His modesty was witching, and while in public concerts his playing was +not pronounced enough to capture the gallery, yet in small gatherings he +won all hearts, and the fact that he played his own compositions made +him an added object of enthusiasm to the elect. Chopin arrived in Paris +when he was twenty-two years of age. It was not his intention to remain +more than a few weeks, but Paris was to be his home for eighteen +years--and then Pere la Chaise. + + * * * * * + +A woman who beholds her thirtieth birthday in sight, and girlhood gone, +is approaching a climacteric in her career. Flaubert has named +twenty-nine as the eventful year in the life of woman, and thirty-three +for men. Every normal woman craves love and tenderness--these are her +God-given right. If they have not come to her by the time the bloom is +fading from her cheeks, there is danger of her reaching out and +clutching for them. The strongest instinct in young girls is +self-protection--they fight on the defensive. But at thirty, women have +been known to grow a trifle anxious, just as did the Sabine women who +dispatched a messenger to the Romans asking this question, "How soon +does the program begin?" + +And thus are conditions reversed, for it is the youth of twenty or so +who seeks conquest with fiery soul. Alexander was only nineteen when he +sighed for more worlds to conquer. He didn't have to wait long before he +found that this one had conquered him. Youth considers itself immortal, +and its powers without limit, but as a man approaches thirty he grows +economical of his resources and parsimonious of his emotions. Men of +thirty, or so, are apt to be coy. + +And so one might say that it is around thirty that for the first time +the man and the woman meet on an equality, without sham, shame or +pretense. Before that time the average woman abounds in affectation and +untruth; the man is absurdly aggressive and full of foolish flattery. + +As to the question, "Should women propose?" the answer is, "Yes, +certainly, and they do when they are twenty-nine." + +Aurora Dudevant saw her thirtieth birthday looming on the horizon of her +life. Nine years before she had been married to an ex-army-officer, who +dyed his whiskers purple. Aurora had been a dutiful wife, intent for the +first few years on filling her husband's heart and home with joy. She +had failed in this, and the proof of failure lay in that he much +preferred his dogs, guns and horses to her society. For days he would +absent himself on his hunting excursions, and at home he did not have +the tact to hide the fact that he was awfully bored. + +Thackeray, once for all, has given us a picture of the heavy dragoon +with a soul for dogs--one to whom all music, save the bay of a +fox-hound, makes its appeal in vain. Aurore detested dogs for dogs' +sake, yet she rode horses astride with a daring that made her husband's +bloodshot eyes bulge in alarm. He didn't much care how fast and hard she +rode at the fences and over the ditches, but he was supposed to follow +her, and this he did not care to do. He had reached an age when a man is +mindful of the lime in his bones, and his 'cross-country riding was +mostly a matter of memory and imagination, and best done around the +convivial table. + +Aurore was putting him to a test, that's all. She was proving to him +that she could meet him on his own preserve, give him choice of weapons, +and make him cry for mercy. + +Her bent was literature, with music, science and art as side-lines. She +read Montaigne, Rochefoucald, Racine and Moliere, and a modern by the +name of Alfred de Musset, and quoted her authors at inconvenient times. +She flashed quotations and epigrams upon the doughty dragoon in a way he +could neither fend nor parry. At other times she was deeply religious +and tearfully penitent. + +In fact, she was living on a skimped allowance of love, and had never +received the attention that a good woman deserves. Her chains were +galling her. She sighed for Paris--forty miles away--Paris and a career. + +The epigrams were coming faster, shot in a sort of frenzy and fever. And +when she asked her liege for leave to go to Paris, he granted her +prayer, and agreed to give her ten dollars a week allowance. + +She grabbed at the offer, and he bade her Godspeed and good riddance. + +So leaving her two children behind, until such a time as she could +provide a home for them, with scanty luggage and light heart and purse, +she started away. + +Other women have gone up to Paris from country towns, too, and the +chances are as one to ten thousand that the maelstrom will sweep them +into hades. + +But Madame Dudevant was different--in two years she had won her way to +literary fame, and was commanding the jealous admiration of the best +writers of Paris. Her first work was a collaboration with Jules +Sandeau in a novel. Every woman who ever wrote well began by +collaborating with a man. Sandeau had formerly come from Nohant, and how +much he had to do with Madame Dudevant's breaking loose from her +homes-ties no one knows. Anyway, the second novel was written by the +Madame alone, and as a tribute to her friend the name "George Sand" was +placed upon the title-page as author. Jules Sandeau, all-'round +hack-writer and critic, was greatly pleased by the compliment of having +his name anglicized and printed on the title-page of "Indiana," but +later he was not so proud of it. George Sand soon proved herself to be a +bigger man than Sandeau. + +She was not handsome, either in face or in form. She was inclined to be +stout--was rather short--and her complexion olive. But she lured with +her eyes--great sphinx-like eyes of hazel-brown--that looked men through +and through. Liszt has told us that "she had eyes like a cow," which is +not so bad as Thomas Carlyle's remark that George Eliot had a face like +a horse. George Sand was silent when other women talked, and her look +told in a half-proud, half-sad way that she knew all they knew, and all +she herself knew beside. + +Without going into the issue as to what George Sand was not, let us +frankly admit that pain, deprivation, misunderstanding and maternity had +taught her many things not found in books, and that she looked at Fate +out of her wide-open eyes with a gaze that did not blink. She was wise +beyond the lot of women. I was just going to say she was a genius, but I +remember the remark of the De Goncourts to the effect that, "There are +no women of genius--women of genius are men." Possibly the point could +be covered by saying George Sand had a man's head and a woman's heart. + +Women did not like her, yet what other woman was ever so honored by +woman as was George Sand in those two matchless sonnets addressed to her +by Elizabeth Barrett Browning? + +The amazing energy of George Sand, her finely flowing sentences--all +charged with daring satire and insight into the heart of things--made +her work sought by readers and publishers. Her pen brought her all the +money she needed; and she had secured a divorce from "That Man," and now +had her two children with her in Paris. That she could do her literary +work and still attend to her manifold social duties must ever mark her +as a phenomenon. She was no mere adventuress. That she was systematic, +orderly and abstemious in her habits must go without saying, otherwise +her vitality would not have held out and allowed her to attend the +funerals of nearly all her retainers. + +In throwing overboard the Grub Street Sandeau for Franz Liszt, Madame +Dudevant certainly showed discrimination; but in retaining the name of +"Sand," she paid a delicate compliment to the man who first introduced +her to the world of art. Liszt was too strong a man to remain long +captive--he refused to supply the doglike and abject devotion which +Aurore always demanded. Then came Michael de Bourges the learned +counsel, Calmatto the mezzotinter, Delacroix the artist, De Musset the +poet, and Chopin the musician. + +It was in the year Eighteen Hundred Thirty-nine, that Chopin and Sand +first met at a parlor musicale, where Chopin was taken by Liszt, half +against his will, simply because George Sand was to be there. + +Chopin did not want to meet her. + +All Paris had rung with the story of how she and De Musset had gone +together to Venice, and then in less than a year had quarreled and +separated. Both made good copy of the "poetic interval," as George Sand +called it. Chopin was not a stickler for conventionalities, but George +Sand's history, for him, proved her to be coarse and devoid of all the +finer feeling that we prize in women. + +Chopin had no fear of her--not he--only he did not care to add to his +circle of acquaintances one so lacking in inward grace and delicacy. + +He played at the musicale--it was all very informal--and George Sand +pushed her way up through the throng that stood about the piano and +looked at the handsome boy as he played--she looked at him with her big, +hazel, cow eyes, steadfastly, yearningly, and he glancing up, saw the +eyes were filled with tears. + +When the playing ceased, she still stood looking at the great musician, +and then she leaned over the piano and whispered, "Your playing makes me +live over again every pain that has ever wrung my heart; and every joy, +too, that I have ever known is mine again." + + * * * * * + +After their first meeting, when Chopin played at a musicale, George Sand +was apt to be there too--they often came together. She was five years +older than he, and looked fifteen, for his slight figure and delicate, +boyish face gave him the appearance of youth unto the very last. In +letters to Madame Mariana, George Sand often refers to Chopin as "My +Little One," and when some one spoke of him as "The Chopinetto," the +name seemed to stick. + +That she was the man in the partnership is very evident. He really +needed some one to look after him, provide mustard-plasters and run for +the camphor and hot-water bottle. He was the one who did the weeping and +pouting, and had the "nerves" and made the scenes; while she, on such +occasions, would viciously roll a cigarette, swear under her breath, +console and pooh-pooh. + +Liszt has told us how, on one occasion, she had gone out at night for a +storm-walk, and Chopin, being too ill, or disinclined to go, remained at +home. Upon her return she found him in a conniption, he having composed +a prelude to ward off an attack of cold feet, and was now ready to +scream through fear that something had happened to her. As she entered +the door he arose, staggered and fell before her in a fainting fit. + +A whole literature has grown up around the relations of Chopin and +George Sand, and the lady in the case has, herself, set forth her brief +with painstaking detail in her "Histoire de Ma Vie." With De Musset, +George Sand had to reckon on dealing with a writing man, and his +accounts of "The Little White Blackbird" had taught her caution. +Thereafter she abjured the litterateurs, excepting when in her old age +she allowed Gustave Flaubert to come within her sacred circle--but her +friendship with Flaubert was placidly platonic, as all the world knows. +And so were her relations with Chopin, provided we accept her version as +gospel fact. + +George Sand lacked the frankness of Rousseau; but I think we should be +willing to accept the lady's statements, for she was present and really +the only one in possession of the facts, excepting, of course, Chopin, +and he was not a writer. He could express himself only at the keyboard, +and the piano is no graphophone, for which let us all be duly thankful. +So we are without Chopin's side of the story. We, however, have some +vigorous writing by a man by the name of Hadow. + +Mr. Hadow enters the lists panoplied with facts, and declares that the +friendship was strictly platonic, being on the woman's side of a purely +maternal order. Chopin was sick and friendless, and Madame Dudevant, +knowing his worth to the art world, succored him--nursing him as a +Sister of Charity might, sacrificing herself, and even risking her +reputation in order to restore him to life and health. + +And this view of the case I am quite willing to accept. Mr. Hadow is no +joker, like that man who has recently written an appreciation of +Xantippe, showing that the wife of Socrates was one of the most patient +women who ever lived, and only at times resorted to heroic means in +order to drive her husband out into the world of thought. She willingly +sacrificed her own good name that another might have literary life. + +Hadow has gotten all the facts together and then dispassionately drawn +his conclusions; and these conclusions are eminently complimentary to +all parties concerned. + +It was only a few months after Chopin met George Sand that he was +attacked with a peculiar hacking cough. His friends were sure it was +consumption, and a leading physician gave it as his opinion that if the +patient spent the approaching Winter in Paris, it would be death in +March. + +The facts being brought to the notice of George Sand, she had but one +thought--to save the life of this young man. He was too ill to decide +what was best to do, and was never able by temperament to take the +initiative, anyway, so this strong and capable woman, forgetful of self +and her own interests, made all the arrangements and took him to the +Isle of Majorca in the Mediterranean Sea. There she cared for him alone +as she might for a babe, for six long, weary months. They lived in the +cells of an old monastery at Valdemosa, away up on the mountainside +overlooking the sea. Here where the roses bloomed the whole year +through, surrounded by groves of orange-trees, shut in by vines and +flowers, with no society save that of the sacristan and an aged woman +servant, she nursed the death-stricken man back to life and hope. + +To better encourage him she sent for and surprised him with his piano, +which had to be carried up the mountain on the backs of mules. In the +quiet cloisters she cared for him with motherly tenderness, and there he +learned again to awake the slumbering echoes with divine music. Several +of his best pieces were composed at Majorca during his convalescence, +where the soft semi-tropical breeze laved his cheek, the birds warbled +him their sweetest carols, and away down below, the sea, mother of all, +sang her ceaseless lullaby. When they returned to France the following +Spring, M. Dudevant had accommodatingly vacated the family residence at +Nohant in favor of his wife. It was here she took the convalescent +Chopin. He was charmed with the rambling old house, its walled-in +gardens with their arbors of clustering grapes, and the green meadows +stretching down to the water's edge, where the little river ran its way +to the ocean. + +Back of the house was a great forest of mighty trees, beneath whose +thick shade the sun's rays never entered, and a half-mile away arose the +spire of the village church. There were no neighbors, save a cheery old +priest, and the simple villagers who made respectful obeisance as they +passed. Here it was that Matthew Arnold came to pay his tribute to +genius, also Liszt and the fair Countess d'Agoult, Delacroix, Renan, +Lamennais, Lamartine, and so many others of the great and excellent. +Chopin was enchanted with the place, and refused to go back to Paris. +Madame Dudevant insisted, and explained to him that she took him to +Majorca to spend the Winter, but she had no intention or thought of +caring for him longer than the few months that might be required to +restore him to health. But he cried and clung to her with such +half-childish fright that she had not the heart to send him away. + +The summer months passed and the leaves began to turn scarlet and gold, +and he only consented to return to Paris on her agreeing to go with him. +So they returned together, and had rooms not so very far apart. + +He went back sturdily to his music-teaching, with an occasional +musicale, yet gave but one public concert in the space of ten years. + +The exquisite quality of Chopin's playing appealed only to the sacred +few, but his piano scores were slowly finding sale, through the +advertisement they received by being played by Liszt, Tausig and others. +Yet the critics almost uniformly condemned his work as bizarre and +erratic. + +Each Summer he spent at lovely Nohant, and there found the rest and +quiet which got nerves back to the norm and allowed him to go on with +his work. So passed the years away. Of this we are very sure--no taint +exists on the record of Chopin excepting possibly his relationship with +George Sand. That he endeavored to win her full heart's love, for the +purpose of honorable marriage, Mr. Hadow is fully convinced. But when +his suit failed, after an eight years' courtship, and the lover was +discarded, he ceased to work. His heart was broken; he lingered on for +two years, and then death claimed him at the early age of forty years. + + * * * * * + +There is a tendency to judge a work of art by its size. Thus the +sculptor who does a "heroic figure" is the man who looms large to the +average visitor at the art-gallery. + +Chopin wrote no lengthy symphonies, oratorios or operas. His music is +poetry set to exquisite sounds. Poetry is an ecstasy of the spirit, and +ecstasies in their very nature are not sustained moods. + +The poetic mood is transient. A composition by Chopin is a soul-ecstasy, +like unto the singing of a lark. + +No other man but Chopin should have been allowed to set the songs of +Shelley to music. With such names as Shelley, Keats, Poe and Crane must +Chopin's name be linked. + +In Chopin's music there is much loose texture; there are wide-meshed +chords, daring leaps and abrupt arpeggios. These have often been pointed +out as faults, but such harmonious discords are now properly valued, and +we see that Chopin's lapses all had meaning and purpose, in that they +impart a feeling--making their appeal to souls that have suffered--souls +that know. + +More of Chopin's music is sold in America every year than was sold +altogether during the lifetime of the composer. His name and fame grow +with each year. Everywhere--wherever a piano is played--on concert +platform, in studio or private parlor, there you will find the work of +Frederic Chopin. That such a widespread distribution must have a potent +and powerful effect upon the race goes without argument, although the +furthest limit of that influence no man can mark. It is registered with +Infinity alone. And thus does that modest, mild and gentle revolutionist +Frederic Chopin live again in minds made better. + + + + +[Illustration: SCHUMANN] + +ROBERT SCHUMANN + + + Beneath these flowers I dream, a silent chord. I can not wake my + own strings to music; but under the hands of those who comprehend + me, I become an eloquent friend. Wanderer, ere thou goest, try me! + The more trouble thou takest with me, the more lovely will be the + tones with which I shall reward thee. + + --_Robert Schumann_ + + +ROBERT SCHUMANN + +That any man should ever write his thoughts for other men to read, seems +the very height of egoism. + +Literature never dies, and so the person who writes constitutes himself +a rival of Shakespeare and seeks to lure us from Montaigne, Milton, +Emerson and Carlyle. To write nothing better than grammatical English, +to punctuate properly, and repeat thoughts in the same sequence that +have been repeated a thousand times, is to do something icily regular, +splendidly null. + +To down the demons of syntax and epithet is not enough. To compose +blameless sonatas and produce symphonies in the accepted style, is not +adding an iota to the world's worth. + +The individual who tries to compose either ideas or harmonious sounds, +and hopes for success, must compose because he can not help it. He must +place the thing in a way it has never before been placed; on the subject +he must throw a new light; he must carry the standard forward, and plant +it one degree nearer the uncaptured citadel of the Ideal. And he must +remember this: the very prominence of his position will cause him to be +the target of contumely, abuse and much stupid misunderstanding. If he +complains of these things (as he probably will), he reveals a rift in +the lute and proves that he is only a half-god, after all. + +Men of the highest type of culture--those of masterly talent--are not +gregarious in their nature. The "jiner" instinct goes with a man who is +a little doubtful, and so he attaches himself to this society, club or +church. + +The very tendency to "jine" is an admission of weakness--it is a getting +under cover, a combining against the supposed enemy. The "jiner" is an +ameba that clings to flotsam, instead of floating free in the great +ocean of life. The lion loves his mate, but prefers to flock by himself. + +The pioneer in art, as in any other field, must be willing to face +deprivations and loneliness and heart-hunger. He must find companionship +with birds and animals, and be brother to the trees and swift-flying +clouds. When men meet on the desert or in the forest wilds, how grateful +and how gracious is their hand-clasp! When love and understanding come +to those who live on the border-land of two worlds, how precious and +priceless the boon! + + * * * * * + +Robert Schumann was the son of a book-publisher of Zwickau. He was a +handsome lad with the flash of genius in his luminous eyes, and an +independence like that of an Alpine goat. When very young they say he +used to have tantrums. If your child has a tantrum, it is bad policy for +you to imitate him and have one, too. + +A tantrum is only one of the little whirlwinds of God--it is misdirected +energy, power not yet controlled. When Robert had a tantrum, his father +would shake him violently to improve his temper, or fall upon him with a +strap that hung handy behind the kitchen-door. Then the mother, when the +father was out of the way, would take the lad and cry over him, and +coddle him, and undo the discipline. + +The best treatment for tantrums is--nothing. The more you let a nervous, +impressionable child alone, the better. + +When the lad was fourteen years old, we find him setting type in his +father's printery. He was working on a book called, "The World's +Celebrities," and his share of the work dealt with Jean Paul Richter. He +grew interested in the copy and stopped setting type and read ahead, as +printers sometimes will. The more he read, the more he was fascinated. +He fell under the spell of Jean Paul the Only. + +Jean Paul, inspired by Jean Jacques, was the inspirer of the whole brood +of young writers of his time. To him they looked as to a Deliverer. +Jean Paul the Only! The largest, gentlest, most generous heart in all +literature! The peculiar mark of Richter's style is analogy and +comparison; everything he saw reminded him of something else, and then +he tells you of things of which both remind him. He leads and lures you +on, and takes you far from home, but always brings you safely back. Yet +comparison proves us false when we deal with Richter himself. He stands +alone, like Adam's recollection of his fall, which according to Jean +Paul was the one sweet, unforgetable thing in all the life of the First +Citizen of his time. + +Jean Paul seems to have combined in that mighty brain all feminine as +well as masculine attributes. The soul in which the feminine does not +mingle is ripe for wrong, strife and unreason. "It was mother-love, +carried one step further, that enabled the Savior to embrace a world," +says Carlyle. + +The sweep of tender emotion that murmurs and rustles through the writing +of Jean Paul is like the echo of a lullaby heard in a dream. Perhaps it +came from that long partnership when mother and son held the siege +against poverty, and the kitchen-table served them as a writing-desk, +and the patient old mother was his sole reviewer, critic, reader and +public. + +For shams, hypocrisy and pretense Jean Paul had a cyclone of sarcasm, +and the blows he struck were such as only a son of Anak could give; but +in his heart there was no hate. He could despise a man's bad habits and +still love the man behind the veneer of folly. So his arms seem ever +extended, welcoming the wanderer home. + +Dear Jean Paul, big and homely, what an insight you had into the heart +of things, and what a flying-machine your imagination was! Room for many +passengers? Yes, and children especially, for these you loved most of +all, because you were ever only just a big overgrown boy yourself. You +cried your eyes out before your hair grew white, and then a child or a +woman led you about; and thus did you supply Victor Hugo a saying that +can not die: "To be blind and to be loved--what happier fate!" + +Yes, Jean Paul used to cry at his work when he wrote well, and I do, +too. I always know when I write particularly well, for at such times I +mop furiously. However, I seldom mop. + +Robert Schumann began to write little essays, and the essays were as +near like Jean Paul's as he could make them. He read them to his mother, +just as Jean Paul used to write for his mother and call her "my Gentle +Reader"--he had but one. + +Robert's mother believed in her boy--what mother does not? But her love +was not tempered by reason, and in it there was a sentimental flavor +akin to the maudlin. + +The father wanted the lad to take up his own business, as German fathers +do, but the mother filled the lad's head with the thought that he was +fit for something higher and better. She was not willing to let the +seed ripen in Nature's way--she thought hothouse methods were an +improvement. + +Such a mother's ambition centers in her son. She wants him to do the +thing she has never been able to do. She thirsts for honors, applause, +publicity, and all those things that bring trouble and distress and make +men old before their time. + +So we find the boy at eighteen packed off to Heidelberg to study law, +with no special preparation in knowledge of the world, of men or books. +But old father antic, the law, was not to his taste. Robert liked music +and poetry better. His fine, sensitive, emotional spirit found its best +exercise in music; and at the house of Professor Carus he used to sing +with the professor's wife. This Professor Carus, by the way, is, I +believe, directly related to our own Doctor Paul Carus, of whom all +thinking people in America have reason to be proud. I am told that when +a boy of eighteen or nineteen mingles his voice several evenings a week +with that of a married lady aged, say, thirty-five, and they also play +"four hands" an hour or so a day, that the boy is apt to surprise the +married lady by falling very much in love with her. Boys are quite given +to this thing, anyway, of falling in love with women old enough to be +their mothers--I don't know why it is. Sometimes I am rather inclined to +commend the scheme, since it often brings good results. The fact that +the woman's emotions are well tempered with a sort of maternal regard +for her charge holds folly in check, dispels that tired feeling, +promotes digestion, and stimulates the action of the ganglionic cells. + +It was surely so in this instance, for Madame Carus taught the youth how +to compose, and fired his mind to excel as a pianist. He wrote and +dedicated small songs to her, and their relationship added cubits to the +boy's stature. + +From a boy he became a man at a bound. Just as one single April day, +with its showers and sunshine, will transform the seemingly lifeless +twigs into leafy branches, so did this young man's intellect ripen in +the sunshine of love. + +As for Professor Carus, he was too busy with his theorems and biological +experiments to trouble himself about so trivial a matter as a youngster +falling in love with his accomplished wife--here the Professor's good +sense was shown. + +Jean Paul Richter lighted his torch at the flame of Jean Jacques +Rousseau. In a letter to Agnes Carus, Schumann has acknowledged his +obligation to Richter, in a style that is truly Richteresque. + +Says Robert: + + Dear Lady:--I read from Jean Paul last night until I fell asleep + and then I dreamed of you. It was at the torch of Jean Paul that I + lighted my tallow dip, and now he is dead and these eyes shall + never look into his, nor will his voice fall upon my ears. I cry + salt tears to think that Jean Paul never knew you. If I could only + have brought you two together and then looked upon you, realizing, + as I would, that you had both come from High Olympus! Blissful are + the days since I knew you, for you have brought within my range of + vision new constellations, and into my soul has come the clear, + white light of peace and truth. With you I am purified, freed from + sin, and harmony fills my tired heart. Without you--why, really I + have never dared think about it, for fear that reason would topple, + and my mind forget its 'customed way--let's talk of music. * * * + +Professor Carus kept his ear close to the ground for a higher call, and +when the call came from Leipzig, he moved there with his family. + +It was not many weeks before Robert was writing home, explaining that +lawyers were men who get good people into trouble, and bad folks out; +and as for himself he had decided to cut the business and fling himself +into the arms of the Muse. + +This letter brought his mother down upon him with tears and pleadings +that he would not fail to redeem the Schumanns by becoming a Great Man. +Poetry was foolishness and all musicians were poor--there were a hundred +of them in Zwickau who lived on rye-bread and wienerwurst. + +The boy promised and the mother went home pacified. But not many weeks +had passed before Robert set out on a pilgrimage to Bayreuth, to visit +the scene of Jean Paul's romances. On this same tour he went to Munich, +and there met Heinrich Heine, who was from that day to enter into his +heart and jostle Jean Paul for first place. He was accompanied on this +memorable trip by Gisbert Rosen, who proved his lifelong friend and +confidant. Very naturally Leipzig was the ardently desired goal of his +wanderings. At once on arriving there, he sought out the home of +Professor and Madame Carus. That his greeting (and mayhap hers) did not +contain all the warmth the boy lover had anticipated is shown in a +letter to Rosen, wherein he says: "This world is only a huge graveyard +of buried dreams, a garden of cypress and weeping willows, a silent +peep-show with tearful puppets. Alas for our high faith--I wonder if +Jean Paul wasn't right when he said that love lessens woman's delicacy, +and time and distance dissipate it like morning dew?" + +Yet Madame Carus was kind, for Robert played at little informal concerts +at her house, and she urged him to abandon law for music; and he refers +the matter to Rosen, asking Rosen's advice and explaining how he wants +to be advised, just as we usually do. Rosen tells him that no man can +succeed at an undertaking unless his heart is in the work, and so he +shifts the responsibility of deciding on Professor Carus, whom Robert +"respects," but does not exactly admire enough to follow his advice. + +Robert does not consider the Professor a practical man, and so leaves +the matter to his wife. In the meantime songs are written similar to +Heine's, and essays turned off, pinned with the precise synonym, the +phrase exquisite, just like Jean Paul's. Progress in piano-playing goes +steadily forward, with practise on the violin, all under the tutelage of +Madame Carus, who one fine day takes the young man to play for Frederick +Wieck, the best music-teacher in Leipzig. + + * * * * * + +"Musicians?" said Wieck, "I raise them!" + +And so he did. He proved the value of his theories by making great +performers of Maria and Clara, his daughters--two sisters more gifted in +a musical way have never been born. Germany excels in philosophy and +music--a seeming paradox. Music is supposed to be a compound of the +stuff that dreams are made of--hazy, misty, dim, intangible feelings set +to sounds--we close our eyes and they take us captive and carry us away +on the wings of melody. And so it may be true that music is born of +moonshine, and fragrant memories, and hopes too great for earth, and +loves unrealized; yet its expression is the most exacting of sciences. A +Great Musician has not only to be a poet and a dreamer, but he must also +be a mathematician, cold as chilled steel, and a philosopher who can +follow a reason to its lair and grapple it to the death. And that is why +Great Musicians are so rare, and that is also why, perhaps, there are no +great women composers. "Women of genius are men," said the De Goncourts. +A Great Musician is a paradox, a miracle, a multiple-sided man--stern, +firm, selfish, proud and unyielding; yet sensuous as the ether, tender +as a woman, innocent as a child, and as plastic as potters' clay. And +with most of them, let us frankly admit it, the hand of the Potter +shook. When people write about musicians, they seldom write moderately. +The man is either a selfish rogue or an angel of light--it all depends +upon your point of view. And the curious part is, both sides are right. + +Wieck was very fond of his daughters, and like good housewives who are +proud of their biscuit, he apologized for them. "He never quite forgave +our mother because we were girls," said Clara once, to Kalkbrenner. +Wieck, the good man, was a philosopher, and he had a notion that the +blood of woman is thinner than that of man--that it contains more white +serum and fewer red corpuscles, and that Nature has designed the body of +a woman to nourish her offspring, but that man's energy goes to feed his +brain. Yet his girls were so much beyond average mortals that they would +set men a pace in spite of the handicap. + +Fortunate it is for me that I do not have to act as the court of last +appeal on this genius business. The man who decides against woman will +forfeit his popularity, have his reputation ripped into carpet-rags, and +his good name worked up into crazy-quilts by a thousand Woman's Clubs. + +But certain it is that women are the inspirers of music. As critics they +are more judicial and more appreciative. Without women there would be no +Symphony Concerts, any more than there would be churches. + +Women take men to the Grand Opera and to Musical Festivals--and I am +glad. + + * * * * * + +Clara Wieck was only ten years old, with dresses that came to her knees, +when Robert Schumann first began to take lessons of her father. She was +tall for her age, and had a habit of brushing her hair from her eyes as +she played, that impressed the young man as very funny. She could not +remember a time when she did not play: and she showed such ease and +abandon that her father used to call her in and have her illustrate his +ideas on the keyboard. + +Robert didn't like the child--she was needlessly talented. She could do, +just as a matter of course, the things that he could scarcely accomplish +with great effort. He didn't like her. + +Already Clara had played in various concerts, and was a great favorite +with the local public. Soon her father planned little tours, when he +gave performances assisted by his two daughters, who could play both +violin and piano. Their fame grew and fortune smiled. Wieck took a +larger house and raised his prices for pupils. + +Robert Schumann wandered over to Zwickau to visit his folks, then went +on down the Rhine to Heidelberg to see Rosen. It was nearly a year +before he got back to Leipzig, resolved to continue his music studies. +Wieck had a front room vacant, and so the young man took lodgings with +his teacher. + +It was not so very long before Clara was wearing her dresses a little +longer. She now dressed her hair in two braids instead of one, and +these braids were tied with ribbons instead of a shoe-string. More +concerts were being arranged, and the attendance was larger--people were +saying that Clara Wieck was an Infant Phenomenon. + +Robert was progressing, but not so rapidly as he wished. To aid matters +a bit, he invented a brace and extension to his middle finger. It gave +him a farther reach and a stronger stroke, he thought. In secret he +practised for hours with this "corset" on his finger; he didn't know +that a corset means weakness, not strength. After three straight hours +of practise one day, he took the machine from his hand and was +astonished to see the finger curl up like a pretzel. He hurried to a +physician and was told that the member was paralyzed. Various forms of +treatment were tried, but the tendons were injured, and at last the +doctors told him his brain could never again telegraph to that hand so +it would perfectly obey orders. He begged that they would cut the finger +off, but this they refused to do, claiming that, even though the finger +was in the way, piano-playing in any event was not the chief end of +man--he might try a pick and shovel. + +Clara, who now wore her dress to her shoe-tops, sympathized with the +young man in his distress. She said, "Never mind, I will play for +you--you write the music and I will play it!" + +Gradually he became resigned to this, and spent much of his time +composing music for Heine's songs and his own. Wieck didn't much like +these songs, and forbade his daughter playing such trashy things--only a +paraphrase of Schubert's work, anyway, goodness me! + +The girl pouted and rebelled, and erelong Robert Schumann was requested +to take lodgings elsewhere. Moodily he obeyed, but he managed to keep up +a secret correspondence with Clara, through the help of her sister. +Whenever Clara played in public, Robert was sure to be there, even +though the distance were a hundred miles. He had given up playing, and +now swung between composing and literature, having assumed the +editorship of a musical magazine. + +When Clara now played in concert, she wore a train, and her hair was +done up on the top of her head. + +Schumann's musical magazine was winning its way--the young man had a +literary style. Mendelssohn commended the magazine, and its editor in +turn commended Mendelssohn. A new star had been discovered on the +horizon--a Pole, Chopin by name. And whenever Clara Wieck appeared, +there were extended notices, lavish in praise, profuse in prophecy. + +Herz had written an article for a rival journal about Clara Wieck, +wherein the statement was made that no woman trained on, that her +playing was intuitive, and the limit quickly reached--marriage was death +to a woman's art, etc. + +To this Schumann replied with needless heat, and his friends began to +joke him about his "disinterestedness." He was getting moody, and there +were times when he was silent for days. His passion for Clara Wieck was +consuming his life. He resolved to go direct to Frederick Wieck and have +it out. + + * * * * * + +They are always called "the Schumanns"--Robert and Clara. You can not +separate them, any more than you can separate the great Robert Browning +and Elizabeth Barrett. "Whomsoever God hath joined together, let no man +put asunder," seems rather a needless injunction, since we know that +man's efforts in the line of separation have ever but one result: +opposition fans the flame. + +Just as Elizabeth Barrett's father forcibly opposed the mating of his +daughter, so did Frederick Wieck oppose the love of his daughter Clara +for Robert Schumann. + +And one can not blame the man so very much--he knew the young man and he +knew the girl; and deducting fifty per cent for paternal pride, he saw +that the girl was much the stronger character of the two. Clara had +already a recognized reputation as a performer; her playing had made her +father rich, and he was sure that greater things were to come. Beside +that, she was only seventeen years old--a mere child. + +Robert was twenty-six, with most of his future before him--he was +advised to win a name and place for himself before aspiring to the hand +of a great artist: and so he was bowed out. + +He took the matter into the courts, and the decision was that, as she +was now eighteen years old, she had the right to wed, if she were so +minded. + +And so they were married; but Frederick Wieck was not present at the +ceremony to give the bride away. + + * * * * * + +Schumann was essentially feminine in many ways, as the best men always +are. In spite of his mental independence, he did his best work when +shielded in the shadow of a stronger personality. Without Clara, Robert +would probably be unknown to us. She gave him the courage and the +confidence that he lacked; and she it was who interpreted his work to +the world. + +Heine characterized Meyerbeer's "Les Huguenots" as "like a Gothic +cathedral whose heaven-soaring spire and colossal cupolas seem to have +been planted there by the sure hand of a giant; whereas the innumerable +features, the rosettes and arabesques that are spread over it everywhere +like a lacework of stone, witness to the indefatigable patience of a +dwarf." + +Very different is the work of Robert Schumann, who, like his master +Schubert, knew little of the architectonics of the Art Divine. But +Schubert seems to have been the first to give us the "lyric cry"--the +prayer of a heart bowed down, or the ecstasy of a soul enrapt. + +Schumann built on Schubert. Music was to Schumann the expression of an +emotion. He saw in pictures, then he told in tones, what his inward eye +beheld. He even went so far as to give the names of persons, their +peculiarities and experiences on the keyboard. It is needless to say +that the tension of mind in such experiments is apt to reach the +breaking strain. We are under bonds for the moderate use of every +faculty, and he who misuses any of God's gifts may not hope to go +unscathed. + +The exquisite quality of Robert Schumann's imagination served to make +him shun the society of vulgar people. The inability to grasp things +intuitively harassed him, and he acquired a habit of keeping silence, +except with the elect. He lived within himself, unless Clara were by, +and then he leaned on her. + +And what a strong, brave and beautiful soul she was! In a sense she +sacrificed her own career for the man she loved. And by giving all, she +won all. + +Most descriptions of women begin by telling how the individual looked +and what she wore. No pen-portraits of Clara Schumann have come down to +us, for the reason that she was too great, too elusive in spirit, for +any snapshot artist to attempt her. She never looked twice the same. In +feature she was commonplace, her form lacked the classic touch, and her +raiment was as plain as the plumage of a brown thrush in an autumn +hedgerow. She was as homely as George Eliot, Mary Wollstonecraft, Rosa +Bonheur, George Sand, or Madame De Stael. No two of the women named +looked alike, but I once saw a composite photograph of their portraits +and the picture sent no thrills along my keel. Their splendor was a +matter of spirit. Have you ever seen the Duse?--there is but one. In +repose this woman's face is absolute nullity. She starts with a +blank--you would never take a second glance at her at a pink tea. Her +dress is bargain day, her form so-so, her features clay. + +But mayhap she will lift her hand and resting her chin upon it will look +at you out of half-closed eyes that never are twice alike. If you are +speaking you will suddenly become aware that she is listening, and then +you will become uncomfortable and try to stop, but can not; for you will +realize that you have been talking at random, and you want to redeem +yourself. + +The presence of this plain woman is a challenge--she knows! Yet she +never contradicts, and when she wills it, she will lead you out of the +maze and make you at peace with yourself; for our quarrel with the world +is only a quarrel with self. When we are at peace with self we are at +peace with God. + +The Duse is a surprise, in that her homeliness of face masks an +intellect that is a revelation. Her body is an exasperation to the tribe +of Worth, but it houses a soul that has lived every life, died every +death, known every sorrow, tasted every joy, and been one with the +outcast, the despised, the forsaken; and has stood, too, clothed in +shining raiment by the side of the great, the noble, the powerful. +Knowing all, she forgives all. And across the face and out of the eyes, +and even from her silence, come messages of sympathy--messages of +strength, messages of a faith that is dauntless. Great people are simply +those who have sympathy plus. Clara Schumann knew the excellence of her +chosen mate, and through her sympathy made it possible for him to +express himself at his highest and best. She also guessed his +limitations and sought to hold him 'gainst the calamity she saw looming +on the horizon, no bigger than a man's hand. + +When he was moody and there came times of melancholy, she invited young +people to the house; and so Robert mingled his life with theirs, and in +their aspirations he shook off the demons of doubt. + +It was in this way that he became interested in various rising stars, +and although in some instances we are aware that his prophecies went +astray, we know that he hailed Chopin and Brahms long before they had +come within the ken of the musical world, that so often looks through +the large end of the telescope. And this kindly encouragement, this +fostering welcome that the Schumanns gave to all aspiring young artists, +is not the least of their virtues. We love them because they were kind. + + * * * * * + +Clara Schumann was wise beyond the lot of woman. She knew this fact +which very few mortals ever realize: The triumphs of yesterday belong to +yesterday, with all of yesterday's defeats and sorrows--the day is Here, +the time is Now. She did not drag her troubles behind her with a rope, +nor wax vain over achievements done. When the light of her husband's +intellect went out in darkness and he lived for a space a lingering +death, she faced the dawn each morning, resolved to do her work and do +it the best she could. + +When death came to Robert's relief, her one ambition, like that of Mary +Shelley, was to write her husband's name indelibly on history's page. + +The professedly and professionally cheerful person is very depressing. +The pessimist always has wit, for wit reveals itself in the knowledge of +values. And the individual who accepts what Fate sends, and undoes +Calamity by drinking all of it, is sure to have a place in our calendar +of saints. + +Clara Schumann, a widow at thirty-seven, with a goodly brood of babies, +and no income to speak of, lived one day at a time, did her work as well +as she could, and always had a little time and energy over to use for +others less fortunate. + +Such fortitude is sure to bear fruit, and friends flocked to her as +never before. The way to secure friends is to be one. + +Madame Schumann made concert tours throughout the Continent and England, +meeting on absolute equality the music-loving people, as well as the +Kings of Art. She played her husband's pieces with such a wealth of +expression that folks wondered why they had never heard of them. And so +today, wherever hearts are sad, or glad, and songs are sung, and strings +vibrate, and keys respond to love's caress, there is in hearts that know +and feel, a shrine; and on this shrine in letters of gold two words are +carved, and they are these: THE SCHUMANNS. + + + + +[Illustration: SEBASTIAN BACH] + +SEBASTIAN BACH + + The name of Bach would have been famous in musical history without + Johann Sebastian, but with his name added it becomes the most + illustrious that the world has ever known. Bach had many pupils, + but none surpassed his own sons, six of whom became great + musicians, but with these the musical faculty died. + + --_Sir Hubert Parry_ + + +SEBASTIAN BACH + +The art of today is imitative. Once men had convictions, but we have +only opinions, and these are usually borrowed. The artificiality of +life, and the rush and the worry afford no time for great desires to +possess our souls. + +We average well, but no Colossus looms large above the crowd and goes +his solitary way unmindful of the throng: we look alike, act alike, +think alike, and in order that the likeness may be complete, we dress +alike. + +To wear a hat of your own selection or voice thoughts of your own +thinking is to invite unseemly mirth, and finally scorn and contumely. + +The great creators were solitary, rural in their instincts, ignorant and +heedless of what the world was saying and doing. They were men of deep +convictions and enthusiasms, unmindful of laughter or ridicule, caring +little even for approbation. + +No "boom town" can possibly produce a genius: it only fosters sundry +small Napoleons of finance. America is a nation of boomers--financial, +political, social and theological. + +We have sarcasm and cynicism, and we possess much that is clever, all +produced by snatches of success, well mixed with disappointment and the +bitterness which much contact with the world is sure to evolve. Our age +that goes everywhere, knows everybody's business, and religiously reads +only "the last edition," produces a Bill Nye, a Sam Jones, a Teddy +Roosevelt, a DeWitt Talmage, a Hopkinson Smith, a Sam Walter Foss, a +Victor Herbert; but it is not at all likely to produce a Praxiteles, a +Michelangelo, a Rembrandt, an Immanuel Kant or a Johann Sebastian Bach. + + * * * * * + +What Shakespeare is to literature, Michelangelo to sculpture, and +Rembrandt to portrait-painting, Johann Sebastian Bach is to organ-music. +He was the greatest organist of his time, and his equal has not yet been +produced, though nearly three hundred years have passed since his death. +"The organ reached perfection at the hands of Bach," says Haweis. As a +composer for the organ, Bach stands secure--his position is at the head, +and is absolutely unassailable. + +In point of temperament and disposition Bach bears a closer resemblance +to Michelangelo than to either of the others whose names I have +mentioned. He was stern, strong, self-contained, and so deeply religious +that he was not only a Christian but a good deal of a pagan as well. A +homely man was Bach--quiet, simple in tastes and blunt in speech. + +The earnest way in which this plain, unpretentious man focused upon his +life-work and raised organ-music to the highest point of art must +command the sincere admiration of every lover of honest endeavor. + +Bach was so great that he had no artistic jealousy, no whim, and when +harshly and unjustly criticized he did not concern himself enough with +the quibblers to reply. He made neither apologies nor explanations. The +man who thus allows his life to justify itself, and lets his work speak, +and who, when reviled, reviles not again, must be a very great and lofty +soul. + +Bach was a villager and a rustic, and, like Jean Francois Millet, used +to hoe in his garden, trim the vines, play with his children, putting +them to bed at night, or in the day cease from his work to cut slices of +brown bread which he spread with honey for the heedless little +importuner, who had interrupted him in the making of a chorale that was +to charm the centuries. At times he would leave his composing to help +his wife with her household duties--to wash dishes, sweep the room or +care for a peevish, fretful child. After the evening prayer, like +Millet, again, when his household were all abed, he would often walk out +into the night alone, and traverse his solitary way along a wintry road, +through the woods or by the winding river, a dim, misty, shadowy figure, +spectral as the "Sower," lonely as the "Fagot-Gatherer," talking to +himself, mayhap, and communing with his Maker. + +In his later years, when he traveled from one village or city to another +to attend musical gatherings, he was always accompanied by one or more +of his sons. His ambition was centered on his children, and his hope was +in them. Yet nothing has been added to either organ-building, +organ-playing or composition for the organ since his time. + +He never knew, any more than Shakespeare knew, that he had set a pace +that would never be equaled. He would have stood aghast with incredulity +had he been told that centuries would come and go and his name be +acclaimed as Master. + +Such was Sebastian Bach--simple, polite, modest, unaffected, generous, +almost shy--doing his work and doing it as well as he could, living one +day at a time, loving his friends, forgetting his enemies. His heart was +filled with such melodies that their echo is a blessing and a +benediction to us yet. Art lives! + + * * * * * + +Heredity is that law of our being which provides that a man shall +resemble his grandfather--or not. The Bach family has supplied the +believers in heredity more good raw material in way of argument than any +dozen other families known to history, combined. + +The Herschels with three eminent astronomers to their credit, or the +Beechers with half a dozen great preachers, are scarcely worth +mentioning when we remember the Bachs, who for two hundred fifty years +sounded the "A" for nearly all Germany. + +The earliest known member of this musical family was Vert Bach, who was +born about Fifteen Hundred Fifty. He was a miller and baker by trade, +but devoted so much time to playing at dances, rehearsing at church +festivals, and attending gipsy musical performances, that in his milling +business he never prospered and nobody called him "Pillsbury." + +This man had a son by the name of Hans, a weaver and a right merry +wight, who traveled over the country attending weddings, christenings +and such like festivals, playing upon a fiddle of his own construction. +So famous was Hans Bach that his name lives in legend and folklore, +wherein it is related that often betimes when he arrived at a village, +the word would be passed and the whole population would quit work and +caper on the green. So luring was his fiddle, and so potent his voice in +song and story, that in a few instances preachers with long faces +warned their flocks against him; and once we find a country Dogberry had +his minions lay the innocent Hans by the heels and give him a taste of +the stocks, simply because he seduced a party of haymakers into +following him off to a dance at a tavern, and in the meantime a storm +coming up, the hay got wet. Poor Hans protested that he had nothing to +do with the storm, but his excuses were construed as proof of guilt and +went for naught. + +At last in his wanderings, Hans found a buxom lass who was willing to +take him for better or worse. + +And they were married and lived happily ever after, or fairly so. + +This marriage quite sobered the fun-loving fiddler, so that he settled +down and worked at his weaving; and at odd hours made himself a bass +viol that looked to be father of all the fiddles. In Eisenach I was told +that this viol was ten feet high. Hans used to play this instrument at +the village church, and his playing drew such crowds that the preacher +had just cause for jealousy, and improved the opportunity, yet stifling +his rage he ordered the verger to lock the doors and allow no one to +depart until after the sermon and collection. + +A goodly family was born to Hans and his worthy wife, and all were +trained in music, so that an orchestra was formed, made up of the +father, mother, and boys and girls. All the instruments used were made +by Hans, and these included marvelous fiddles, some with one string and +others with twenty; wooden wind-instruments like flutes, and drums to +match the players, some of whom were wee toddlers. It is said that the +music this orchestra made was more or less unique. + +The best part of all this musical exploitation of Hans was that one of +his boys, Heinrich by name, applied himself so diligently to the art +that he became the organist in the village church, and then he was +called to play the great organ at Arnstadt. Heinrich was not a roisterer +like his father: he was a man of education and dignity. He composed many +pieces, and trained his choruses so well that his fame went abroad as +the chief musician of all Thuringia. He held his position at Arnstadt +for fifty years, and died in Sixteen Hundred Ninety-two, at which time +Johann Sebastian Bach, his nephew, was seven years old. + +In his day Heinrich Bach was known as the "Great Bach," and he had two +sons who were nearly as famous as himself, and would have been quite so, +were it not for the fact that they had a cousin by the name of Johann +Sebastian. + +Johann Sebastian was a son of Johann Ambrosius, a brother of Heinrich, +and Johann Ambrosius, of course, a son of the merry Hans. Johann +Ambrosius was a musician, too, but did not distinguish himself +especially in this line. His distinction lies in the fact that he was +the father of Johann Sebastian, and this is quite enough for any one +man, even if Gail Hamilton did once protest that the office of male +parent was insignificant and devoid of honor. + +Johann Ambrosius was a shiftless kind of fellow who drank much beer out +of an earthen pot, and whittled out fiddles, sitting on a bench in the +sun. He sort of let his family shift for themselves. Heinrich Bach, his +brother, used to speak of him as one of his "poor relations," but at the +annual Bach family festival, when a full hundred Bachs gathered to sing +and play, Johann Ambrosius would attend and play on a flute or fiddle +and prove that he was worthy of the name. + +On one such annual reunion he took his little boy, Johann Sebastian, +eight years old. The boy's mother had died a year or so before, and +after the mother's death the father seemed to think more of his children +than ever before--which is often the case, I'm told. + +They walked the distance, about forty miles, in two days, to where the +festival occurred. It was one of the white milestones in the boy's +life--that trip with its revelation of sleeping in barns, singing, and +playing on many instruments, dining by the wayside, all winding up with +a solemn service at a great stone church, where the preacher gave them +his benediction, and the great company separated with handshakings, +embracings and tears, to meet again in a year. Johann Ambrosius did not +attend the next reunion. Before the Spring had come and birds sang +blithely, a band composed of twenty-five played funeral-dirges at his +grave--and little Johann Sebastian was an orphan. + +Johann Sebastian's elder brother, Christoph, who had married a few years +before and moved away, attended the funeral, and when he went back home +he took little Johann Sebastian with him--there was no other place to +go. The lad was allowed to take one thing with him as a remembrance of +the home that he was now leaving forever--his father's violin in a green +bag, with a leathern drawstring. On the bag were his father's initials, +woven into the cloth by the boy's mother--a present from sweetheart to +lover before their marriage. + +Christoph was a musician, too, and a prosperous fellow--quite the +antithesis of his father. It takes a lot of love to bring up a child, +and the miracle of mother-love is a constant wonder to every thinking +person. Without mother-love how would the cross-grained, perverse little +tyrant ever survive the buffets which the world is sure to give? It is +love that makes existence possible. + +Christoph wished to be kind to his little brother, but it was a kindness +of the head and not of the heart. Only an hour a day was allowed the boy +for playing on the violin he had brought in the green bag, because +Christoph and his wife "did not want to hear the noise." Then when the +boy stole off to the forest and played there, he was waylaid on the way +home and well cuffed for disobeying orders. All this seems very much +like the Goneril and Cordelia business, or the history of Cinderella, +but as Johann Sebastian told it himself in the after-years, we have +reason to believe it was not fiction. + +Little Johann Sebastian had been his father's favorite, and this fact +perhaps made Christoph fear the boy was going to tread in his father's +lazy footsteps. So he set about to discipline the lad. + +It must be admitted that Johann Ambrosius Bach, who whittled out fiddles +in the sun, and who drank much beer out of an earthen pot, was +shiftless, but it further seems that he was tender-hearted and kind and +took much interest in teaching Sebastian to play the violin, even while +the child wore dresses. And sometimes I think it is really better, if +you have to choose, to drink beer out of an earthen pot and be kind and +gentle, than to have a sharp nose for other folks' faults and be +continually trying to pinch and prod the old world into the straight and +narrow path of virtue. Yet there is wisdom in all folly, and I can see +that the prohibition concerning little Sebastian's playing the violin +only an hour a day--mind you! was not without its benefits. Surely it +would often be a wise bit of diplomacy on the part of the teacher to +order the pupil not to study his arithmetic lesson but an hour a day, on +penalty. Of course it might happen occasionally that the pupil in an +earnest desire to please, might not study at all, yet there are +exceptions to all rules, and we must remember that when Tom Sawyer +forbade the boys using his whitewash-brush, the scheme worked well. + +One instance, however, might be cited where the law of compensation +seems really to have stood no chance. Christoph had a goodly musical +library and a collection of the best organ-music that had been produced +up to that time. He kept this music in a case, and carried the key to +the case in his pocket. On rare occasions he had shown bits of this +music to Sebastian, who read music like print when it is easy. The boy +devoured all the music he could lay his hands on, and hummed it over to +himself until every note and accent was fixed in his memory. He dearly +wanted to examine that music in the locked-up case, but his brother +declared his ambition nonsense--he was too young. But the boy contrived +a way to pick the lock--for a music-lover laughs at locksmiths--and at +night when all the household were safely in bed, he would steal +downstairs in his bare feet and get a sheet of the music and copy it off +by moonlight, sitting in the deep ledge of the window. Thus did he work +for six months, whenever the moon shone bright enough to read the lines +and signs and marks. But alas! one day the elder brother was rummaging +around the boy's room in search of things contraband and he pounced upon +the portfolio of copied music. He summoned the offender into his +presence. The facts were admitted, and Johann Sebastian had his bare +legs well tingled with an apple-sprout. Then the portfolio was +confiscated and carried away, despite pleadings, promises and tears. And +the question still remains whether "discipline" is not a matter of +gratification to the person in power rather than a sincere and honest +attempt to benefit the person disciplined. + +Nevertheless, Johann Sebastian Bach was working out his own education: +he belonged to the boys' chorus at Ohrdruf, as all boys in the vicinity +did. Music in every German village was an important item, and the best +singers and best behaved members of the village choir were set apart as +a sort of select choir--a choir within a choir--and were often gathered +together to sing on special occasions at weddings and festivals. Johann +Sebastian had a sweet, well-modulated voice, and whenever he was to +sing, he carried his violin in the green bag, so he could play, too, if +needed. Thus he played and sang at serenades, just as did Martin Luther, +many years before, in Johann Sebastian's own native town of Eisenach. + +Johann Sebastian's fame grew until it reached to Luneburg, twelve miles +away, and he was invited there to sing in the choir of Saint Michael's. +The pay he received was very slight, but that was not to be considered. +An occasional bowl of soup and piece of rye-bread, and the privilege of +sleeping in the organ-loft, all combined with freedom, made his paradise +complete. He played on the harpsichord in the pastor's study sometimes; +and occasionally the organist, who could not help loving such a +music-loving boy, would allow him to try the big organ, and at every +service he was present to play his violin, or if any of the other +players were absent he would just fill in and play any instrument +desired. + +Then we hear of him trudging off to Hamburg, a hundred miles away, with +only a few coppers in his pocket, to hear the great organist Reinke. He +slept in cattle-sheds by the way, played his violin at taverns for +something to eat, or plainly stated his case to sympathetic cooks at +backdoors. One instance he has recorded when all the world seemed to +frown. He had trudged all day, with nothing to eat, and at evening had +sat down near the open window of an inn, from which came savory smells +of supper. As he sat there, suddenly there were thrown out a couple of +small dried herrings. The hungry boy eagerly seized upon them, just as a +dog would. But what was his surprise to find, as he gnawed, in the mouth +of each fish a piece of silver! Some one had read the story of Saint +Peter to a purpose. Young Bach looked in vain for a person to thank, but +perceiving no one he took it as the act of God and an omen that his +pilgrimage to hear the great organist should not be in vain. + +The wonders of Reinke's playing and the marvel of the mighty music +filled his soul with awe, and fired his ambition to do a like +performance. + +Did the great Reinke know as he played that bright Sabbath morning, +filling the cathedral with thunders of echoing bass, or sounds of sweet, +subtle melody--did he know that away back in the throng stood a dusty, +tawny-haired boy who had tramped a hundred miles just for this event? +And did the organist guess as he played that he was inspiring a human +soul to do a grand and wondrous work, and live a life whose influence +should be deathless? Probably not--few men indeed know when virtue has +gone out of them. + +Perhaps Reinke was playing just to suit himself, and had purposely put +the unappreciative, lazy, sleepy occupants of the pews out of his +thought, all unmindful that there was one among a thousand, back behind +a pillar, dusty and worn, but now unconsciously refreshed and oblivious +to all save the playing of the great organ. There stood the boy bathed +in sweet sounds, with streaming eyes and responsive heart. + +His inward emotions supplemented the outward melody, for music demands a +listener, and at the last is a matter of soul, not sound: its appeal +being a harmony that dwells within. So played Reinke, and back by the +door, peering from behind a pillar, stood the boy. + + * * * * * + +Sebastian Bach was such a useful member of the choir at Luneburg that +the town musician from Weimar, who happened to be going that way, +induced him to go home with him as assistant organist. + +This was a definite move in the direction of fame and fortune. Men who +can make themselves useful are needed--there is ever a search for such. +They wanted Bach at Weimar. Johann Sebastian Bach, aged eighteen, was +wanted because he did his work well. + +After three or four months at Weimar he made a visit to Arnstadt, where +his uncle had so long been organist. His name at Arnstadt was a name to +conjure with, and in fact throughout all that part of the country, +whenever a man proved to be a musician of worth and power the people out +of compliment called him a "Bach." + +Johann Sebastian was invited to play for the people, and all were so +delighted that they insisted he should come and fill the place made +vacant by the death of the "Great Bach." + +So he came and was duly installed. + +And the young man drilled his chorus, wrote cantatas, and arranged +chants and hymns. But he was far from contented. He was being pushed on +by a noble unrest. It was not so very long before we find him packing +off to Denmark, with little ceremony, to listen to the playing of +Buxtehude, the greatest player of his age. + +Bach had been quite content to tiptoe into the church when Reinke +played, grateful for the privilege of listening, half-expecting to be +thrust out as an interloper. He had gained confidence since then, and +now introduced himself to Buxtehude and was greeted by the octogenarian +as a brother and an equal, although sixty years divided them. His visit +extended itself from one week to two, and then to a month or more, and a +message came from his employers that if he expected to hold his place he +had better return. + +Bach's visit to Buxtehude formed another white milestone in his career. +He came back filled with enthusiasm and overflowing with ideas and plans +that a single lifetime could not materialize. Those who have analyzed +the work of Buxtehude and Bach tell us that there is a richness of +counterpoint, a vigor of style, a fulness of harmony, and a strong, +glowing, daring quality that in some pieces is identical with both +composers. In other words, Bach admired Buxtehude so much that for a +time he wrote and played just like him, very much as Turner began by +painting as near like Claude Lorraine as he possibly could. Genius has +its prototype, and in all art there is to be found this apostolic +succession. Bach first built on Reinke; next he transferred his +allegiance to Buxtehude; from this he gradually developed courage and +self-reliance until he fearlessly trusted himself in deep water, +heedless of danger. And it is this fearless, self-reliant and +self-sufficient quality that marks the work of every exceptional man in +every line of art. "Here's to the man who dares," said Disraeli. All +strong men begin by worshiping at a shrine, and if they continue to grow +they shift their allegiance until they know only one altar and that is +the Ideal which dwells in their own heart. + + * * * * * + +And now behold how Heinrich Bach had educated his people into the belief +that there was only one way to play, and that was as he did it. It is +not at all probable that Heinrich put forward any claims of perfection, +but the people regarded his playing as high-water mark, and any +variation from his standards was considered fantastic and absurd. + +In all of the old German Protestant churches are records kept giving the +exact history of the church. You can tell for two hundred years back +just when an organist was hired or dismissed; when a preacher came and +when he went away, with minute mention as to reasons. + +And so we find in the records of the Church at Arnstadt that the +organist, Johann Sebastian Bach, took a vacation without leave in the +year Seventeen Hundred Five, and further, when he returned his playing +was "fantastical." + +With the young man's compositions the Consistory expressed echoing +groans of dissatisfaction. A list of charges was drawn up against him, +one of which runs as follows: "We charge him with a habit of making +surprising variations in the chorales, and intermixing divers strange +sounds, so that thereby the congregation was confounded." + +Bach's answers are filed with the original charges, and are all very +brief and submissive. In some instances he pleads guilty, not thinking +it worth his while, strong man that he was, to either apologize or +explain. + +But the most damning count brought against him was this: "We further +charge him with introducing into the choir-loft a Stranger Maiden, who +made music." To this, young Bach makes no reply. Brave boy! + +The sequel is shown that in a few weeks he was married to this "Stranger +Maiden," who was his cousin. She was a Bach, too, a descendant of the +merry Hans, and she, also, played the organ. But great was the horror of +the Arnstadites that a woman should play a church organ. Mein Gott im +Himmel--a woman might be occupying the pulpit next! + +Johann Sebastian's indifference to criticism is partially explained by +the fact that he was in correspondence with the Consistory at Mulhausen, +and also with the Duke Wilhelm Ernest, of Saxe-Weimar. Both Mulhausen +and Weimar wanted his services. Under such conditions men have ever been +known to invite a rupture--let us hope that Johann Sebastian Bach was +not quite so human. + + * * * * * + +Michelangelo never married, but Bach held the average good by marrying +twice. + +He was the father of just twenty children. His first wife was a woman +with well-defined musical tastes, as was meet in one with such an +illustrious musical pedigree. It wasn't fashion then to educate women, +and one biographer expresses a doubt as to whether Bach's first wife was +able to read and write. To read and write are rather cheap +accomplishments, though. Last year I met several excellent specimens of +manhood in the Tennessee Mountains who could do neither, yet these men +had a goodly hold on the eternal verities. + +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. + +I once heard Henry Irving make a speech at Harvard University, and shall +never forget the tremor in his voice and the half-embarrassment of his +manner. What could have been more complimentary to college striplings? +And then, as usual, he looked helplessly about for Ellen Terry, and +having located her, held out his hand toward her and led her to the +front to receive the homage. + +Tears filled my eyes. Was Irving's action art? Ods-bodkins! I never +thought of it: I was hypnotized and all swallowed up in loving +admiration for Sir Henry and the beautiful Lady Ellen. + +Felix Mendelssohn was beloved by his players. First, because he never +wrote parts that only seraphs of light could play. In this he was unlike +Wagner, who could think such music as no brass, no wood nor strings +could perform, and so was ever in torments of doubt and disappointment. +Second, he was always grateful when his players did the best they could. +Third, he was graciously polite, even at rehearsals. The extent of his +inclination to rebuke was shown once when he abruptly rapped for +silence, and when quiet came said to his orchestra: "I am sure that any +one of the gentlemen present could write a symphony. I think, too, that +you can all improve on the music of the past--even that of Beethoven. +But this afternoon we are playing Beethoven's music--will you oblige +me?" And every man awoke to the necessity of putting the sweet, subtile, +strong quality of the master into the work, instead of absent-mindedly +sounding the note, fighting bluebottles, and taking care merely not to +get off the key too much. + +At the great Birmingham Festival several hundred ladies in the audience +contrived at a given signal to shower the great conductor with bouquets. +And Mendelssohn, entering into the spirit of the fun, dexterously caught +the blossoms and tossed them to his players, not even forgetting the +triangles and the boys who played the kettledrums. + +Bayard Taylor has described the lustrous brown eyes of Mendelssohn, that +seemed to send rays of light into your own: "Such eyes are the +possession of men who have seen heavenly visions. Genius shows itself in +the eye. Those who looked into the eyes of Sir Walter Scott, Robert +Burns or Lord Byron, always came away and told of it as an epoch in +their lives. This was what I thought when I sat vis-a-vis with Felix +Mendelssohn and looked into his eyes. I did not hear his voice, for I +was too intent on gazing into the fathomless depths of those splendid +eyes--eyes that mirrored infinity, eyes that had beheld celestial glory. +Little did I think then that in two years those eyes would close +forever." + + * * * * * + +In a letter to Hensel, Felix Mendelssohn's sex-quality is finely +revealed, when he says that his friends are advising him to marry, and +he is on the lookout for a wife. + +Ye gods! there is something strangely creepy about the thought of a man +going out in cold blood to seek a wife. Only two kinds of men search for +a wife; one is the Turk, and the other is his antithesis, who is advised +to marry for hygienic, prudential or sociologic reasons. John Ruskin was +"advised" to marry and the matter was duly arranged for him. In a week +he awoke to the hideousness of the condition. Six years elapsed before +John Millais and Chief Justice Coleridge collaborated to set him free, +but the cicatrix remained. + +The great books are those the authors had to write to get rid of; the +only immortal songs are those sung because the singers could not help +it. The best-loved wife is the woman who married because her lover had +to marry her to get rid of her; the children that are born because they +had to be are the ones that stock the race; and the love that can not +help itself is the only love that uplifts and inspires. + +Felix Mendelssohn, the slight, joyous, girlish youth, should have +preserved his Cecilia-like virginity. He should have left marriage to +those who were capable of nothing else; this would not have meant that +he turn ascetic, for the ascetic is a voluptuary in disguise. He should +simply have been married to his work. The wonder is, though, that once +the thought of marriage was forced upon him, he did not marry a Hittite +who delighted in pork-chops and tomato-sauce, ordered Guinness Stout in +public places, and disciplined him as a genius should be disciplined. + +Fate was kind, however, and the lady of his choice was nearly as +esthetic in face and form, as gentle and spirituelle as himself. She +never humiliated him by cackle, nor led him a merry chase after +society's baubles. Her only wish was to please him and to do her wifely +duty. They pooled their weaknesses, and it need not be stated that this, +the only love in the life of Mendelssohn, made not the slightest impress +on his art, save to subdue it. The passing years brought domestic +responsibilities, and the every-day trials of life chafed his soul, +until the wasted body, grown tired before its time, refused to go on, +and death set the spirit free. + + * * * * * + +Mendelssohn made five visits to England, where his success was even +greater than it was at home. He learned to express himself well in +English, but always spoke with the precision and care that marks the +educated foreigner. So the result was that he spoke really better +"English" than the English. The ease with which the Hebrew learns a +language has often been noted and commented upon. Mendelssohn preferred +German, but was not at a loss to carry on a conversation in French, +Italian or English. + +His nature was especially cosmopolitan, and like the true aristocrat +that he was, he was also a democrat, and at home in any society. + +When he was invited by the Queen to call upon her at Buckingham Palace, +he went alone, in his afternoon dress, and sent in his card as every +gentleman does when he calls upon a lady. Her Majesty greeted him at the +door of her sitting-room, and dismissed the servants. They met as +equals. In compliment to her guest Victoria spoke only in German. The +Queen, seeing the music-rack was not in order, apologized, womanlike, +for the appearance of the room and began to dust things in the usual +housewifely fashion. + +Mendelssohn, with that fine grace which never forsook him, assisted her +in putting things to rights, and when the piano was opened, he proceeded +to carry out two pet parrots, laughingly explaining that if they were to +have music, it was well to insure against competition. + +He sat down at the piano and played, without being asked, and sang a +little song in English in graceful but unobtrusive compliment to the +hostess. Then the Queen sang in German, he playing the accompaniment. +And in his letter to his sister Fanny, telling her of all this, in his +easy, gossipy, brotherly way, Felix adds that the Queen has a charming +soprano voice, that only needs a little cultivation and practise to make +her fit to take the leading part in "Elijah." + +This was no joke to Felix--he only regretted that Queen Victoria's +official position was such that she could not spare enough time for +music. + +Albert did not appear upon the scene until Mendelssohn had extended his +call to an hour, and was just ready to leave. The Prince Consort was too +perfect a gentleman to ever obtrude when his wife was entertaining +callers, but now he apologized for not knowing the Meister had honored +them--which we hope was a white lie. But, anyway, Felix consented to +remain and play a few bars of the oratorio they had heard him conduct +the night before. Then Albert sang a little, and Victoria insisted on +making a cup of tea for the guest before they parted. When he went away, +Albert and Victoria both walked with him down the hall, and as he bade +them good-by, Victoria spoke the kindly "Auf wiedersehen." + +In the story of her life, Victoria has in spirit corroborated this +account of her meeting with Mendelssohn. She refers to him as her dear +friend and the friend of her husband, and pays incidentally a gentle +tribute to his memory. + +The universal quality of Mendelssohn's knowledge, his fine forbearance +and diplomatic skill in leading a conversation into safe and peaceful +waters, were very marked. He was recognized by the King of Saxony as a +king of art, and so was received into the household as an equal; and +surely no man ever had a more kingly countenance. His body, however, +seemed to lag behind, and was no match for his sublime spirit. But when +fired by his position as Conductor, or when at the piano, the slender +body was nerved to a point where it seemed all suppleness and sinewy +strength. + +In his "Songs Without Words," the spirit of the Master is best shown. +There the grace, the gentleness and the sublimity of his soul are best +mirrored. And if at twilight you should hear his "On the Wings of Song," +played by one who understands, perhaps you will feel his spirit near, +and divine the purity, kindliness and excellence of Felix +Mendelssohn-Bartholdy. + + + + +[Illustration: FRANZ LISZT] + +FRANZ LISZT + + + Were I to tell you what my feelings were on carefully perusing and + reperusing this essay, I could hardly find terms to express myself. + Let this suffice: I feel more than fully rewarded for my trials, my + sacrifices and artistic struggles, on noting the impression I have + made on you in particular. To be thus completely understood was my + only ambition; and to have been understood is the most ravishing + gratification of my longing. + + --_Liszt in a Letter to Wagner_ + + +FRANZ LISZT + +In writing of Liszt there is a strong temptation to work the superlative +to its limit. In this instance it is well to overcome temptation by +succumbing to it. + +That word "genius" is much bandied, and often used without warrant; but +for those rare beings who leap from the brain of Jove, full-armed, it is +the only appellation. No finespun theory of pedagogics or heredity can +account for the marvelous talent of Franz Liszt--he was one sent from +God. + +Yet we find a few fortuitous circumstances that favored his evolution. +Possibly, on the other hand, there are those who might say the boy +attracted to himself the human elements that he required, and thus +worked out his freedom, acquiring that wondrous ability to express his +inmost emotions. Art is the beautiful way of doing things. All art is +the expression of sublime emotions; and there seems a strong necessity +in every soul to impart the joy and the aspiration that it feels. And +further, art is for the artist first, just as work is for the worker--it +is all just a matter of self-development. And how blessed is it to think +that every soul that works out its own freedom gives freedom to others! +Liszt is the inspirer of musicians, just as Shakespeare is the inspirer +of writers. Strong men make it possible for others to be strong. No man +of the century gave the science of music such an impulse for good as +this man. To go no further in way of proof, let the truth be stated yet +once again, that it was Franz Liszt who threw a rope to the drowning +Wagner. + +On October Twenty-second, in the year Eighteen Hundred Eleven, when a +man-child was born at the village of Raiding, Hungary, the heavens gave +no sign, and no signal-flags nor couriers proclaimed the event, all as +had been done a week before when a babe was born to the Prince and +Princess Esterhazy at the same place. Now the child born last was the +son of obscure parents, the father being an underling secretary of the +Prince, known as Liszt. The child was very weak and frail, and for some +months it was thought hardly possible it could live; but Destiny decreed +that the boy should not perish. + +The first recollections of Liszt take in, in a happy view, four men +playing cards at a square table. One of these men was the boy's father, +another was Mein Herr Joseph Haydn, and the other two players are lost +in the fog of obscurity. Did they ever know what a wonderful game they +played, as little Franz Liszt, sitting on a corner of the table, +listened to their talk and admired the buttons on the coat of the +Kappellmeister? After the card-game Haydn sat at the piano and played, +and the boy, just three years old, thought he could do that, too. Then +there was another Kappellmeister in the employ of Prince Nicholas +Esterhazy at Eisenstadt, and his name was Hummel. He was a pupil of +Mozart, and used to tell of it quite often when he came up to Raiding on +little visits, after the wine had been sampled. Liszt the Elder used to +help Hummel straighten out his accounts, and where went Liszt the Elder, +there, too, went little Franz Liszt, who wasn't very strong and banked +on it, and had to be babied. And so little Franz became acquainted with +Hummel and used to sit on his knee at the piano, and together they +played funny duets that set the company in a roar--two tunes at a time, +harmonious discords and counterpoint, such as no one ever heard before, +or since. + +At this time there was no piano at the Liszt cottage, but the boy +learned to play at the neighbors', and practised at the palace of the +Prince. His father and mother once took him there to hear Hummel. On +this occasion Hummel played the Concerto by Reis in C minor. At the +close of the performance, little Franz climbed up on the piano-stool and +very solemnly played the same thing himself, to the immense delight of +the listeners. + +The father of Liszt has recorded that at this time the child was but +three years old, but after taking off the proper per cent for the pride +of a fond parent, the probabilities are the boy was five. This is the +better attested when we remember that it was only a few weeks later +that, on the request of Prince Esterhazy, the boy played at a concert in +Oedenburg. + +This launched the boy on that public career which was to continue for +just seventy years. There is good evidence that the boy could read music +before he could read writing, and that he threw into his playing such +feeling and expression as Ferdinand Reis, who merely imitated his +master, Beethoven, had never anticipated. That is to say, when he played +"Reis," he improved on him, with variations all his own--attempts often +made with the work of great composers, but which incur risks not +advised. + +It will be seen that Liszt, although born in poverty, was from the very +first in a distinctly musical environment. He could not remember a time +when he did not attend the band-concerts--his parents wanted to go, and +took the baby because there were no servants to take charge of him at +home. Music was in the air, and everybody discussed it, just as in Italy +you may hear the beggars in the streets criticizing art. + +The delightful insouciance of this child-pianist won the heart of every +hearer, and his success quite turned the head of his father, the worthy +bookkeeper. + +To give the child the advantages of an education was now his parents' +one ambition. Having no money of his own, the father importuned his +employer, the Prince, who rather smiled at the thought of spending time +and money on such an elfin-like child. His playing was, of course, +phenomenal, unaccountable, a sort of bursting out of the sun's rays, +and, like the rainbow, a thing not to be seized upon and kept. It was +mere precocity, and precocity is a rareripe fruit, with a worm at the +core. This discouragement of the over-ambitious father was probably +wise, for it gave the boy a chance to play I-Spy and leapfrog in the +streets of the village, and to roam the fields. The lad became strong +and well, and when ten years of age he had grown into a handsome +youngster with already those marks of will and purpose on his beautiful +face that were to be his credentials to place and power. + +He had often played at concerts in the towns and villages about, and +when there were visitors at the palace this fine, slim son of the +bookkeeper was sent for to entertain them. + +This attention kept ambition alive in the hearts of his parents, and +after many misgivings they decided to hazard all and move to Vienna to +give their boy the opportunities they felt he deserved. + +The entire household effects being sold, the bookkeeper found he had +nearly six hundred francs--one hundred fifty dollars. To this amount +Prince Esterhazy added fifty dollars, and Hummel gave his mite, and with +tears of regret at breaking up the home-nest, but with high hope, +flavored by chill intervals of fear, the father, mother and boy started +for Vienna. + +Arriving in that city the distinguished Carl Czerny, pupil of Beethoven, +was importuned to take the lad. Only the letter from Hummel secured the +boy an audience, for Czerny was already overburdened with pupils. But +when he had listened to the lad's playing, he consented to take him as a +pupil, merely saying that he showed a certain degree of promise. It is +sternly true that Czerny did not fully come into the Liszt faith until +after that concert of April Thirteenth, Eighteen Hundred Twenty-three, +when Beethoven, ripe with years, crowded his way to the front and kissed +the player on both cheeks, calling him "my son." Such a greeting from +the great Master spoke volumes when we consider the lifelong aversion +that Beethoven held toward "prodigies," and his disinclination to attend +all concerts but his own. + +And thus did Franz Liszt begin his professional pilgrimage, consecrated +by the kiss of the Master. + +Paris was the next step--to Paris, the musical and artistic center of +the world. To win in Paris meant fame and fortune wherever he wished to +exhibit his powers. The way the name of Franz Liszt swept through the +fashionable salons of Paris is too well known to recount. Scarcely +thirteen years of age, he played the most difficult pieces with peculiar +precision and power. And his simple, boyish, unaffected manner--his +total lack of self-consciousness--won him the affection of every +mother-heart. He was fondled, feted, caressed, and took it all as a +matter of course. He had not yet reached the age of indiscretion. + + * * * * * + +Music is a secondary sexual manifestation, just as are the songs of +birds, their gay and gaudy plumage, the color and perfume of flowers +that so delight us, and the luscious fruits that nourish us--all is sex. +And then, do you not remember that expression of Renan's, "The +unconscious coquetry of the flowers"? Without love there would be no +poetry and no music. All the manifest beauty of earth is only Nature's +nuptial decoration. + +James Huneker, not always judicious, but a trifle more judicial than +others that might be named, declares that two women, making a +simultaneous attack upon the great composer, caused him to cut for +sanctuary, and hence we have the Abbe Liszt, thus proving again that +love and religion are twin sisters. + +The old-time biographers can easily be placed in two classes: those who +sought to pillory their man, and those who sought to protect him. +Neither one told the truth; but each gave a picture, more or less +blurred, of a being conjured forth from their own inner consciousness. +Franz Liszt was naturalized in the Faubourg Saint Germain. It was here +that he was first hailed as the infant prodigy, and proud ladies, at his +performances, pressed to the front and struggled for the privilege of +imprinting on his fair forehead a chaste and motherly kiss. + + * * * * * + +Eight years had passed: years of work and travel and constant growing +fame. The youth had grown into a man, and his return to the scene of his +former triumphs was the signal for a regathering of the clans to note +his progress--or decline. The verdict was that from "Le Petit Prodige," +he had evolved into something far more interesting--"Le Grand Prodige." +Tall, handsome, strong, and with a becoming diffidence and a half-shy +manner, his name went abroad, and he became the rage of the salons. His +marvelous playing told of his hopes, longings, fears and +aspirations--proud, melancholy, imploring, sad, sullen--his tones told +all. + +Fair votaries followed him from one performance to another. Leaving out +of the equation such mild incidents as the friendship for George Sand, +which began with a brave avowal of platonics, and speedily drifted into +something more complex; also the equally interesting incident of his +being invited to visit the Chateau of the lovely Adele Laprunarede, and +the Alpine winter catching the couple and holding them willing captives +for three months, blocked there in a castle, with nothing worse than a +conscience and an elderly husband to appease, we reach the one, supreme +love-passion in the life of Liszt. The Countess d'Agoult is worthy of +much more than a passing note. + +At twenty years of age she had been married to a man twenty-one years +her senior. It was a "mariage de convenance"--arranged by her parents +and a notary in a powdered wig. It is somewhat curious to find how many +great women have contracted just such marriages. Grim disillusionment +following, true love holding nothing in store for them, they turn to +books, politics or art, and endeavor to stifle their woman's nature with +the husks of philosophy. + +Count d'Agoult was a hard-headed man of affairs--stern, sensible and +reasonably amiable--that is to say, he never smashed the furniture, nor +beat his wife. She submitted to his will, and all the fine, girlish, +bubbling qualities of her mind and soul were soon held in check through +that law of self-protection which causes a woman to give herself +unreservedly only to the One who Understands. Yet the Countess was not +miserable--only at rare intervals did there come moods of a sort of +dread longing, homesickness and unrest; but calm philosophy soon put +these moods to rout. She had focused her mind on sociology and had +written a short history of the Revolution, a volume that yet commands +the respect of students. At intervals she read her essays aloud to +invited guests. She studied art, delved a little in music, became +acquainted with the leading thinking men and women of her time, and +opened her salon for their entertainment. + +Three children had been born to her in six years. Maternity is a very +necessary part of every good woman's education--"this woman's flesh +demands its natural pains," says a great writer in a certain play. A +staid, sensible woman was the Countess d'Agoult--tall, handsome, +graceful, and with a flavor of melancholy, reserve and disinterestedness +in her make-up that made her friendship sought by men of maturity. She +talked but little, and won through the fine art of listening. + +She was neither happy nor unhappy, and if the gaiety of girlhood had +given way to subdued philosophy, there were still wit, smiles and gentle +irony to take the place of laughter. "Life," she said, "consists in +molting one's illusions." + +The Countess was twenty-nine years of age when "Le Grand Prodige," aged +twenty-three, arrived in Paris. She had known him when he was "Le Petit +Prodige"--when she was a girl with dreams and he but a child. She wished +to see how he had changed, and so went to hear him play. He was +insincere, affected and artificial, she said--his mannerisms absurd and +his playing acrobatic. At the next concert where he played she sought +him out and half-laughingly told him her opinion of his work. He gravely +thanked her, with his hand upon his heart, and said that such honesty +and frankness were refreshing. After the concert Liszt remembered this +woman--she was the only one he did remember--she had made her +impression. + +He did not like her. + +Soon Liszt was invited to the salon of the Countess d'Agoult, and he, +the plebeian, proudly repulsed the fair aristocrat when her attentions +took on the note of patronage. They mildly tiffed--a very good way to +begin a friendship, once said Chateaubriand. + +The feminine qualities in the heart of Liszt made a lure of the person +who dared affront him. He needed the flint on which his mind could +strike fire--nothing is so depressing as continual, mushy adulation. He +sought out the Countess, and together they traversed the border-land of +metaphysics, and surveyed, as the days passed, all that intellectual +realm which the dawn of the Twentieth Century thinks it has just +discovered. + +She taunted him into a defense of George Sand, who had but recently +returned from her escapade to Venice with Alfred de Musset. Liszt +defended the author of "Leone Leoni," and read to the Countess from her +books to prove his case. + +When haughty, proud and religious ladies mix mentalities with sensitive +youths of twenty-four, the danger-line is being approached. The Grand +Passions that live in history, such as that of Abelard and Heloise, +Petrarch and Laura, Dante and Beatrice, swing in their orbit around +world-weariness. Love does not concern itself with this earth alone--it +demands a universe for its free expression. And the only woman who is +capable of the Grand Passion--who stakes all on one throw of the +dice--is the melancholy woman, with this fine, religious reserve. No one +suspected the Countess d'Agoult of indiscretion--she was too cold and +self-contained for that! + +And so is the world deceived by the Eternal Paradox of things--that law +of antithesis which makes opposites look alike. Beneath the calm dignity +of matronly demeanor the fires of love were banked. Probably even the +Countess herself did not know of the volcano that was smoldering in her +heart. But there came a day when the flames burst forth, and all the +reserve, poise, quiet dignity, caution and discretion were dissolved +into nothingness in love's alembic. + +Poor Franz Liszt! + +Poor Countess d'Agoult! + +They were powerless in the coils of such a passion. It was a mad tumult +of wild intoxication, of delicious pain, of burning fears, and vain, +tossing unrest. The woman's nature, stifled by its six years of coaxing +marital repression, was asserting itself. Liszt did not know that a +woman could love like this--neither did the woman. Once they parted, +after talking the matter over solemnly and deciding on what was best for +both--they parted coldly--with a mere touching of the lips in a last +good-by. + +The next week they were together again. + +Then Liszt fled to the Abbe Lamennais, and in tears sought, at the +confessional and in dim retirement, a surcease from the passion that was +devouring him. Here was a pivotal point in the life of Liszt, and the +Church came near then, claiming him for her own. And such would have +been the case, were it not for the fact that one of the children of the +Countess d'Agoult was sick unto death. He knew of the sleepless +vigils--the weary watching of the fond mother. + +The child died, and Franz Liszt went to the parent in her bereavement, +to offer the solace of religion and bid her a decent, respectful +farewell, ere he left Paris forever. He thought grief was a cure for +passion, and that in the presence of death, love itself was dumb. How +could he understand that, in most strong natures, tears and pain, and +hope and love are kin, and that each is in turn the manifestation of a +great and welling heart! + +Liszt stood by the side of the Countess as the grave closed over the +body of her firstborn child. And as they stood there, under the +darkening sky, her hand went groping blindly for his. She wrote of this, +years and years after, when seventy winters had silvered her hair and +her steps were feeble--she wrote of this, in her book called, +"Souvenirs," and tells how, in that moment of supreme grief, when her +life was whitened and purified by the fires of pain, her hand sought +his. The deep current of her love swept the ashes of grief away, and she +reached blindly for the hands--those wonderful music-making hands of +Liszt--that they might support her. And standing there, side by side, as +the priest intoned the burial service, he whispered to her, "Death shall +not divide us, nor is eternity long enough to separate thee from me!" + + * * * * * + +It was only a few days after that Liszt left Paris--but not for a +monastery. He journeyed to Switzerland, and stopping at Basle he was +soon joined by the Countess, her two children, and her mother. + +All Paris was set in an uproar by the "abduction." The George Sand +school approved and loudly applauded the "eclat"; but it was condemned +and execrated by the majority. As for the injured husband, it is said he +gave a banquet in honor of the event; his feelings, no doubt, being +eased by the fact that the goodly dot his wife had brought him at her +marriage was now his exclusive possession. He had never gauged her +character, anyway, and he inwardly acknowledged that her mind was of a +sort with which he could not parry. + +And now she had wronged him; yet in his grief he took much satisfaction, +and in his martyrdom there was sweet solace. + +The chief blame fell on Liszt, and the accusation that he had "broken up +a happy home" came to his ears from many sources. "They blame you and +you alone," a friend said to him. + +"Good! good!" said Liszt, "I gladly bear it all." + +George Sand, plain in feature, quiet in manner, soft and feminine when +she wished to be, yet possessing the mind of a man, went to Switzerland +to visit the runaway Liszt and the "Lady Arabella." At first thought, +one might suppose that such a visit, after the former relationship, +might have been a trifle embarrassing for both. But the fact that in the +interval George Sand had been crunching the soul of Chopin formed an +estoppel on the memory of all the soft sentiment that had gone before. +George Sand brought her two children, Maurice and Solange, and the "Lady +Arabella" had two of her own to keep them company. A little family party +was made up, and with a couple of servants and a guide, a little journey +was taken through the mountain villages, all in genuine gipsy style. +George Sand, who worked up all life, its sensations and emotions, into +good copy, has given us an account of the trip, that throws some very +interesting side-lights on the dramatis personae. + +The recounter and her children were all clothed in peasant +costume--man-style, with blouses and trousers. Gipsy garbs were worn by +the servants, and Liszt was arrayed like a mountaineer, and carried a +reed pipe, upon which he, from time to time, awoke the echoes. When the +dusty, unkempt crew arrived at a village inn, the landlord usually made +hot haste to secrete his silverware. Once when a sudden rainstorm drove +the wayfarers into a church, Liszt took his seat at the organ and +played--played with such power and feeling that the village priest ran +out and called for the neighbors to come quickly, as the Angel Gabriel, +in the guise of a mountaineer, was playing the organ. Anthem, oratorio, +and sweet, subtle, soulful improvisation followed, and the villagers +knelt, and eyes were filled with tears. George Sand records that she +never heard such playing by the Master before; she herself wept, and yet +through her tears she managed to see a few things, and here is one +picture which she gives us: "The Lady Arabella sat on the balustrade, +swinging one foot, and cast her proud and melancholy gaze over the lower +nave, and waited in vain for the celestial voices that were supposed to +vibrate in her bosom. + +"Her abundant light hair, disheveled by the wind and rain, fell in +bewildering disorder, and her eyes, reflecting the finest hue of the +firmament, seemed to be wandering over the realm of God's creation after +each sigh of the huge organ, played by the divine Liszt. + +"'This is not what I expected,' said she to me languidly. + +"'Ah, that is what you said of the mountain peaks and the glacier, +yesterday,' said I." + +It will be seen, by those who have read between the lines, that George +Sand did not much like "the fair Lady Arabella of the wondrous length of +limb." In passing, it is well to note, in way of apology for this +allusion as to "length of limb," that George Sand was once spoken of by +Heine as "a dumpy-duodecimo." It is to be regretted that we have no +description of George Sand by the Lady Arabella. + +Years passed in study and writing, with occasional concert tours, +wherein the public flocked to hear the greatest pianist of his time. The +power, grasp and insight of the man increased with the years, and +wherever he deigned to play, the public was not slow in giving him that +approbation which his masterly work deserved. Liszt was one of the Elect +Few who train on. On these short concert trips his wife (for such she +must certainly be regarded) seldom accompanied him--this in deference to +his wish, and this, it seems, was the first and last and only cause of +dissension between them. + +The Countess was born for a career and her spirit chafed at the forced +retirement in which she lived. + +Ten years had gone by and three children had been born to her and Liszt. +One of these, a boy, died in youth, but one of the daughters became, as +we know, the wife of Richard Wagner, and the other daughter married +Oliver Emile Ollivier, the eminent statesman and man of letters--member +of the Cabinet in that memorable year, Eighteen Hundred Seventy, when +France declared war on Germany. Both of these daughters of Liszt were +women of rare mentality and splendid worth, true daughters of their +father. + +Position is a pillory; sometimes the populace will pelt you with +rose-leaves--at others, with ancient vegetables. Liszt believed that for +his wife's peace of mind, and his own, she should not crowd herself too +much to the front--he feared what the mob might say or do. We can not +say that she was jealous of his fame, nor he of hers. However, as a +writer she was winning her way. But the fateful day came when the wife +said, "From this day on I must everywhere stand by your side, your wife +and your equal, or we must part." + +They parted. + +Liszt made princely provision for her welfare, and the support of their +children, as well as those that had come to her before they met. + +She went south to Italy, and he began that most wonderful concert tour, +where, in Saint Petersburg, sums equal to ten thousand dollars were +taken at the door for single entertainments. + +Countess d'Agoult was the respected friend of King Emmanuel, and her +salon at Turin was the meeting-place of such men as Renan, Meyerbeer, +Chopin, Berlioz and Rossini. She carried on a correspondence with +Heinrich Heine, was the trusted friend of Prince Jerome Bonaparte, +Lamartine and Lamennais, and was on a footing of equality with the +greatest and best minds of her age. She wrote several plays, one of +which, "Jeanne d'Arc," was presented at the Court Theater of Turin, with +the Royal Family present, and was a marked success. Her criticism on the +work of Ingres made that artist's reputation, just as surely as Ruskin +made the fame of Turner. But one special reason why Americans should +remember this woman is because she first translated Emerson's "Essays" +and caused them to be published in Italian and French. + +I am not sure that Liszt ever quite forgave her for not dying of broken +heart, when they parted there at Lake Maggiore. He thought she would +take to opium or strong drink, or both. She did neither, but proved, by +her after-life, that she was sufficient unto herself. She was worthy of +the love of Liszt, because she was able to do without it. She was no +parasitic, clinging vine that strangles the sturdy oak. + +The Abbe Lamennais, the close friend of Liszt, once said, "Liszt is a +great musician, the greatest the world has ever seen, but his wife can +easily take a mental octave which he can not quite span." + +The Countess d'Agoult died March Fifth, in Eighteen Hundred Seventy-six, +at the age of seventy years. When tidings of her passing reached the +Abbe Liszt, he caused all of his immediate engagements to be canceled +and went into monastic retirement, wearing the robe of horsehair and a +rope girdle at his waist. He filled the hours for the space of a month +with silent reverie and prayer. + +And even in that cloister-cell, with its stone floor and cold, bare +walls, the leaden hours brought the soundless presence of a tall and +stately woman. Through the desolate bastions of his brain she glided in +sweet disarray, looked into his tear-dimmed eyes, smoothing softly the +coarse pillow where rested that head with its lion's mane which we know +so well--a head now whitened by the frost of years. No sound came to him +there, save a soft voice which Fate refused to silence, and this voice +whispered and whispered yet again to him: "Death shall not divide us, +nor is eternity long enough to separate thee from me!" + + * * * * * + +Religion is not the cure of love. Perhaps religion is love and love is +religion--anyway, we know that they are often fused. For a time after +Liszt had parted from the Countess, fortune smiled. Then came various +loans to friends, managerial experiments, the backing of an ill-starred +opera, and a season of overwrought nerves. + +Luck had turned against the supposed invincible Liszt. Then it was that +the Princess Wittgenstein appears on the scene. This fine woman, +earnest, strong in character, intellectual, had tried ten years of +marital hard times and quit the partnership with a daughter and a goodly +dot. + +The Princess had secretly loved Liszt from afar, and had followed him +from town to town, glorying in his triumphs, feeding on his personality. + +When trouble came she managed to have a message conveyed to him that an +unknown woman would advance, without interest or security, enough money +for him to pay all his debts and secure him two years of leisure in +which he might regain his health and do such work as his taste might +dictate. + +Of course Liszt declined the offer, begging his unknown friend to +divulge her identity that he might thank her for her disinterested faith +in the cause of Art. + +A meeting was brought about and the result was as usual. The Grand +Duchess of Saxe-Weimar, in the face of scandal, took the Abbe and +Princess under protection, giving them the Chateau of Altenburg, near +Weimar, for a retreat. There Liszt, guarded from all intrusion, composed +the symphonies of "Dante" and "Faust," sonatas, masses and parts of +"Saint Elizabeth." For thirteen years they lived an idyllic existence. +Then, having married her daughter by her first husband to Prince +Hohenlohe, the Princess set out for Rome to obtain a dispensation from +the Pope, so she and the Abbe could be married. Her husband, who was a +Protestant, had long before secured a divorce and married again. Pope +Pius the Ninth granted her wish, and she hastened home and prepared for +the wedding. It was said that flowers were already placed on the altar, +the marriage feast was prepared, the guests invited, when news came that +the Pope had changed his mind on the argument of one of the lady's +kinsmen. We now have every reason to believe, though, that the Pope +changed his mind on the earnest request of Liszt. + +On the death of the Princess Wittgenstein, the Pope dispensed Liszt from +his priestly ties, but he was called the Abbe until his death. + +Whenever I find any one who can write better on a subject than I can, I +refuse to go on. + +There is a book called, "Music Study in Germany," written by my friend +Amy Fay, and published by The Macmillan Company, from which I quote. + +If Amy Fay had not chosen to be the superb pianist that she is, she +might have struck thirteen in literature. + +There are a dozen biographies of Liszt, but none of them has ever given +us such a vivid picture of the man as has this American girl. The +simple, unpretentious little touches that she introduces are art so +subtile and true that it is the art which conceals art. The topmost +turret of my ambition would be to have Amy Fay Boswellize my memory. + +Says Amy Fay: + + Liszt is the most interesting and striking-looking man imaginable, + tall and slight, with deep-set eyes, long iron-gray hair, and + shaggy eyebrows. His mouth turns up at the corners, which gives him + a most crafty and Mephistophelian expression when he smiles, and + his whole appearance and manner have a sort of Jesuitical elegance + and ease. His hands are very narrow, with long and slender fingers + that look as if they had twice as many joints as other people's. + They are so flexible and supple that it makes you nervous to look + at them. Anything like the polish of his manner I never saw. When + he got up to leave the box, for instance, after his adieux to the + ladies, he laid his hand on his heart and made his final bow--not + with affectation, or in mere gallantry, but with a quiet + courtliness which made you feel that no other way of bowing to a + lady was right or proper. + + But the most extraordinary thing about Liszt is his wonderful + variety of expression and play of feature. One moment his face will + look dreamy, shadowy, tragic; the next he will be insinuating, + amiable, ironical, sardonic; but always the same captivating grace + of manner. He is a perfect study. He is all spirit, but half the + time, at least, a mocking spirit, I should say. All Weimar adores + him, and people say that women still go perfectly crazy over him. + When he walks out, he bows to everybody just like a king! The Grand + Duke has presented him with a beautiful house situated on the Park, + and here he lives elegantly, free of expense. + + Liszt gives no paid lessons whatever, as he is much too grand for + that, but if one has talent enough, or pleases him, he lets one + come to him and play to him. I go to him every other day, but I + don't play more than twice a week, as I can not prepare so much, + but I listen to others. Up to this point there have been only four + in the class beside myself, and I am the only new one. From four to + six o'clock in the afternoon is the time when he receives his + scholars. The first time I went I did not play to him, but listened + to the rest. Urspruch and Leitert, two young men whom I met the + other night, have studied with Liszt a long time, and both play + superbly. + + As I entered the salon, Urspruch was performing Schumann's + "Symphonic Studies"--an immense composition, and one that it took + at least half an hour to get through. He played so splendidly that + my heart sank down into the very depths. I thought I should never + get on there! Liszt came forward and greeted me in a very friendly + manner as I entered. He was in a very good humor that day, and made + some little witticisms. Urspruch asked him what title he should + give to a piece he was composing. "Per aspera ad astra," said + Liszt. This was such a good hit that I began to laugh, and he + seemed to enjoy my appreciation of his little sarcasm. I did not + play that time as my piano had only just come, and I was not + prepared to do so, but I went home and practised tremendously for + several days on Chopin's "B minor sonata." It is a great + composition and one of his last works. When I thought I could play + it, I went to Liszt, though with a trembling heart. I can not tell + you what it has cost me every time I have ascended his stairs. I + can scarcely summon up courage to go there, and generally stand on + the steps a few moments before I can make up my mind to open the + door and go in. + + Well, on this day the artists Leitert and Urspruch, and the young + composer Metzdorf, were in the room when I came. They had probably + been playing. At first Liszt took no notice of me beyond a + greeting, till Metzdorf said to him, "Herr Doctor, Miss Fay has + brought a sonata." "Ah, well, let us hear it," said Liszt. Just + then he left the room for a minute, and I told the three gentlemen + they ought to go away and let me play to Liszt alone, for I felt + nervous about playing before them. They all laughed at me and said + they would not budge an inch. When Liszt came back they said to + him, "Only think, Herr Doctor, Miss Fay proposes to send us all + home." I said I could not play before such artists. "Oh, that is + healthy for you," said Liszt with a smile, and added, "you have a + very choice audience now." I don't know whether he appreciated how + nervous I was, but instead of walking up and down the room, as he + often does, he sat down by me like any other teacher, and heard me + play the first movement. It was frightfully hard, but I had studied + it so much that I managed to get through with it pretty + successfully. Nothing could exceed Liszt's amiability, or the + trouble he gave himself, and instead of frightening me, he inspired + me. Never was there such a delightful teacher! and he is the most + sympathetic one I've had. You feel so free with him, and he + develops the very spirit of music in you. He doesn't keep nagging + at you all the time, but he leaves you your own conception. Now and + then he will make a criticism or play a passage, and with a few + words give you enough to think of all the rest of your life. There + is a delicate point to everything he says as subtle as he is + himself. He doesn't tell you anything about the technique; that you + must work out for yourself. When I had finished the first movement + of the sonata, Liszt, as he always does, said "Bravo!" Taking my + seat he made some little criticisms, and then he told me to go on + and play the rest of it. + + Now, I only half-knew the other movements, for the first one was so + extremely difficult that it cost me all the labor I could give to + prepare that. But playing to Liszt reminds me of trying to feed the + elephant in the Zoological Garden with lumps of sugar. He disposes + of whole movements as if they were nothing, and stretches out + gravely for more! One of my fingers fortunately began to bleed, for + I had practised the skin off, and that gave me a good excuse for + stopping. Whether he was pleased at this proof of industry, I know + not; but after looking at my finger and saying, "Oh!" very + compassionately, he sat down and played the whole three last + movements himself. That was a great deal and showed off his powers. + It was the first time I had heard him, and I don't know which was + the most extraordinary--the Scherzo, with its wonderful lightness + and swiftness, the Adagio with its depth and pathos, or the last + movement, where the whole keyboard seemed to "donnern und blitzen." + There is such a vividness about everything he plays that it does + not seem as if it were mere music you are listening to, but it is + as if he had called up a real, living form, and you saw it + breathing before your face and eyes. It gives me almost a ghostly + feeling to hear him, and it seems as if the air were peopled with + spirits. Oh, he is a perfect wizard! It is as interesting to see + him as it is to hear him, for his face changes with every + modulation of the piece, and he looks exactly as he is playing. He + has one element that is most captivating, and that is a sort of + delicate and fitful mirth that keeps peering out at you here and + there. It is most peculiar, and when he plays that way, the most + bewitching expression comes over his face. It seems as if a little + spirit of joy were playing hide-and-go-seek with you. + + At home Liszt doesn't wear his long Abbe's coat, but a short one, + in which he looks much more artistic. His figure is remarkably + slight, but his head is most imposing. It is so delicious in that + room of his! It was all furnished and put in order for him by the + Grand Duchess herself. The walls are pale gray, with a gilded + border running round the room, or rather two rooms, which are + divided, but not separated, by crimson curtains. The furniture is + crimson, and everything is so comfortable--such a contrast to + German bareness and stiffness generally. A splendid grand piano (he + receives a new one every year,) stands in one window. The other + window is always open and looks out on the park. There is a + dovecote just opposite the window, and doves promenade up and down + upon the roof of it, and fly about, and sometimes whirr down on the + sill itself. That pleases Liszt. His writing-table is beautifully + fitted up with things that match. Everything is in + bronze--inkstand, paper-weight, match-box, etc.--and there is + always a lighted candle standing on it by which he and the + gentlemen can light their cigars. There is a carpet on the floor, a + rarity in Germany, and Liszt generally walks about and smokes and + mutters, and calls upon one or the other of us to play. From time + to time he will sit down and himself play where a passage does not + suit him, and when he is in good spirits he makes little jests all + the time. His playing was a complete revelation to me, and has + given me an entirely new insight into music. You can not conceive, + without hearing him, how poetic he is, or the thousand nuances that + he can throw into the simplest thing, and he is equally great on + all sides. From the zephyr to the tempest, the whole scale is + equally at his command. + + Liszt is not at all like a master, and can not be treated as one. + He is a monarch, and when he extends his royal scepter you can sit + down and play to him. You never can ask him to play anything for + you, no matter how much you're dying to hear it. If he is in the + mood he will play; if not, you must content yourself with a few + remarks. You can not even offer to play yourself. + + You lay your notes on the table, so he can see that you want to + play, and sit down. He takes a turn up and down the room, looks at + the music, and if the piece interests him he will call upon you. We + bring the same piece to him but once, and but once play it through. + + Yesterday I had prepared for him his "Au Bord d'une Source." I was + nervous and played badly. He was not to be put out, however, but + acted as if he thought I had played charmingly, and then he sat + down and played the whole thing himself, oh, so exquisitely! It + made me feel like a wood-chopper. The notes just seemed to ripple + off his fingers' ends with scarce any perceptible motion. As he + neared the close I noticed that funny little expression come over + his face, which he always has when he means to surprise you, and he + then suddenly took an unexpected chord and extemporized a poetical + little end, quite different from the written one. Do you wonder + that people go distracted over him? + + One day this week, when we were with Liszt, he was in such high + spirits that it was as if he had suddenly become twenty years + younger. A student from the Stuttgart conservatory played a Liszt + concerto. His name is V., and he is dreadfully nervous. Liszt kept + up a running fire of satire all the time he was playing, but in a + good-natured way. I shouldn't have minded it if it had been I. In + fact, I think it would have inspired me; but poor V. hardly knew + whether he was on his head or on his feet. It was too funny. + Everything that Liszt says is so striking. For instance, in one + place where V. was playing the melody rather feebly, Liszt suddenly + took his seat at the piano and said, "When I play, I always play + for the people in the gallery, so that those people who pay only + five groschens for their seats also hear something." Then he began, + and I wish you could have heard him! The sound didn't seem to be + very loud, but it was penetrating and far-reaching. When he had + finished, he raised one hand in the air, and you seemed to see all + the people in the gallery drinking in the sound. That is the way + Liszt teaches you. He presents an idea to you, and it takes fast + hold of your mind and sticks there. Music is such a real, visible + thing to him that he always has a symbol, instantly, in the + material world to express his idea. One day, when I was playing, I + made too much movement with my hand in a rotary sort of a passage + where it was difficult to avoid it. "Keep your hand still, + Fraulein," said Liszt; "don't make omelet." I couldn't help + laughing--it hit me on the head so nicely. He is far too sparing of + his playing, unfortunately, and like Tausig, sits down and plays + only a few bars at a time generally. It is dreadful when he stops, + just as you are at the height of your enjoyment, but he is so + thoroughly blase that he doesn't care to show off before people and + doesn't like to have any one pay him a compliment about his + playing. In Liszt I can at least say that my ideal in something has + been realized. He goes far beyond all that I expected. Anything so + perfectly beautiful as he looks when he sits at the piano I never + saw, and yet he is almost an old man now. I enjoy him as I would an + exquisite work of art. His personal magnetism is immense, and I can + scarcely bear it when he plays. He can make me cry all he chooses, + and that is saying a good deal, because I've heard so much music, + and never have been affected by it. Even Joachim, whom I think + divine, never moved me. When Liszt plays anything pathetic, it + sounds as if he had been through everything, and opens all one's + wounds afresh. All that one has ever suffered comes before one + again. Who was it that I heard say once, that years ago he saw + Clara Schumann sitting in tears near the platform during one of + Liszt's performances? Liszt knows well the influence he has on + people, for he always fixes his eyes on some one of us when he + plays, and I believe he tries to wring our hearts. When he plays a + passage and goes pearling down the keyboard, he often looks over + at me and smiles, to see whether I am appreciating it. + + But I doubt if he feels any particular emotion himself when he is + piercing you through with his rendering. He is simply hearing every + tone, knowing exactly what effect he wishes to produce and just how + to do it. In fact, he is practically two persons in one--the + listener and the performer. But what immense self-command that + implies! No matter how fast he plays you always feel that there is + "plenty of time"--no need to be anxious! You might as well try to + move one of the pyramids as fluster him. Tausig possessed this + repose in a technical way, and his touch was marvelous; but he + never drew the tears to your eyes. He could not wind himself + through all the subtle labyrinths of the heart as Liszt does. Liszt + does such bewitching little things! The other day, for instance, + Fraulein Gaul was playing something to him, and in it were two + runs, and after each run two staccato chords. She did them most + beautifully and struck the chords immediately after. "No, no," said + Liszt; "after you make a run you must wait a minute before you + strike the chords, as if in admiration of your own performance. You + must pause, as if to say, 'How nicely I did that!'" Then he sat + down and made a run himself, waited a second, and then struck the + two chords in the treble, saying as he did so, "Bravo!" and then he + played again, struck the other chord and said again, "Bravo!" and + positively, it was as if the piano had softly applauded. + + Liszt hasn't the nervous irritability common to artists, but on the + contrary his disposition is the most exquisite and tranquil in the + world. We have been there incessantly and I've never seen him + ruffled except two or three times, and then he was tired and not + himself, and it was a most transient thing. When I think what a + little savage Tausig often was, and how cuttingly sarcastic Kullak + could be at times, I am astonished that Liszt so rarely lost his + temper. He has the power of turning the best side of every one + outward, also the most marvelous and instant appreciation of what + that side is. If there is anything in you, you may be sure that + Liszt will know it. On Monday I had a most delightful tete-a-tete + with Liszt, quite by chance. I had occasion to call upon him for + something, and strange to say, he was alone, sitting by his table + writing. Generally all sorts of people are up there. He insisted + upon my staying for a while, and we had the most amusing and + entertaining conversation imaginable. It was the first time I ever + heard Liszt really talk, for he contents himself mostly with making + little jests. He is full of esprit. Another evening I was there + about twilight and Liszt sat at the piano looking through a new + oratorio which had just come out in Paris, upon "Christus." He + asked me to turn for him, and evidently was not interested, for he + would skip whole pages and begin again, here and there. There was + only a single lamp, and that a rather dim one, so that the room was + all in shadow, and Liszt wore his Merlin-like aspect. I asked him + to tell me how he produced a certain effect he makes in his + arrangement of the ballad in Wagner's "Flying Dutchman." He looked + very "fin" as the French say, but did not reply. He never gives a + direct answer to a direct question. "Ah," said I, "you won't tell." + He smiled and then immediately played the passage. It was a long + arpeggio, and the effect he made was, as I had supposed, a pedal + effect. He kept the pedal down throughout, and played the beginning + of the passage in a grand sort of manner, and then all the rest of + it with a very pianissimo touch, and so lightly, that the + continuity of the arpeggios was destroyed, and the notes seemed to + be just strewn in, as if you broke a wreath of flowers and + scattered them according to your fancy. It is a most striking and + beautiful effect, and I told him I didn't see how he ever thought + of it. "Oh, I've invented a great many things," said he, + indifferently--"this, for instance"--and he began playing a double + roll of octaves in chromatics in the bass of the piano. It was very + grand and made the room reverberate. + + "Magnificent," said I. + + "Did you ever hear me do a storm?" said he. + + "No." + + "Ah, you ought to hear me do a storm! Storms are my forte!" + + Then to himself between his teeth, while a weird look came into his + eyes as if he could indeed rule the blast, "Then crash the trees!" + + How ardently I wished that he would "play a storm," but of course + he didn't, and he presently began to trifle over the keys in a + blase style. I suppose he couldn't quite work himself up to the + effort, but that look and tone told how Liszt would do it. Alas, + that we poor mortals here below should share so often the fate of + Moses, and have only a glimpse of the Promised Land, and that + without the consolation of being Moses! But perhaps, after all, the + vision is better than the reality. We see the whole land, even if + but from afar, instead of being limited merely to the spot where + our foot treads. + + Once again I saw Liszt in a similar mood, though his expression was + this time comfortably rather than wildly destructive. It was when + Fraulein Remmertz was playing his "E flat concerto" to him. There + were two grand pianos in the room; she was sitting at one, and he + at the other, accompanying and interpolating as he felt disposed. + Finally they came to a place where there was a series of passages + beginning with both hands in the middle of the piano, and going in + opposite directions to the ends of the keyboard, ending each time + with a short, sharp chord. "Pitch everything out of the window!" + cried he, and began playing these passages and giving every chord a + whack as if he were splitting everything up and flinging it out, + and that with such enjoyment that you felt as if you'd like to bear + a hand, too, in the work of demolition! But I never shall forget + Liszt's look as he so lazily proposed to "pitch everything out of + the window." It reminded me of the expression of a big tabby-cat as + it sits by the fire and purrs away, blinking its eyes and seemingly + half-asleep, when suddenly--!--! out it strikes with both its + claws, and woe to whatever is within its reach! + + + +[Illustration: BEETHOVEN] + +LUDWIG VAN BEETHOVEN + + + Melody has by Beethoven been freed from the influence of Fashion + and changing Taste, and raised to an ever-valid, purely human type. + Beethoven's music will be understood to all time, while that of his + predecessors will, for the most part, only remain intelligible to + us through the medium of reflection on the history of Art. + + --_Richard Wagner_ + + +LUDWIG VAN BEETHOVEN + +Music is the youngest of the arts. Modern music dates back about four +hundred years. It is not so old as the invention of printing. As an art +it began with the work of the priests of the Roman Catholic Church in +endeavoring to arrange a liturgy. + +The medieval chant and the popular folk-song came together, and the +science of music was born. Sculpture reached perfection in Greece, +painting in Italy, portraiture in Holland; but Germany, the land of +thought, has given us nearly all the great musicians and nine-tenths of +all our valuable musical compositions. + +Holland has taken a very important part in every line of art and +handicraft, and in way of all-round development has set the pace for +civilization. + +Art follows in the wake of commerce, for without commerce there is +neither surplus wealth nor leisure. The artist is paid from what is left +after men have bought food and clothing; and the time to enjoy comes +only after the struggle for existence. + +When Venice was not only Queen of the Adriatic but of the maritime world +as well, Art came and established there her Court of Beauty. It was +Venice that mothered Giorgione, Titian, the Bellinis, and the men who +wrought in iron and silver and gold, and those masterful bookmakers; it +was beautiful Venice that gave sustenance and encouragement to +Stradivari (who made violins as well as he could) up at Cremona, only a +few miles away. + +But there came a day when all those seventy bookmakers of Venice ceased +to print, and the music of the anvils was stilled, and all the painters +were dead, and Venice became but a monument of things that were, as she +is today; for Commerce is King, and his capital has been moved far away. + +So Venice sits sad and solitary--a pale and beautiful ruin, pathetic +beyond speech, infested by noisy shop-keepers and petty pilferers, the +degenerate sons of the robbers who once roamed the sea and enthroned her +on her hundred isles. + +All that Venice knew was absorbed by Holland. The Elzevirs and the +Plantins took over the business of the seventy bookmakers, and the +art-schools of Amsterdam, Leyden and Antwerp reproduced every picture of +note that had been done in Venice. The great churches of Holland are +replicas of the churches of Venice. And the Cathedral at Antwerp, where +the sweet bells have chimed each quarter of an hour for three centuries, +through peace and plenty, through lurid war and sudden death--there +where hangs Rubens' masterpiece--that Cathedral is but an enlarged +"Santa Maria de' Frari," where for two hundred years hung "The +Assumption," by Titian. + +In these churches of Holland were placed splendid organs, and the +priests formed choirs, and offered prizes for the best singing and the +best compositions. Music and painting developed hand in hand; for at the +last, all of the arts are one--each being but a division of labor. + +The world owes a great debt to the Dutch. It was Holland taught England +how to paint and how to print, and England taught us: so our knowledge +of printing and painting came to us by way of the apostolic succession +of the Dutch. + +The march of civilization follows a simple trail, well defined beyond +dispute. Viewed in retrospect it begins in a hazy thread stretching from +Assyria into Egypt, from Egypt into Greece, from Greece to +Rome--widening throughout Italy and Spain, then centering in Venice, and +tracing clear and deep to Amsterdam--widening again into Germany and +across to England, thence carried in "Mayflowers" to America. + +That remark of Charles Dudley Warner, once near neighbor to Mark Twain, +that there is no culture west of Buffalo, was indelicate if not unkind; +and residents of Omaha aver that it is open to argument. But the fact +stands beyond cavil that what art we possess is traceable to our +masters, the Dutch. + +It must be admitted that the art of printing was first practised at +Mayence on the Rhine, leaving the Chinese out of the equation; but it +had to travel around down through Italy before it reached perfection. +And its universality and usefulness were not fully developed until it +had swung around to Holland and was given by the Dutch back to Germany +and the world. And as with printing, so with music. Germany has +specialized on music. She has succeeded, but it is because Holland gave +her lessons. + + * * * * * + +During the fore part of the Seventeenth Century, there lived in Antwerp, +Ludvig van Biethofen, grandfather of the genius known as Beethoven. A +life-size portrait of him can be seen in the Plantin Musee, and if you +did not know that the picture was painted before Beethoven was born, you +would say at once, "Beethoven!" There is a look of stern endurance, as +if the artist had admired Rembrandt's "Burgomaster" a little too well, +yet that sturdiness belonged to the Master, too; and there are the +abstracted far-away look, the touch of proud melancholy, and the +becoming unkemptness that we know so well. + +The child is grandfather to the man. Beethoven bore slight resemblance +to his immediate parents, but in his talent, habits and all of his +mental traits, he closely resembled this sturdy Dutchman who composed, +sang, led the military band, and played the organ at the Church of Saint +Jacques in Antwerp. + +Being ambitious, Ludvig van Biethofen, while yet a young man, moved to +Bonn, the home of Clement Augustus, Archbishop-Elector of Cologne. + +The chief business of elector was, in case of necessity, to elect a +King. America borrowed the elector idea from Germany. But our "electoral +college" is a degenerate political appendicle that is continued, +because, in borrowing plans of government, we took good and bad alike, +not knowing there was a difference. The elector scheme in the United +States is occasionally valuable for defeating the will of the people in +case of a popular majority. + +In justice, however, let me say that the original argument of the +Colonists was that the people should not vote directly for President, +because the candidate might live a long way off, and the voter could not +know whether he was fit or not. So they let the citizen vote for a wise +and honest elector he knew. + +The result is that we all now know the candidates for President, but we +do not know the electors. The electoral college in America is just about +as useful as the two buttons on the back of a man's coat, put there +originally to support a sword-belt. We have discarded the sword, yet we +cling to our buttons. + +But the electors of Germany, in days agone, had a well-defined use. The +people were not, at first, troubled to elect them--the King did that +himself, and then as one good turn deserves another, the electors agreed +to elect the successor the King designated, when death should compel him +to abdicate. Then to fill in the time between elections, the electors +did the business of the King. It will thus be seen that every elector +was really a sort of King himself, governing his little State, amenable +to no one but the King. + +And so the chief business of the elector was to keep the people in his +diocese loyal to the King. + +There have always existed three ways of keeping the people loving and +loyal. One is to leave them alone, to trust them and not to interfere. +This plan, however, has very seldom been practised, because the +politicians regard the public as a cow to be milked, and something must +be done to make it stand quiet. + +So they try Plan Number Two, which consists in hypnotizing the public by +means of shows, festivals, parades, prizes and many paid speeches, +sermons and editorials, wherein and whereby the public is told how much +is being done for it, and how fortunate it is in being protected and +wisely cared for by its divinely appointed guardians. Then the band +strikes up, the flags are waved, three passes are made, one to the right +and two to the left; and we, being completely under the hypnosis, hurrah +ourselves hoarse. + +Plan Number Three is a very ancient one and is always held back to be +used in case Number Two fails. It is for the benefit of the people who +do not pass readily under hypnotic control. If there are too many of +these, they have been known to pluck up courage and answer back to the +speeches, sermons and editorials. Sometimes they refuse to hurrah when +the bass-drum plays, in which case they have occasionally been arrested +for contumacy and contravention by stocky men, in wide-awake hats, who +lead the strenuous life. This Plan Number Three provides for an armed +force that shall overawe, if necessary, all who are not hypnotized. The +army is used for two purposes--to coerce disturbers at home, and to get +up a war at a distance, and thus distract attention from the troubles +near at hand. Napoleon used to say that the only sure cure for internal +dissension was a foreign war: this would draw the disturbers away, on +the plea of patriotism, so they would win enough outside loot to satisfy +them, or else they would all get killed, it really didn't matter much; +and as for loot, if it was taken from foreigners, there was no sin. + +A careful analyst might here say that Plan Number Three is only a +variation of Plan Number Two--the end being gained by hypnotic effects +in either event, for the army is conscripted from the people to use +against the people, just as you turn steam from a boiler into the +fire-box to increase the draft. Possibly this is true, but I have +introduced this digression, anyway, only to show that the original +office of elector was a wise and beneficent function of the Government, +and could be revived with profit in America, to replace the outworn and +useless vermiformis that we now possess in way of an electoral college. + + * * * * * + +When Kings allowed Church and State to separate they made a grave +mistake. With the two united, as they were until a more recent time, +they held a cinch on both the souls and the bodies of their subjects. + +In the good old days in Germany the elector was always an archbishop. +Our bishops now are a weakling lot. With no army to back their edicts +the people smile at their proclamations, try on their shovel hats, and +laugh at their gaiters. Or if they be Methodist bishops, who are only +make-believe bishops, having slipped the cable that bound them to the +past, we pound them familiarly on the back and address them as "Bish." + +Clement Augustus, Elector of Cologne, maintained a court that vied with +royalty itself. In his household were two hundred servants. He had +coachmen, footmen, cooks, messengers, a bodyguard, musicians, poets and +artists who hastened to do his bidding. He patronized all the arts, made +a pet of science, offered a reward for the transmutation of metals, +dabbled in astrology and practised palmistry. + +Into this brilliant court came the strong and masterful Ludvig van +Biethofen. + +In a year his gracious presence, superb voice and rare skill as a +musician, pushed him to the front and into favor with the powers, with a +yearly salary of four hundred guilders. The history of this man is a +deal better raw stock for a romance than the life of his grandson. + +From Seventeen Hundred Thirty-two, when he entered the court as an +unknown and ordinary musician with an acceptable tenor voice, to +Seventeen Hundred Sixty-one, when he was Kapellmeister and a member of +the private council of the Elector, his life was a steady march +successward. Strong men were needed then as now, and his promotion was +deserved. Various accounts and mention of this man are to be found, and +one contemporary described him as he appeared at sixty. The only mark of +age he carried was his flowing white hair. His smoothly shaven face +showed the strong features of a man of thirty-five; and his carriage, +actions and superb grace as an orchestra-leader made him a conspicuous +figure in any company. + +Ludvig van Biethofen had one son, Johann by name. This boy resembled his +gifted father very little, and his training was such that he early fell +a victim to arrested development. + +If a parent does everything for a child, the child probably will never +do anything for himself. It is Nature's plan--she seems to think that no +one needs strength excepting the struggler, and being kind she comes to +his rescue; but the man who puts forth no effort remains a weakling to +the end. + +Johann placed success beyond his reach very early in life by putting an +enemy into his mouth to steal away his brains. His marriage to a +daughter of a cook in Ehrenbreitstein Castle did not stop his +waywardness, or give him decision as was hoped. Marriage as a scheme of +reformation is not always a success, and women who lend themselves to it +take great chances. + +Mary Magdalena was a widow, and some say possessed of wiles. That she +was beneath Johann in social station, but beyond him in actual worth, +there is no doubt. And whether she snared the incautious man, or whether +the marriage was arranged by the elder Biethofen as a diplomatic move in +the interests of morality, matters little. The end justifies the means; +and as a net result of this mating, without putting forward the +circumstance as a precedent to be religiously followed, the world has +Beethoven and his work. + + * * * * * + +A plate affixed to Number Five Hundred Fifteen Bonngasse, Bonn, gives +the birth of Ludwig van Beethoven as December Seventeenth, Seventeen +Hundred Seventy. He was the second-born child of his mother, and after +him came a goodly assortment of boys and girls. Two of his brothers +lived to exercise a sinister influence over the life of the Master, and +to darken days that should have been luminous with love. Little Ludwig +was the pet and pride of the grandfather. The grandfather had even +insisted that the baby should bear his name. Disappointment in his own +child caused him to center his love in the grandchild. This instinct +that makes men long to live again in the lives of their children--is it +reaching out for immortality? And as the grandfather virtually supported +the household, he was allowed to have his own way, and indeed that +strong, yet cheery will was not to be opposed. The old man prophesied +what the boy would do, just as love ever does, and has done, since the +world began. + +But only in his dreams was Ludvig van Biethofen to know of the success +of his namesake. When the boy was scarce four years old, the old man +passed away. The place in the orchestra that Johann held through favor +was soon forfeited, and times of pinching poverty followed, and sorrows +came like the gathering of a winter night. + +Have you never shared the mocking shame and biting pain of a drunkard's +household? Then God grant you never may. When the world withdraws its +faith from a man through his own imbecility, and employment is denied; +when promises are unkept; when order and system are gone, and foresight +fled, and loud accusation, threat and contumely vary their strident +tones with maudlin protestations of affection, and vows made to be +broken, easily change to curses; when the fire dies on the hearth, and +children huddle in bed in the daytime for warmth; when the scanty food +that is found is eaten ravenously, and blanching fear comes when a heavy +tread and fumbling at the lock are heard in the hall--these things +challenge language for fit expression and cause words to falter. + +The moody and dispirited Johann one day conceived a bright thought--a +thought so vivid that for the moment it cleared the cobwebs from his +mind and sobered his boozy brain--the genius of his five-year-old boy +should be exploited to retrieve his battered fortunes! + +The child was already showing signs of musical talent; and diligent +practise was now begun. Several chums at the beer-gardens were +interviewed and great plans unfolded in beery enthusiasm. The services +of several of these men were secured as tutors, and one of them, +Pfeiffer, took lodgings with the Biethofens, and paid for bed and board +in music-lessons. + +A new thought is purifying, ideas are hygienic; and already things had +begun to look brighter for the household. It wasn't exactly prosperity, +but Johann had found a place in the band, and was earning as much as +three dollars a week, which amount for two weeks running he brought home +and placed in his wife's lap. + +But things were grievous for young Beethoven: he had two taskmasters, +his father and Pfeiffer. One gave him lessons on the violin in the +morning, and the other took him to a tavern where there was a clavichord +and made him play all the afternoon. + +Then occasionally Johann and Pfeiffer would come home at two o'clock in +the morning from a concert where they had been playing and where the +wine was red and also free, and they would drag the poor child from his +bed to make him play. This was followed up until the boy's mother +rebelled, and on one occasion Pfeiffer and Johann were sent to the +military hospital and dry-docked for repairs. + +On the whole, this man Pfeiffer was kindly and usually capable. In +after-years Beethoven testified to the valuable assistance he had +received from him; and when Pfeiffer had grown old and helpless, +Beethoven sent funds to him by the publishers, Simrock. + +Young Ludwig was a stocky, sturdy youth, decidedly Dutch in his +characteristics, with no nerves to speak of, else he would have laid him +down and died of heart-chill and neglect, as did four of his little +brothers and sisters. But he stood the ordeals, and at parlor, tavern +and beer-garden entertainments where he played, although his cheeks +were often stained with tears, he took a sort of secret pride in being +able to do things which even his father could not. And then he was +always introduced as "Ludvig Biethofen, the grandchild of Ludvig van +Biethofen," and this was no mean introduction. His appearance, even +then, bore strong resemblance to the lost and lamented grandfather; and +Van den Eeden, the Court Organist, in loving remembrance of his Antwerp +friend, took the lad into his keeping and gave him lessons. When Van den +Eeden retired, Neefe, his successor, took a kindly interest in the boy +and even protected him from his father and the zealous Pfeiffer. So well +was the boy thought of that when he was twelve years of age Neefe +established him as his deputy at the chapel organ. + +Shortly after this, the new Elector, Max Friedrich, bestowed on "Louis +van Beethoven, my well-beloved player upon the organ and clavichord, a +stipend of one hundred fifty florins a year, and if his talent doth +increase with his years the amount is to be also increased." + +In token of the Elector's recognition Beethoven wrote three sonatas, the +earliest of his compositions, and dedicated them to Max Friedrich in +Seventeen Hundred Eighty-two. + +In Seventeen Hundred Eighty-four, Elector Max Friedrich died, and Max +Franz was appointed to take his place. His inauguration was the signal +for a renewal of musical and artistic activity. Concerts, shows and +military pageants followed the installation. In a list of court +appointments we find that Louis van Beethoven is put down as "second +organist" with a salary of forty-five pounds a year. Below this is +Johann Beethoven with a salary of thirty pounds a year. And in one of +the court journals mention is made of Johann Beethoven with the added +line, "father of Ludwig Beethoven," showing even then the man's source +of distinction. + +In Seventeen Hundred Eighty-seven, when in his eighteenth year, +Beethoven made a visit to Vienna in company with several musicians from +the Elector's court at Bonn. This visit was a memorable event in the +life of the Master, every detail of which was deeply etched upon his +memory, to be effaced only by death. + +It was on this visit to Vienna that he met Mozart, and played for him. +Mozart gave due attention, and when the player had ceased he turned to +the company and said, "Keep your eye on this youth--he will yet make a +noise in the world!" + +The remark, if closely analyzed, reveals itself as noncommittal; and +although it has been bruited as praise the round world over, it was +probably an electrotyped expression, used daily; for great musicians are +called upon at every turn to listen to prodigies. I once attended +"rhetoricals" where the Honorable Chauncey M. Depew was present. Being +called upon to "make a few remarks," the Senator from New York arose and +referred to one of the speeches given by a certain sophomore as "unlike +anything I ever heard before!" Genius very seldom recognizes genius. + +Beethoven had a self-sufficiency, even at that early time, that stood +him in good stead. He felt his power, and knew his worth. That +steadfast, obstinate quality in his make-up was not in vain. He let +others quote Mozart's remark; but he had matched himself against the +Master, and was not abashed. + + * * * * * + +Kinship is a question of spirit and not a matter of blood. How often do +we find persons who, in feeling, are absolutely strangers to their own +brothers and sisters! Occasionally even parents fail to understand their +children. The child may hunger for sympathy and love that the mother +knows nothing of, and cry itself to sleep for a tenderness withheld. +Later this same child may evolve aspirations and ambitions that seem to +the other members of the family mere whims and vagaries to be laughed +down, or stoutly endured, as the mood prompts. + +Knowing these things, do we wonder at the question of long ago, "Who is +my mother, and who are my brethren"? Beethoven was a beautiful brown +thrush in a nest of cuckoos. He could sing and sing divinely, and the +members of his household were glad because it brought an income in which +they all shared. + +About the year Seventeen Hundred Ninety-five, Beethoven went to Vienna, +and as he had been heralded by several persons of influence, his +reception was gracious. Charity has its periods of evolving into a fad, +and at this time the fashion was musical entertainments in aid of this +or that. Slight suspicions exist that these numerous entertainments were +devised by fledgling musicians for their own aggrandizement, and +possibly patrons fanned the philanthropic flame to help on their +proteges. Beethoven was of too simple and guileless a nature to aid his +fortunes with the help of any social jimmy, but we see he was soon in +the full tide of local popularity. His ability as a composer, his virile +presence, and his skill as a player, made his company desired. From +playing first for charity, then at the houses of nobility, and next as a +professional musician, he gradually mounted to the place to which his +genius entitled him. + +Then we find his brothers, Carl and Johann, appearing on the scene, with +a fussy yet earnest intent to take care of the business affairs of their +eccentric and absent-minded brother. Ludwig let himself fall into their +way of thinking--it was easier than to oppose them--and they began to +drive bargains with publishers and managers. Their intent was to sell +for cash and in the highest market; and their strenuous effort after the +Main Chance put their gifted brother in a bad plight before the world of +art. Beethoven's brothers seized his very early and immature +compositions and sold them without his consent or knowledge. So +humiliated was Beethoven by seeing these productions of his childhood +hawked about that he even instituted lawsuits to get them back that he +might destroy them. To boom a genius and cash his spiritual assets is a +grave and delicate task--perhaps it is one of those things that should +be left undone. Much anguish did these rapacious brothers cause the +divinely gifted brown thrush, and when they began to quarrel over the +receipts between themselves, he begged them to go away and leave him in +peace. He finally had to adopt the ruse of going back to Bonn with +them, where he got them established in the apothecary business, before +he dared manage his own affairs. But they were bad angels, and the wind +of their wings withered the great man as they hovered around him down to +the day of his death. + + * * * * * + +Then silence settled down upon Beethoven, and every piano was for him +mute, and he, the maker of sweet sounds, could not hear his own voice, +or catch the words that fell from the lips of those he loved, Fate +seemed to have done her worst. + +And so he wrote: "Forgive me then if you see me turn away when I would +gladly mix with you. For me there is no recreation in human intercourse, +no conversation, no sweet interchange of thought. In solitary exile I am +compelled to live. When I approach strangers a feverish fear takes +possession of me, for I know that I will be misunderstood. * * * But O +God, Thou lookest down upon my inward soul! Thou knowest, and Thou seest +that love for my fellowmen, and all kindly feeling have their abode +here. Patience! I may get better--I may not--but I will endure all until +Death shall claim me, and then joyously will I go!" + +The man who could so express himself at twenty-eight years of age must +have been a right brave and manly man. But art was his solace, as it +should be to every soul that aspires to become. + +Great genius and great love can never be separated--in fact I am not +sure but that they are one and the same thing. But the object of his +love separated herself from Beethoven when calamity lowered. What woman, +young, bright, vigorous and fresh, with her face to the sunrising, would +care to link her fair fate with that of a man sore-stricken by the hand +of God! + +And then there is always a doubt about the genius--isn't he only a fool +after all! + +Art was Beethoven's solace. Art is harmony, beauty and excellence. The +province of art is to impart a sublime emotion. Beethoven's heart was +filled with divine love--and all love is divine--and through his art he +sought to express his love to others. + +But his physical calamity made him the butt and byword of the heedless +wherever he went. Within the sealed-up casements of his soul Beethoven +heard the Heavenly Choir; and as he walked, bareheaded, upon the street, +oblivious to all, centered in his own silent world, he would sometimes +suddenly burst into song. At other times he would beat time, talk to +himself and laugh aloud. His strange actions would often attract a +crowd, and rude persons, ignorant of the man they mocked, would imitate +him or make mirth for the bystanders, as they sought to engage him in +conversation. At such times the Master might be dragged back to earth, +and seeing the coarse faces and knowing the hopelessness of trying to +make himself understood, he would retreat in terror. + +Six months or more of each year were spent in the country in some +obscure village about Vienna. There he could walk the woods and traverse +the fields alone and unnoticed, and there, out under the open sky, much +of his best work was done. The famous "Moonlight Sonata" was shaped on +one of these lonely walks by night across the fields when the Master +could shake his shaggy head, lift up his face to the sky, and cry aloud, +all undisturbed. In the recesses of his imagination he saw the sounds. +There are men to whom sounds are invisible symbols of forms and colors. + +The law of compensation never rests. Everything conspired to drive +Beethoven in upon his art--it was his refuge and retreat. When love +spurned him, and misunderstandings with kinsmen came, and lawsuits and +poverty added their weight of woe, he fell back upon music, and out +under the stars he listened to the sonatas of God. Next day he wrote +them out as best he could, always regretting that his translations were +not quite perfect. He was ever stung with a noble discontent, and in +times of exaltation there ran in his deaf ears the words, "Arise and get +thee hence, for this is not thy rest!" + +And so his work was in a constant ascending scale. Richard Wagner has +acknowledged his indebtedness to Beethoven in several essays, and in +many ways. In fact it is not too much to say that Beethoven was the +spiritual parent of Wagner. From his admiration of Beethoven, Wagner +developed the strong, sturdy, independent quality of his nature that led +to his exile--and his success. + +Behold the face of Ludwig Beethoven--is there not something Titanic +about it? What selfness, what will, what resolve, what power! And those +tear-stained eyes--have they not seen sights of which no tongue can +tell, nor tongue make plain? + +His life of solitude helped foster the independence of his nature, and +kept his mind clear and free from all the idle gossip of the rabble. He +went his way alone, and played court fool to no titled and alleged +nobility. The democracy of the man is not our least excuse for honoring +him. He was one with the plain people of earth, and the only aristocracy +he acknowledged was the aristocracy of intellect. + +In the work done after his fortieth year there is greater freedom, an +ease and an increased strength, with a daring quality which uplifts and +gives you courage. The tragic interest and intense emotionalism are +gone, and you behold a resignation and the success that wins by +yielding. The man is no longer at war with destiny. There is no +struggle. + +We pay for everything we receive--nay, all things can be obtained if we +but pay the price. One of the very few Emancipated Men in America bought +redemption from the bondage of selfish ambition at a terrible price. +Years and years ago he was in the Rocky Mountains, rough, uneducated, +heedless of all that makes for righteousness. This man was caught in a +snowstorm, on the mountainside. He lost his way, became dazed with cold +and fell exhausted in the snow. When found by his companions the next +day, death had nearly claimed him. But skilful help brought him back to +life, yet the frost had killed the circulation in his feet. Both legs +were amputated just below the knees. + +This changed the current of the man's life. Footraces, boxing-matches +and hunting of big game were out of the question. The man turned to +books and art and questions of science and sociology. + +Thirty summers have come and gone. This gentle, sympathetic and loving +man now walks with a cane, and few know of his disability and of his +artificial feet. Speaking of his spiritual rebirth, this man of splendid +intellect said to me, with a smile, "It cost me my feet, but it was +worth the price." + +I shed no maudlin tears over the misfortunes of Beethoven. He was what +he was because of what he endured. He grew strong by bearing burdens. +All things are equalized. By the Cross is the world redeemed. God be +praised, it is all good! + + + + +[Illustration: GEORGE HANDEL] + +GEORGE HANDEL + + When generations have been melted into tears, or raised to + religious fervor--when courses of sermons have been preached, + volumes of criticisms been written, and thousands of afflicted and + poor people supported by the oratorio of "The Messiah"--it becomes + exceedingly difficult to say anything new. Yet no notice of Handel, + however sketchy, should be written without some special tribute of + reverence to this sublime treatment of a sublime subject. Bach, + Graun, Beethoven, Spohr, Rossini and Mendelssohn have all composed + on the same theme. But no one in completeness, in range of effect, + in elevation and variety of conception, has ever approached + Handel's music upon this one subject. + + --_Rev. H. R. Haweis_ + + +GEORGE HANDEL + +"Did you meet Michelangelo while you were in Rome?" asked a good Roycroft +girl of me the other day. + +"No, my dear, no," I answered, and then I gulped hard to keep back some +very foolish tears. "No, I did not meet Michelangelo," I said, "I +expected to, and was always looking for him; but these eyes never looked +into his, for he died just three hundred years before I was born." But +how natural was this question from this bright, country girl! She had +been examining a lot of photographs of the Sistine Chapel, and had seen +pictures of "Il Penseroso," the "Night" and "Morning," the "Moses"; and +then she had seen on my desk a bronze cast of the hand of the +"David"--that imperial hand with the gently curved wrist. + +These things lured her--the splendid strength and suggestion of power in +it all, had caught her fancy, and the heroic spirit of the Master seemed +very near to her. It all meant pulsating life and hope that was +deathless; and the thought that the man who did the work had turned to +dust three centuries ago, never occurred to this naive, budding soul. + +"Did you see Michelangelo while you were in Rome?" No, dear girl, no. +But I saw Saint Peter's that he planned, and I saw the result of his +efforts--things worked out and materialized by his hands--hands that +surely were just like this hand of the "David." + +The artist gives us his best--gives it to us forever, for our very own. +He grows aweary and lies down to sleep--to sleep and wake no more, +deeding to us the mintage of his love. And as love does not grow old, +neither does Art. Fashions change, but hope, aspiration and love are as +old as Fate who sits and spins the web of life. The Artist is one who is +educated in the three H's--head heart and hand. He is God's child--no +less are we--and he has done for us the things we would have liked to do +ourselves. + +The classic is that which does not grow old--the classic is the +eternally true. + +"Did you meet Michelangelo in Rome?" Why, it is the most natural +question in the world! At Stratford I expected to see Shakespeare; at +Weimar I was sure to meet Goethe; Rubens just eluded me at Antwerp; at +Amsterdam I caught a glimpse of Rembrandt; in the dim cloisters of Saint +Mark's at Florence I saw Savonarola in cowl and robe; over Whitehall in +London I beheld the hovering smoke of martyr-fires, and knew that just +beyond the walls Ridley and Latimer were burned; and only a little way +outside of Jerusalem a sign greets the disappointed traveler, thus: "He +is risen--He is not here!" + + * * * * * + +In one of his delightful talks--talks that are as fine as his feats of +leadership--Walter Damrosch has referred to Handel as a contemporary. +Surely the expression is fitting, for in the realm of truth time is an +illusion and the days are shadows. + +George Frederick Handel was born in Sixteen Hundred Eighty-five, and +died in Seventeen Hundred Fifty-nine. His dust rests in Westminster +Abbey, and above the tomb towers his form cut in enduring marble. There +he stands, serene and poised, accepting benignly the homage of the +swift-passing generations. For over a hundred years this figure has +stood there in its colossal calm, and through the cathedral shrines, the +aisles, and winding ways of dome and tower, Handel's music still peals +its solemn harmonies. + +At Exeter Hall is another statue of Handel, seated, holding in his hand +a lyre. At the Foundling Hospital (which he endowed) is a bust of the +Master, done in Seventeen Hundred Fifty-eight; and at Windsor is the +original of still another bust that has served for a copy of the very +many casts in plaster and clay that are in all the shops. + +There are at least fifty different pictures of Handel, and nearly this +number were brought together, on the occasion of a recent Handel and +Haydn Festival, at South Kensington. + +When Gladstone once referred to Handel as our greatest English +Composer, he refused to take it back even when a capricious critic +carped and sneezed. + +Handel essentially belongs to England, for there his first battles were +fought, and there he won his final victory. To be sure, he did some +preliminary skirmishing in Germany and Italy; but that was only getting +his arms ready for that conflict which was to last for half a century--a +conflict with friends, foes and fools. + +But Handel was too big a man to be undermined by either the fulsome +flattery of friends, or the malice of enemies, who were such only +because they did not understand. And so always to the fore he marched, +zigzagging occasionally, but the Voice said to him, as it did to +Columbus, "Sail on, and on, and on." Like the soul of John Brown, the +spirit of Handel goes marching on. And Sir Arthur Sullivan was right +when he said, "Musical England owes more to Father Handel than to any +other ten men who can be named--he led the way for us all, and cut out a +score that we can only imitate." + + * * * * * + +At the Court of George of Brunswick, at Hanover, in Seventeen Hundred +Nine, was George Frederick Handel, six feet one, weight one hundred +eighty, rubicund, rosy, and full of romp, aged twenty-four. George of +Brunswick was to have the felicity of being King George the First of +England, and already he was straining his gaze across the Channel. + +At his Court were divers and sundry English noblemen. Handel was a prime +favorite with every one in the merry company. The ladies doted on him. A +few gentlemen, possibly, were slightly jealous of his social prowess, +and yet none pooh-poohed him openly, for only a short time before he had +broken a sword in a street duel with a brother musician, and once had +thrown a basso profundo, who sang off key, through a closed window--all +this to the advantage of a passing glazier, who, being called in, was +paid his fee three times over for repairing the sash. It's an ill wind, +etc. + +Handel played the harpsichord well, but the organ better. In fact, he +played the organ in such a masterly way that he had no competitor, save +a phenomenal yokel by the name of Johann Sebastian Bach. These men were +born just a month apart. Saint Cecilia used to whisper to them when they +were wee babies. For several years they lived near each other, but in +this life they never met. + +Handel was an aristocrat by nature, even if not exactly so by birth, +and so had nothing to do with the modest and bucolic Bach--even going so +far, they do say, as to leave, temporarily, the City of Halle, his +native place, when a contest was suggested between them. Bach was the +supreme culminating flower of two hundred fifty years of musical +ancestors--servants to this Grand Duke or that. But in the tribe of +Handel there was not a single musical trace. George Frederick succeeded +to the art, and at it, in spite of his parents. But never mind that! He +had been offered the post as successor to Buxtehude, and Buxtehude was +the greatest organist of his time. He accepted the invitation to play +for the Buxtehude contingent. A musical jury sat on the case, and +decided to accept the young man, with the proviso that Handel (taught by +Orpheus) should take to wife the daughter of Buxtehude--this in order +that the traditions might be preserved. + +Young Handel declined the proposition with thanks, declaring he was +unworthy of the honor. + +Young Handel had spent two years in Italy, had visited most of the +capitals of Europe, had composed several operas and numerous songs. He +was handsome, gracious and talented. Money may use its jimmy to break +into the Upper Circles; but to Beauty, Grace and Talent that does not +shiver nor shrink, all doors fly open. And now the English noblemen +requested--nay, insisted--that Handel should accompany them back to +Merry England. + +He went, and being introduced as Signore Handello, he was received with +salvos of welcome. There is a time to plant, and a time to reap. There +is a time for everything--launch your boat only at full of tide. London +was ripe for Italian Opera. Discovery had recently been made in England +that Art was born in Italy. It had traveled as far as Holland, and so +Dutch artists were hard at work in English manor-houses, painting +portraits of ancestors, dead and living. Music, one branch of Art, had +made its way up to Germany, and here was an Italian who spoke English +with a German accent, or a German who spoke Italian--what boots it, he +was a great musician! + +Handel's Italian opera, "Rinaldo," was given at a theater that stood on +the site of the present Haymarket. The production was an immense +success. All educated people knew Latin (or were supposed to know it), +and Signore Handello announced that his Italian was an improvement on +the Latin. And so all the scholars flocked to see the play, and those +who were not educated came too, and looked knowing. In order to hold +interest, there were English syncopated songs between the acts--ragtime +is a new word, but not a new thing. + +Handel was very wise in this world's affairs. He assured England that it +was the most artistic country on the globe. He wrote melodies that +everybody could whistle. Airs from "Rinaldo" were thrummed on the +harpsichord from Land's End to John O'Groat's. The grand march was +adopted by the Life Guards, and at least one air from that far-off opera +has come down to us--the "Tascie Ch'io Pianga," which is still listened +to with emotion unfeigned. The opera being uncopyrighted, was published +entire by an enterprising Englishman from Dublin by the name of Walsh. +At two o'clock one morning at the "Turk's Head," he boasted he had +cleared over two thousand pounds on the sale of it. Handel was present +and responded, "My friend, the next time you will please write the opera +and I will sell it." Walsh took the hint, they say, and sent his check +on the morrow to the author for five hundred pounds. And the good sense +of both parties is shown in the fact that they worked together for many +years, and both reaped a yellow harvest of golden guineas. + +On the birthday of Queen Anne, Handel inscribed to her an ode, which we +are told was played with a full band. The performance brought the +diplomatic Handel a pension of two hundred pounds a year. + +Next, to celebrate the peace of Utrecht, the famous "Te Deum" and +"Jubilate" were produced, with a golden garter as a slight token of +recognition. + +But Good Queen Anne passed away, as even good queens do, and the +fuzzy-witted George of Hanover came over to be King of England, and +transmit his fuzzy-wuzzy wit to all the Georges. About his first act was +to cut off Handel's pension, "Because," he said, "Handel ran away from +me at Hanover." + +A time of obscurity followed for Handel, but after some months, when the +Royal Barge went up the Thames, a band of one hundred pieces boomed +alongside, playing a deafening racket, with horse-pistol accompaniments. +The King made inquiries and found it was "Water-Music," composed by Herr +Handel, and dedicated in loving homage to King George the First. + +When the Royal Barge came back down the river, Herr Handel was aboard, +and accompanied by a great popping of corks was proclaimed Court +Musician, and his back-pension ordered paid. + +The low ebb of art is seen in that, in the various operas given about +this time by Handel, great stress is made in the bills about costumes, +scenery and gorgeous stage-fittings. When accessories become more than +the play--illustrations more than the text--millinery more than the +mind--it is unfailing proof that the age is frivolous. Art, like +commerce and everything else, obeys the law of periodicity. Handel saw +the tendency of the times, and advertised, "The fountain to be seen in +'Amadigi' is a genuine one, the pump real and the dog alive." Three +hours before the doors opened, the throng stood in line, waiting. + + * * * * * + +But London is making head. Other good men and true are coming to town. +Handel does not know much about them, or care, perhaps. His wonderful +energy is now manifesting itself in the work of managing theaters and +concerts, giving lessons and composing songs, arias, operas, and +attending receptions where "the ladies refrain from hoops for fear of +the crush," to use the language of Samuel Pepys. + +In shirt-sleeves, in a cheap seat in the pit, at one of Handel's +performances, is a big lout of a fellow, with scars of scrofula on his +neck and cheek. Next to him is a little man, and these two, so chummy +and confidential, suggest the long and short of it. They are countrymen, +recently arrived, empty of pocket, but full of hope. They have a selfish +eye on the stage, for the big 'un has written a play and wants to get it +produced. + +The little man's name is David Garrick; the other is Samuel Johnson. + +They listen to the singing, and finally Samuel turns to his friend and +says, "I say, Davy, music is nothing but a noise that is less +disagreeable than some others." They would go away, would these two, but +they have paid good money to get in, and so sit it out disgustedly, +watching the audience and the play alternately. + +In one of the boxes is a weazened little man, all out of drawing, in a +black velvet doublet, satin breeches and silk stockings. At his side is +a rudimentary sword. The man's face is sallow, and shrewdness and +selfishness are shown in every line. He looks like a baby suddenly grown +old. The two friends in the pit have seen this man before, but they have +never met him face to face, because they do not belong to his set. + +"Do you think God is proud of a work like that?" at last asked Davy, +jerking his thumb toward the bad modeling in courtly black. + +"God never made him." The big man swayed in his seat, and added, "God +had nothing to do with him--he is the child of Beelzebub." + +"Think 'ee so?" asks Davy. "Why, Mephisto has some pretty good traits; +but Alexander Pope is as crooked as an interrogation-point, inside and +out." + +"I hear he wears five pairs of stockings to fill out his shanks, and +sole-leather stays to keep him from flattening out like a devilfish," +said Doctor Johnson. + +"But he makes a lot o' money!" + +"Well, he has to, for he pays an old woman a hundred guineas a year to +dress and undress him." + +"I know, but she writes his heroic couplets, too!" + +"Davy, I fear you are getting cynical--let's change the subject." + +It surely is a case of artistic jealousy. Our friends locate the poet +Gay, a fat little man, who is with his publisher, Rich. + +"They say," says Samuel, again rolling in his seat as if about to have +an apoplectic fit, "they say that Gay has become rich, and Rich has +become gay since they got out that last book." There comes an interlude +in the play, and our friends get up to stretch their legs. + +"How now, Dick Savage?" calls Samuel, as he pushes three men over like +ninepins, to seize a shabby fellow whose neckcloth and hair-cut betray +him as being a poet. "How now, Dick, you said that Italian music was +damnably bad! Why do you come to hear it?" + +"I came to find out how bad it is," replied the literary man. "Eh! your +reverence?" he adds to his companion, a sharp-nosed man with china-blue +eyes, in Church-of-England knee-breeches, high-cut vest, and shovel-hat. + +Dean Swift replies with a knowing smirk, which is the nearest approach +to a laugh in which he ever indulged. Then he takes out his snuffbox and +taps it, which is a sign that he is going to say something worth while. +"Yes, one must go everywhere, and do everything, just to find out how +bad things are. By this means we clergymen are able to intelligently +warn our flocks. But I came tonight to hear that rogue Bononcini--you +know he is from County Down--I used to go to school with him," and the +Dean solemnly passes the snuffbox. + +Garrick here bursts into a laugh, which is broken off short by a +reproving look from the Dean, who has gotten the snuffbox back and is +meditatively tapping it again. The friends listen and hear from the +muttering lips of the Dean, this: + + Some say that Signore Bononcini, + Compared to Handel is a ninny; + Whilst others vow that to him Handel, + Is hardly fit to hold a candle. + Strange all this difference should be + 'Twixt tweedledum and tweedledee. + +The people are tumbling back to their seats as the musicians come +stringing in. Soon there is a general tuning up--scrapings, toots, +snorts, subdued screeches, raspings, and all that busy buzz-fuzz +business of getting ready to play. + +"The first time we came to the opera Doctor Johnson thought this was all +a part of the play, and applauded with unction for an encore," says +Garrick. + +"And I heard nothing finer the whole evening," answers Doctor Johnson, +accepting the defi, and winning by yielding. + +"Why don't they tune up at home, or behind the scenes?" asks some one. + +"I'll tell you why," says Savage, and he relates this: "Handel is a +great man for system--he is a strict disciplinarian, as any man must be +to manage musicians, who are neither men nor women, but a third sex. +Often Handel has to knock their heads together, and once he shook the +Cuzzoni until her teeth chattered." + +"That's the way you have to treat any woman before she will respect +you," interrupts the Dean. Nothing else being forthcoming, Savage +continues: "Handel is absolute master of everything but Death and +Destiny. Now he didn't like all this tuning up before the audience; he +said you might as well expect the prima donna to make her toilet in +front of the curtain"-- + +"I like the idea," says Johnson. + +Savage praises the interruption and continues: "And so ordered every man +to tune up his artillery a half-hour before the performance, and carry +his instrument in and lay it on his chair. Then when it came time to +commence, every musician would walk in, take up his instrument, and +begin. The order was given, and all tuned up. Then the players all +adjourned for their refreshments. + +"In the interval a wag entered and threw every instrument out of key. + +"It came time to begin--the players marched in like soldiers. Handel was +in his place. He rapped once--every player seized his instrument as +though it were a musket. At the second rap the music began--and such +music! Some of the strings were drawn so tight that they snapped at the +first touch; others merely flapped; some growled; and others groaned and +moaned or squealed. Handel thought the orchestra was just playing him a +scurvy trick. He leaped upon the stage, kicked a hole in the bass-viol, +and smashed the kettledrum around the neck of the nearest performer. The +players fled before the assault, and he bombarded them with cornets and +French horns as they tumbled down the stairs. + +"The audience roared with delight, and not one in forty guessed that it +was not a specially arranged Italian feature. But since that evening all +tuning-up is done on the stage, and no man lets his instrument get out +of his hands after he gets it right." + +"It's a moving tale, invented as an excuse for a man who writes music so +bad that he gets disgusted with it himself, and flies into wrath when he +hears it," says Johnson. + +A subdued buzz is heard, and the master comes forth, gorgeous in a suit +of purple velvet. His powdered wig and the enormous silver buckles on +his shoes set off his figure with the proper accent. His florid face is +smiling, and Garrick expresses a regret that there are to be no +impromptu tragic events in way of chasing players from the stage. + +"Would you like to meet him?" asks the sharp-nosed Dean. + +Garrick and Johnson have enough of the rustic in them to be +lion-hunters, and they reply to the question as one man, "Yes, indeed!" + +"I'll arrange it," was the answer. The leader raps for attention. +Johnson closes his eyes, sighs, and leans back resignedly. + +The others look and listen with interest as the play proceeds. + + * * * * * + +The other day I read a book by Madame Columbier entitled, "Sara Barnum." +Only a person of worth could draw forth such a fire of hot invective, +biting sarcasm and frenzied vituperation as this volume contains. When I +closed the volume it was with the feeling that Sara Bernhardt is surely +the greatest woman of the age; and I was fully resolved that I must see +her play at the first opportunity, no matter what the cost. And as for +Madame Columbier, why she isn't so bad, either! The flashes of lightning +in her swordplay are highly interesting. The book was born, as all good +books, because its mother could not help it. Behind every page and +between the lines you see the fevered toss of human emotion and hot +ambition--these women were rivals. There were digs and scratches, +bandied epithets in falsetto, and sounds like a piccolo played by a man +in distress, before all this; and these are not explained, so you have +to fill them in with your imagination. But the Bernhardt is the bigger +woman of the two. She goes her splendid pace alone, and all the other +woman can do is to bombard her with a book. + +The excellence of Handel is shown in that he achieved the enmity of some +very good men. Read the "Spectator," and you will find its pages well +peppered with thrusts at "foreigners," and sweeping cross-strokes at +Italian Opera and all "bombastic beaters of the air, who smother harmony +with bursts of discord in the name of music." + +These battles royal between the kings of art are not so far removed from +the battles of the beasts. Rosa Bonheur has pictured a duel to the death +between stallions; and that battle of the stags--horn-locked--with the +morning sun revealing Death as victor, by Landseer, is familiar to us +all. Then Landseer has another picture which he called "The Monarch," +showing a splendid stag, solitary and alone, standing on a cliff, +overlooking the valley. There is history behind this stag. Before he +could command the scene alone, he had to vanquish foes; but in the main, +in some way, you feel that most of his battles have been bloodless and +he commands by divine right. The Divine Right of a King, if he be a +King, has its root in truth. + +One mark of the genius of Handel is shown in the fact that he has +achieved a split and created a ruction in the Society of Scribblers. He +once cut Dean Swift dead at a fashionable gathering--the doughty Dean, +who delighted in making men and women alike crawl to him--and this won +him the admiration of Colley Cibber, who immortalized the scene in a +sonnet. People liked Handel, or they did not, and among the Old Guard +who stood by him, let these names, among others, be remembered: Colley +Cibber, Gay, Arbuthnot, Pope, Hogarth, Fielding and Smollett. + +People who through incapacity are unable to comprehend or appreciate +music, are prone to wax facetious over it--the feeble joke is the last +resort of the man who does not understand. + +The noisy denizens of Grub Street, drinking perdition to that which they +can not comprehend, always getting ready to do great things, seem like +fussy pigmies beside a giant like Handel. See the fifth act ere the +curtain falls on the lives of Oliver Goldsmith, Doctor Johnson, Steele, +Addison and Dean Swift (dead at the top, the last), and the others +unhappily sent into Night; and then behold George Frederick Handel, in +his seventy-fifth year, blind, but with inward vision all aflame, +conducting the oratorio of "Elijah" before an audience of five thousand +people! + +The life of Handel was packed with work and projects too vast for one +man to realize. That he deferred to the London populace and wrote down +to them at first, is true; but the greatness of the man is seen in +this--he never deceived himself. He knew just what he was doing, and in +his heart was ever a shrine to the Ideal, and upon this altar the fires +never died. + +Handel was a man of affairs as well as a musician, and if he had loved +money more than Art, he could have withdrawn from the fray at thirty +years of age, passing rich. + +Three times in his life he risked all in the production of Grand Opera, +and once saw a sum equal to fifty thousand dollars disappear in a week, +through the treachery of Italian artists who were pledged to help him. +At great expense and trouble he had gone abroad and searched Europe for +talent, and, regardless of outlay, had brought singers and performers +across the sea to England. In several notable instances these singers +had, in a short time, been bought up by rivals, and had turned upon +their benefactor. + +But Handel was not crushed by these things. He was philosopher enough to +know that ingratitude is often the portion of the man who does well, and +a fight with a fox you have warmed into life is ever imminent. At +fifty-five, a bankrupt, he makes terms with his creditors and in a few +years pays off every shilling with interest, and celebrates the event by +the production of "Saul," the "Dead March" from which will never die. + +The man had been gaining ground, making head, and at the same time +educating the taste of the English people. But still they lagged behind, +and when the oratorio of "Joshua" was performed, the Master decided he +would present his next and best piece outside of England. Jealousy, a +dangerous weapon, has its use in the diplomatic world. + +Handel set out for Dublin with a hundred musicians, there to present the +"Messiah," written for and dedicated to the Irish people. The oratorio +had been turned off in just twenty-one days, in one of those titanic +bursts of power, of which this man was capable. Its production was a +feat worthy of the Frohmans at their best. The performance was to be for +charity--to give freedom to those languishing in debtors' prisons at +Dublin. What finer than that the "Messiah" should give deliverance? + +The Irish heart was touched. A fierce scramble ensued for seats, +precedence being emphasized in several cases with blackthorns deftly +wielded. The price of seats was a guinea each. Handel's carriage was +drawn through the streets by two hundred students. He was crowned with +shamrock, and given the freedom of the city in a gold box. Freedom even +then, in Ireland, was a word to conjure with. Long before the +performance, notices that no more tickets would be sold were posted. The +doors of the Debtors' Prison were thrown open, and the prisoners given +seats so they could hear the music--thus overdoing the matter in true +Irish style. + +The performance was the supreme crowning event in the life of Handel up +to that time. + +Couriers were dispatched to London to convey the news of Handel's great +triumph to the newspapers; bulletins were posted at the clubs--the +infection caught! On the return of the master a welcome was given him +such as he had never before known--Dublin should not outdo London! When +the "Messiah" was given in London, the scene of furore in Dublin was +repeated. The wild tumult at times drowned the orchestra, and when the +"Hallelujah Chorus" was sung, the audience arose as one man and joined +in the song of praise. And from that day the custom has continued: +whenever in England the "Messiah" is given, the audience arises and +sings in the "Chorus," as its privilege and right. The proceeds of the +first performance of the "Messiah" in England were given to charity, as +in Dublin. This act, with the splendor of the work, subdued the last +lingering touch of obdurate criticism. The man was canonized by popular +acclaim. Many of his concerts were now for charity--"The Foundlings' +Home," "The Seamen's Fund," "Home for the Aged," hospitals and +imprisoned debtors--all came in for their share. + +Handel never married. That remark of Dean Swift's, "I admire +Handel--principally because he conceals his petticoat peccadilloes with +such perfection," does not go. Handel considered himself a priest of +art, and his passion spent itself in his work. + +The closing years of his life were a time of peace and honor. His bark, +after a fitful voyage, had glided into safe and peaceful waters. The +calamity of blindness did not much depress him--"What matters it so long +as I can hear?" he said. And good it is to know that the capacity to +listen and enjoy, to think and feel, to sympathize and love--to live his +Ideals--were his, even to the night of his passing Hence. + + + + +[Illustration: GIUSEPPE VERDI] + +GIUSEPPE VERDI + + + Of all the operas that Verdi wrote, + The best, to my taste, is the Trovatore; + And Mario can soothe, with a tenor note, + The souls in purgatory. + + The moon on the tower slept soft as snow; + And who was not thrilled in the strangest way, + As we heard him sing while the lights burned low, + "Non ti scordar di me"? + + * * * * * + + But O, the smell of that jasmine-flower! + And O, the music! and O, the way + That voice rang out from the donjon tower, + "Non ti scordar di me, + Non ti scordar di me!" + + --_Bulwer-Lytton_ + + +GIUSEPPE VERDI + +He sort of clung to the iron pickets, did the boy, and pressed his face +through the fence and listened. Some one was playing the piano in the +big house, and the windows with their little diamond panes were flung +open to catch the evening breeze. He listened. + +His big gray eyes were open wide, the pupils dilated--he was trying to +see the music as well as hear it. + +The boy's hair matched the yellow of his face, being one shade lighter, +sun-bleached from going hatless. His clothes were as yellow as the +yellow of his face, and shaded off into the dust that strewed the +street. He was like a quail in a stubble-field--you might have stepped +over him and never seen him at all. He listened. Almost every evening +some one played the piano in the big house. He had discovered the fact a +week before, and now, when the dusk was gathering, he would watch his +chance and slide away from the hut where his parents lived, and run fast +up the hill, and along the shelving roadway to the tall iron fence that +marked the residence of Signore Barezzi. He would creep along under the +stone wall, and crouching there would wait and listen for the music. +Several evenings he had come and waited, and waited, and waited--and not +a note or a voice did he hear. + +Once it had rained and he didn't mind it much, for he expected every +moment the music would strike up, you know--and who cares for cold, or +wet, or even hunger, if one can hear good music! The air grew chill and +the boy's threadbare jacket stuck to his bony form like a postage-stamp +to a letter. Little rivulets of water ran down his hair and streamed off +his nose and cheeks. He waited--he was waiting for the music. + +He might have waited until the water dissolved his insignificant cosmos +into just plain, yellow mud, and then he would have been simply +distributed all along the gutter down to the stream, and down the stream +to the river, and down the river to the ocean; and no one would ever +have heard of him again. + +But Signore Barezzi's coachman came along that night, keeping close to +the fence under the trees to avoid the wet; and the coachman fell over +the boy. + +Now, when we fall over anything we always want to kick it--no matter +what it is, be it cat, dog, stump, stick, stone or human. The coachman +being but clay (undissolved) turned and kicked the boy. Then he seized +him by the collar, and accused him of being a thief. The lad +acknowledged the indictment, and stammeringly tried to explain that it +was only music he was trying to steal; and that it really made no +difference because even if one did fill himself full of the music, there +was just as much left for other people, since music was different from +most things. + +The thought was not very well expressed, although the idea was all +right, but the coachman failed to grasp it. So he tingled the boy's bare +legs with the whip he carried, by way of answer, duly cautioning him +never to let it occur again, and released the prisoner on parole. + +But the boy forgot and came back the next night. He sat on the ground +below the wall, intending to keep out of sight; but when the music began +he stood up, and now, with face pressed between the pickets, he +listened. + +The wind sighed softly through the orange-trees; the air was heavy with +the perfume of flowers; the low of cattle came from across the valley, +and on the evening breeze from an open casement rose the strong, +vibrant, yet tender, strains of Beethoven's "Moonlight Sonata." The lad +listened. + +"Do you like music?" came a voice from behind. The boy awoke with a +start, and tried to butt his head through the pickets to escape in that +direction. He thought it was the coachman. He turned and saw the kindly +face of Signore Barezzi himself. + +"Do I like music? Me! No, I mean yes, when it is like that!" he +exclaimed, beginning his reply with a tremolo and finishing bravura. + +"That is my daughter playing; come inside with me." The hand of the +great man reached out, and the urchin clutched at it as if it were +something he had been longing for. + +They walked through the big gates where a stone lion kept guard on each +side. The lions never moved. They walked up the steps, and entering the +parlor saw a young woman seated at the piano. + +"Grazia, dear, here is the little boy we saw the other day--you +remember? I thought I would bring him in." The young woman came forward +and touched the lad on his tawny head with one of her beautiful +hands--the beautiful hands that had just been playing the "Sonata." + +"That's right, little boy, we have seen you outside there before, and if +I had known you were there tonight, I would have gone out and brought +you in; but Papa has done the service for me. Now, you must sit down +right over there where I can see you, and I will play for you. But won't +you tell us your name?" + +"Me?" replied the little boy, "why--why my name is Giuseppe Verdi--I am +ten years old now--going on 'leven--you see, I like to hear you play +because I play myself, a little bit!" + + * * * * * + +For over a hundred years three-fourths of Italy's population had been on +reduced rations. Starvation even yet crouches just around the corner. + +In his childhood young Verdi used to wear a bit of rope for a girdle, +and when hunger gnawed importunately, he would simply pull his belt one +knot tighter, and pray that the ravens would come and treat him as well +as they did Elijah. His parents were so poor that the question of +education never came to them; but desire has its way, so we find the boy +at ten years of age running errands for a grocer with a musical +attachment. This grocer, at Busseto, Jasquith by name, hung upon the +fringe of art, and made the dire mistake of mixing business with his +fad, for he sold his wares to sundry gentlemen who played in bands. This +led the good man to moralize at times, and he would say to Giuseppe, who +had been promoted from errand-boy to clerk: "You can trust a first +violin, and a 'cello usually pays, but never say yes to a trombone nor +an oboe; and as for a kettle-drum, I wouldn't believe one on a stack of +Bibles!" + +Over the grocer's shop was a little parlor, and in it was a spinet that +young Giuseppe had the use of four evenings a week. In his later years +Verdi used to tell of this, and once said that the idea of prohibition +and limit should be put on every piano--then the pupil would make the +best of his privileges. In those days there was a tax on spinets, and I +believe that this tax has never been rescinded, for you are taxed if +you keep a piano, now, in any part of Italy. Several times the poor +grocer's spinet stood in sore peril from the publicans and sinners, but +the bailiffs were bought off by Signore Barezzi, who came to the rescue. + +The note of thrift was even then in Verdi's score, for he himself has +told how he induced the Barezzi household to patronize the honest grocer +with musical proclivities. + +When twelve years of age Verdi occasionally played the organ in the +village church at Busseto. It will be seen from this that he had +courage, and even then possessed a trace of that pride and self-will +that was to be his disadvantage and then his blessing. Signore Barezzi's +attachment to the boy was very great, and we find the youngster was on +friendly terms with the family, having free use of their piano, with +valuable help and instruction from Signorina Grazia. When he was +seventeen he was easily the first musician in the place, and Busseto had +nothing more to offer in the way of advantages. He thirsted for a wider +career, and cast longing looks out into the great outside world. He had +played at Parma, only a few miles away, and the Bishop there, after +hearing him improvise on the organ, had paid him a doubtful compliment +by saying, "Your playing is surely unlike anything ever before heard in +Parma." Fair fortune smiled when Signore Barezzi secured for young Verdi +a free scholarship at the Conservatory at Milan. + +The youth went gaily forth, attended by the blessings of the whole +village, to claim his honors. + +Arriving at the Conservatory, the directors put him through his paces, +after the usual custom, to prove his fitness for the honor that had been +thrust upon him. He played first upon the piano, and the committee +advised together in whispered monotone. Then they asked him to play on +the organ, and there was more consultation, with argument which was +punctuated by rolling adjectives and many picturesque gesticulations. +Then they asked him to play the piano again. He did so, and the great +men retired to deliberate and vote on the issue. + +Their decision was that the youth was self-willed, erratic, and that he +had some absurd mannerisms and tricks of performance that forbade his +ever making a musician. And therefore, they ruled that his admission to +the Conservatory was impossible. + +Barezzi, who was present with his protege, stormed in wrath, and +declared that Verdi was the peer of any of his judges; in fact, was so +much beyond them that they could not comprehend him. + +This only confirmed the powers in the stand they had taken, and they +intimated that a great musician in Busseto was something different in +Milan--Signore Barezzi had better take his young man home and be content +to astonish the villagers with noisy acrobatics. There being nothing +else to do, the advice was first flouted and then followed. They +arrived home, and Grazia and the grocer were informed that the +Conservatory at Milan was a delusion and a snare--"a place where pebbles +were polished and diamonds were dimmed." Shortly after, the townspeople, +to show faith in the home product, had Verdi duly installed as organist +of the village church at a salary equal to forty dollars a year. + +Under the spell of this good fortune, Verdi proposed marriage to the +daughter of Jasquith, the grocer, his friend and benefactor. Gratitude +to the man who had first assisted him had much to do with the alliance; +and in wedding the daughter, Verdi simply complied with what he knew to +be the one ardent desire of the father. + +The girl was a frail creature, of fine instincts, but her intellect had +been starved just as her body had been. Her chief virtue seems to have +been that she believed absolutely in the genius of Verdi. + +The ambition of Verdi began to show itself. He wrote an opera, and +offered it to Merelli, the impresario of "La Scala" at Milan. The +impresario had heard of Verdi, through the fact that the Conservatory +had blackballed him. This of itself would have been no passport to fame, +but the Committee saw fit to defend themselves in the matter by making a +public report of the considerations which had moved them to shut the +doors on the young man from Busseto. This gave the subject a weight and +prominence that simple admission never would have given. + +Merelli, the Major Pond of Milan, saw the expressions "bizarre," +"erratic," "peculiar," "unprecedented," and kept his eye on Verdi. And +so when the opera was written he pounced upon it, thinking possibly a +new star had appeared on the horizon. The opera was accepted. Verdi, +feverish with hope, moved his scanty effects to Milan, and there, with +his frail and beautiful girl-wife and their baby-boy, lived in a garret +just across from the theater. + +Preparations for the performance were going on apace. The night of +November Seventeenth, Eighteen Hundred Thirty-nine came, and the play +was presented. The critics voted it a failure. Merelli, the manager, saw +that it was not strong enough with which to storm the town, and so +decided to abandon it. He liked the young composer, though, and admired +his work; and inasmuch as he had brought him to Milan, he felt a sort of +obligation to help him along. So Verdi was given an order for an opera +bouffe. That's it! Opera bouffe!--the people want comedy--they must be +amused. Even Verdi's serious work ran dangerously close to farce--bouffe +is the thing! + +Merelli's hope was infectious. Verdi began work on the new play that was +to be presented in the Spring. The winter rains began. There was no fire +in the garret where the composer and his frail girl-wife lived. They +were so proud that they did not let the folks at Busseto know where they +were: even Merelli did not know their place of abode. Under an assumed +name Verdi got occasional work as an underling in one of the theaters, +and also played the piano at a restaurant. The wages thus earned were a +pittance, but he managed to take home soup-bones that the baby-boy +sucked on as though they were nectar. + +Another baby was born that winter. The mother was unattended, save by +her husband--no other woman was near. Verdi managed to bring home scraps +of food by stealth from the restaurant where he played, but it was not +the kind that was needed. There was no money to buy goat's milk for the +new-born babe, and the famishing mother, ever hopeful, assured the +husband it wasn't necessary--that the babe was doing well. The child +grew aweary of this world before a month had passed, and slept to wake +no more. + +But the opera bouffe was taking shape. It was rehearsed and hummed by +husband and wife together. They went over it all again and again, and +struck out and added to. It was splendid work--subtle, excruciatingly +funny, and possessed a dash and go that would sweep all carping and +criticism before it. + +Food was still scarce, and there was no fuel even to cook things; but as +there was nothing to cook, it really made no difference. Spring was +coming--it was cold, to be sure, but the buds were swelling on the trees +in the park. Verdi had seen them with his own eyes, and he hastened home +to tell his wife--Spring was coming! + +The two-year-old boy didn't seem to thrive on soup-bones. The father +used to hold him in his arms at night to warm the little form against +his own body. He awoke one morning to find the child cold and stiff. The +boy was dead. + +The mother used to lie abed all day now. She wasn't ill she said--just +tired! She never looked so beautiful to her husband. Two bright pink +spots marked her cheeks, and set off the alabaster of her complexion. +Her eyes glowed with such a light as Verdi had never before seen. No, +she was not ill--she protested this again and again. She kept to her bed +merely to be warm; and then if one didn't move around much, less food +was required--don't you see? + +Spring had come. The opera was being rehearsed. The title of the play +was "Un Giorno di Regno." Merelli said he thought it would be a success; +Verdi was sure of it. + +The night of presentation came. After the first act Verdi ran across the +street, leaped up the stairs three steps at a time, and reached the +garret. The play was a success. The worn woman there on her pallet, the +pale moonlight streaming in on her face, knew it would be. She raised +herself on her elbow and tried to call, "Viva Verdi!" But the cough cut +her words short. Verdi kissed her forehead, her hands, her hair, and +hurried back in time to see the curtain ascend on the second act. This +act went without either applause or disapproval. Verdi ran home to say +that the audience was a trifle critical, but the play was all right--it +was a success! He said he would remain at home now, he would not go to +hear the third and last act. He would attend his wife until she got well +and strong. The play was a success! + +She prevailed upon him to leave her and then come back at the finale and +tell her all about it. + +He went away. + +When he returned he stumbled up the stairway and slowly entered the +door. + +The last act had not been completed--the audience had hissed the players +from the stage! + +Upon the ashen face of her husband, the stricken woman read all. She +tried to smile. She reached out one thin hand on which loosely hung a +marriage-ring. The hand dropped before he could reach it. The eyes of +the woman were closed, but upon the long, black lashes glistened two big +tears. The spirit was brave, but the body had given up the great +struggle. + + * * * * * + +The calamities that had come sweeping over Verdi well-nigh broke his +proud heart. He was only twenty-six, but he had had a taste of life and +found it bitter. + +He lost interest in everything. All his musical studies were abandoned, +his excursions into science went by default, and he was quite content to +bang the piano in a concert saloon for enough to secure the bare +necessaries of life. Suicide seemed to present the best method of +solving the problem, and the various ways of shuffling off this mortal +coil were duly considered. Meanwhile he filled in the time reading +trashy novels--anything to forget time and place, and lose self in +poppy-dreams of nothingness. + +Two years of such blankness and blackness followed. He was sure that the +desire to create, to be, to do, would never come again--these were all +of the past. One day on an idle stroll through the park he met Merelli. +As they walked along together, Merelli took from his pocket a book, the +story of "Nabucco," and handing it to Verdi, asked him to look it over, +and see if he thought there was a chance to make an opera out of it. +Verdi responded that he was not in the business of writing operas--he +had quit all such follies. He took the volume, however, but neglected to +look at it for several days. At last he read the pages. He laid the book +down and began to pace the floor. Possibilities of creation were looming +large before him--a rush of thought was upon him. His soul was not +dead--it had only been lying fallow. + +He secured the loan of a piano and set to work. In a month the opera was +completed. Merelli hesitated about accepting it--twice he had lost money +on Verdi. Finally he decided he would put the play on, if Verdi would +waive all royalties for the first three performances, if it were a +success, and then sell the opera outright "at a reasonable price," if +Merelli should chance to want it. The "reasonable price" was assumed to +be about a thousand francs--two hundred dollars--pretty good pay for a +month's work. + +Verdi took no interest in the production of the piece. He had come to +the conclusion that the public was a fickle, foolish thing, and no one +could tell what it would hiss or applaud. Then he remembered the +blackness of the night when only two years before his other opera was +produced. + +He made his way to his dingy little room and went to bed. + +Very early the next morning there was a loud pounding on his door. It +was Merelli. "How much for your opera?" asked the impresario, pushing +his way into the room. + +"Thirty thousand francs," came a voice, loud and clear out of the +bedclothes. + +"Don't be a fool," returned Merelli--"why do you ask such a sum!" + +"Because you are here at five o'clock in the morning--the price will be +fifty thousand this afternoon." + +Ten minutes of parley followed, and then Merelli drew his check for +twenty thousand francs, and Verdi gave his quitclaim, turned over in +bed, and went to sleep again. + + * * * * * + +The success of "Nabucodonosor" was complete. Its author had his twenty +thousand francs, but Merelli made more than that. From Eighteen Hundred +Forty-two to Eighteen Hundred Fifty-one may be called the First Verdi +Period. A dozen successful operas were produced, and simultaneously at +Rome, Naples, Venice, Milan, Genoa and Florence, Verdi's compositions +were being presented. The master was a businessman, as well as an +artist--the combination is not so unusual as was long believed--and knew +how to get the most for the mintage of his mind. Money fairly flowed his +way. + +Verdi married again in Eighteen Hundred Fifty. His life now turns into +what may be called the Second Verdi Period. After this we shall see no +more such curious exhibitions of bad taste as a ballet of forty witches +in "Macbeth," capering nimbly to a syncopated melody, with "Lady +Macbeth" in a needlessly abbreviated skirt singing a drinking-song to an +absent lover. In strenuous efforts to avoid coarseness Verdi may +occasionally give us soft sentimentality, but the change is for the +best. + +His mate was a woman of mind as well as heart. She was his intellectual +companion, his friend, his wife. For nearly fifty years they lived +together. Her dust now lies in the "House of Rest," at Milan, a home for +aged artists, founded by Verdi. This "House of Rest" was a +Love-Offering, dedicated to the woman who had given him, without stint, +of the richness of her nature; who had bestowed rest, and peace, and +hope and gentle love. She had no feverish ambitions and petty plans and +schemes for secretly corralling pleasure, power, place, attention, or +selfish admiration. By giving all, she won all. She devoted herself to +this man in whom she had perfect faith, and he had perfect faith in her. +She ministered to him. They grew great together. When each was over +eighty years of age, Henry James met them at Cremona, at a musical +festival in honor of the birthday of Stradivari. And thus wrote Henry +James: "Verdi and his wife were there, admired above all others. And why +not? Think of whom they are, and what they stand for--nearly a century +of music, and a century of life! The master is tall, straight, proud, +commanding. He has a courtly old-time grace of bearing; and he kissed +his wife's hand when he took leave of her for an hour's stroll. And the +Madame surely is not old in spirit; she is as sprightly as our own Mrs. +John Sherwood, who translated 'Carcassonne' so well that she improved on +the original, because in her heart spring fresh and fragrant every day +the flowers of tender, human, Godlike sympathy." + + * * * * * + +"Rigoletto," produced in the year Eighteen Hundred Fifty-one at Venice, +is founded on Victor Hugo's "Le Roi s'Amuse"; and the music has all the +dramatic fire that matches the Hugo plot. Verdi's devotion to Victor +Hugo is seen again in the use of "Hernani" for operatic purposes. "Il +Trovatore" and "La Traviata" followed "Rigoletto," and these three +operas are usually put forward as the Verdi masterpieces. The composer +himself regarded them with a favor that may well be pardoned, since he +used to say that he and his wife collaborated in their production--she +writing the music and he looking on. The proportion of truth and poetry +in this statement is not on record. But the simple fact remains that "Il +Trovatore" was always a favorite with Verdi, and even down to his death +he would travel long distances to hear it played. A correspondent of the +"Musical Courier," writing from Paris in Eighteen Hundred Eighty-seven, +says: "Verdi and his wife occupied a box last evening at the Grand Opera +House. The piece was 'Il Trovatore,' and many smiles were caused by the +sight of the author and his spouse seemingly leading the claque as if +they would split their gloves." + +The flaming forth of creative genius that produced the "Rigoletto," "Il +Trovatore," and "La Traviata," subsided into a placid calm. + +The serene happiness of Verdi's married life, the fortune that had come +to him, and the consciousness of having won in spite of great +obstacles, led him to the thought of quiet and well-earned rest. The +master interested himself in politics, and was elected to represent the +district of Parma in the Italian Parliament. He proved himself a man of +power--practical, self-centered and businesslike--and as such served his +country well. + +The sentiment of the man is shown in his buying the property at Busseto, +his old home, which was owned by Signore Barezzi. He removed the high +picket fence, replacing it with a low stone wall; remodeled the house +and turned the conservatory into a small theater, where free concerts +were often given with the help of the villagers. The adjoining grounds +and splendid park were free to the public. + +The master's attention to music was now limited to enjoying it. So +passed the days. + +Ten years of the life of a country gentleman went by, and the Shah of +Persia, who had been on a visit to Italy and met Verdi, sent a command +for an opera. The plot must be laid in the East, the characters Moorish, +and the whole to be dedicated to the immortal Son of the Sun--the Shah. + +It is a little doubtful whether the Shah knew that operas are produced +only in certain moods and can not be done to order as a carpenter builds +a fence. But it was the way that Eastern Royalty had of showing its high +esteem. + +Verdi smiled, and his wife smiled, and they had quite a merry little +time over the matter, calling in the neighbors and friends, and drinking +to the health of a real live Shah who knew a great musical genius when +he found one. But suddenly the matter began to take form in the master's +mind. He set to work, and the result was that in a few weeks "Aida" was +completed. The stories often told of the long preparation for composing +this opera reveal the fine imagination of the men who write for the +newspapers. Verdi seized upon knowledge as a devilfish absorbs its +prey--he learned in the mass. + +"Aida" was first produced at Cairo in Eighteen Hundred Seventy-one, with +a grand setting and the best cast procurable. A new Verdi opera was an +event, and critics went from London, Paris, and other capitals to see +the performance. + +The first thing the knowing ones said was that Verdi was touched with +Wagnerism, and that he had studied "Lohengrin" with painstaking care. If +Verdi was influenced by Wagner it was for good; but there was no servile +imitation in it. The "Aida" is rich in melody, reveals a fine balance +between singers and orchestra, and the "local color" is correct even to +the chorus of Congo slaves that was introduced at the performance in +Cairo. + +All agreed that the rest had done the master good, and the +correspondents wrote, "We will look anxiously for his next." They +thought the stream had started and there would be an overflow. + +But they were mistaken. Sixteen years of quiet farming followed. Verdi +was more interested in his flowers than his music, and told Philip Hale, +who made a pious pilgrimage to Busseto in Eighteen Hundred Eighty-three, +that he loved his horses more than all the prima donnas on earth. + +But in Eighteen Hundred Eighty-seven, the artistic and music-loving +world was surprised and delighted with "Otello." This grand performance +made amends for the mangling of "Macbeth." James Huneker says: "The +character-drawing in 'Otello' is done with the burin of a master; the +plot moves in processional splendor; the musical psychology is subtle +and inevitable. At last the genius of Verdi has flowered. The work is +consummate and complete." + +"Falstaff" came next, written by a graybeard of eighty as if just to +prove that the heart does not grow old. It is the work of an +octogenarian who loved life and had seen the world of show and sense +from every side. Old men usually moralize and live in the past--not so +here. The play flows with a laughing, joyous, rippling quality that +disarmed the critics and they apologized for what they had said about +Wagnerian motives. There were no sad, solemn, recurring themes in the +full-ripened fruit of Verdi's genius. When he died, at the age of +eighty-seven, the curtain fell on the career of a great and potent +personality--the one unique singer of the Nineteenth Century. + + + + +[Illustration: WOLFGANG MOZART] + +WOLFGANG MOZART + + + Mozart composed nine hundred twenty-two pieces of which we know. He + is considered the greatest composer the world has ever seen, judged + by the versatility and power of his genius. In every kind of + composition he was equally excellent. Beside being a great composer + he was a great performer, being the most accomplished pianist of + his day. He was also an excellent player on the violin. + + --_Dudley Buck_ + + +WOLFGANG MOZART + +Apology: The Mozart "Little Journey" was written, and as over a month +had been taken to do the task, the result was something of which I was +justly proud. It was quite unlike anything ever before written. The +printers were ready to take the work in hand, but I begged them to allow +me two more days for careful revision; and as I was just starting away +to give a lecture at Janesville, Wisconsin, I took the manuscript with +me, intending to do the final work of revision on the train. + +All went well on the journey, the lecture had been given with no special +tokens of disapproval on part of the audience, and I was on board the +early morning train that leaves for Chicago. And as my mind is usually +fairly clear in the early hours, I began work retouching the good +manuscript. We were nearing Beloit when I bethought me to go into the +Buffet-Car for a moment. + +When I returned the manuscript was not to be seen. I looked in various +seats, and under the seats, asked my neighbors, inquired of the +brakeman, and then hunted up the porter and asked him if he had seen my +manuscript. He did not at first understand what I meant by the term +"manuscript," but finally inquired if I referred to a pile of dirty, +dog-eared sheets of paper, all marked up and down and over and +crisscross, ev'ry-which-way. + +I assured him that he understood the case. + +He then informed me that he had "chucked the stuff," that is to say, he +had tossed it out of the window, as he was cleaning up his car, just as +he always did before reaching Chicago. + +I made a frantic reach for the bell-cord, but was restrained. A +sympathetic passenger came forward and explained that five miles back he +had seen the sheets of my precious manuscript sailing across the +prairie. We were going at the rate of a mile a minute and the wind was +blowing fiercely, so there was really no need of backing up the train to +regain the lost goods. + +"I hope dem scribbled papers was no 'count, boss!" said the porter +humbly, as I stood sort of dazed, gazing into vacancy. + +I shook myself into partial sanity. "Oh, they were of no value--I was +looking for them so as to throw them out of the window myself," I +answered. + +"Brush?" said he. + +"Yes," said I. + +I placed the expected quarter in his dusky palm, still pondering on what +I should do. + +To reproduce the matter was impossible, for I have no verbal +memory--something must be written, though. I decided to leave Chicago in +an hour by the Lake Shore Railroad, and have the copy ready for the +Roycroft boys when I reached home. + +This I did, and as I had no reference-books, maps or memoranda to guide +me, the matter seems to lack synthesis. I say seems to lack--but it +really doesn't, for the facts will all be found to be as stated. Still +the form may be said to be slightly colored by the environment, so some +explanation is in order--hence this apology to the Gentle Reader. And +further, if the Reader should find in these pages that, at rare +intervals, I use the personal pronoun, he must bear in mind that I live +in the country, and that it is the privilege and right, established by +long precedent and custom of country folk, to talk about themselves and +their own affairs if they are so minded. + + * * * * * + +Chicago: Talent is usually purchased at a high price, and if the gods +give you a generous supply of this, they probably will be niggardly when +it comes to that. But one thing the artist is usually long on, and that +is whim. Let us all pray to be delivered from whim--it is the poisoner +of our joys, the corrupter of our peace, and Dead-Sea fruit for all +those about us. + +Heaven deliver us from whim! + +I am told by a famous impresario, who gained some valuable experience by +marrying a prima donna, and therefore should know, that whim is purely a +feminine attribute. This, though, is surely a mistake, for there have +lived men, as well as women, who had such an exaggerated sense of their +own worth, that they lost sight, entirely, of the rights and feelings of +everybody else. All through life they kept the stage waiting without +punctilio. These men thought dogs were made to kick, servants to rail +at, the public to be first crawled to and then damned, and all rivals to +be pooh-poohed, cursed or feared, as the mood might prompt. Further than +this they considered all landlords robbers, every railroad-manager a +rogue, and businessmen they bunched as greedy, grasping Shylocks. They +always used the word "commercial" as an epithet. + +Devotees of the histrionic art can lay just claim to having more than +their share of whim, but the musical profession has no reason to be +abashed, for it is a good second. However, the actor's and the +musician's art are often not far separated. In speaking to James McNeil +Whistler of a certain versatile musician, a lady once said, "I believe +he also acts!" + +"Madame, he does nothing else," replied Mr. Whistler. + +Art is not a thing separate and apart--art is only the beautiful way of +doing things. And is it not most absurd to think, because a man has the +faculty of doing a thing well, that on this account he should assume +airs and declare himself exempt along the line of morals and manners? +The expression "artistic temperament" is often an apologetic term, like +"literary sensitiveness," which means that the man has stuck to one task +so long that he is unable to meet his brother men on a respectful +equality. + +The artist is the voluptuary of labor, and his fantastic tricks often +seem to be only Nature's way of equalizing matters, and showing the +world that he is very common clay, after all. To be modest and gentle +and kind, as we all can be, is just as much to God as to be learned and +talented, and yet be a cad. + +Still, instances of great talent and becoming modesty are sometimes +found; and in no great musician was the balance of virtues held more +gracefully than with Mozart. He had humor. + +Ah! that is it--he knew values--had a sense of proportion, and realized +that there is a time to laugh. And a good time to laugh is when you see +a mighty bundle of pretense and affectation coming down the street. +Dignity is the mask behind which we hide our ignorance; and our forced +dignity is what makes the imps of comedy, who sit aloft in the sky, hold +their sides in merriment when they behold us demanding obeisance because +we have fallen heir to tuppence worth of talent. + + * * * * * + +Laporte: Mozart had a sense of humor. He knew a big thing from a little +one. When yet a child the tendency to comedy was strong upon him. When +nine years of age he once played at a private musicale where the +Empress, Maria Theresa, was present. The lad even then was a consummate +violinist. He had just played a piece that contained such a tender, +mournful, minor strain that several of the ladies were in tears. The boy +seeing this, relentingly dashed off into a "barnyard symphony," where +donkeys brayed, hens cackled, pigs squealed and cows mooed, all ending +with a terrific cat-fight on a wood-shed roof. This done, the boy threw +his violin down, ran across the room, climbed into the lap of the +Empress and throwing his arms around the neck of the good lady, kissed +her a resounding smack first on one cheek, then on the other. It was all +very much like that performance of Liszt, who one day, when he was +playing the piano, suddenly shouted, "Pitch everything out of the +windows!" and then proceeded to do it--on the keyboard, of course. + +On the same visit to the palace, when Mozart saluted Maria Theresa in +his playful way, he had the misfortune to slip and fall on the waxed +floor. + +Marie Antoinette, daughter of Maria Theresa, just budding into +womanhood, ran and picked him up and rubbed his knee where it was hurt. +"You are a dear, good lady," said the boy in gratitude, "and when I +grow up I am going to marry you." Liszt never made any such promise as +that. Liszt never offered to marry anybody. But it is too bad that Marie +Antoinette did not hold the lad to his promise. It would have probably +proved a valuable factor for her in the line of longevity; and her +husband's circumstances would have saved her from making that silly +inquiry as to why poor people don't eat cake when they run short of +bread. These moods of merriment continued with Mozart, as they did with +Liszt, all his life--not always manifesting themselves, though, in the +way just described. + +As a companion I would choose Mozart--generous, unaffected, kind--rather +than any other musician who ever played, danced, sang or +composed--excepting, well, say Brahms. + + * * * * * + +South Bend: We take an interest in the lives of others because we +always, when we think of another, imagine our relationship to him. "Had +I met Shakespeare on the stairs I would have fainted dead away," said +Thackeray. + +Another reason why we are interested in biography is because, to a +degree, it is a repetition of our own life. + +There are certain things that happen to every one, and others we think +might have happened to us, and may yet. So as we read, we unconsciously +slip into the life of the other man and confuse our identity with his. +To put yourself in his place is the only way to understand and +appreciate him. It is imagination that gives us this faculty of +transmigration of souls; and to have imagination is to be universal; not +to have it is to be provincial. Let me see--wouldn't you rather be a +citizen of the Universe than a citizen of Peoria, Illinois, which modest +town the actors always speak of as being one of the provinces? + +As I read biography I always keep thinking what I would have done in +certain described circumstances, and so not only am I living the other +man's life, but I am comparing my nature with his. Everything is +comparative; that is the only way we realize anything--by comparing it +with something else. As you read of the great man he seems very near to +you. You reach out across the years and touch hands with him, and with +him you hope, suffer, strive and enjoy: your existence is all blurred +and fused with his. + +And through this oneness you come to know and comprehend a character +that has once existed, very much better than the people did who lived in +his day and were blind to his true worth by being ensnared in cliques +that were in competition with him. + + * * * * * + +Elkhart: I intimated a few pages back that I would have liked to have +Mozart for a friend and companion. Mozart needed me no less than I need +him. "Genius needs a keeper," once said I. Zangwill, probably with +himself in mind. We all need friends--and to be your brother's keeper is +very excellent if you do not cease being his friend. And poor Mozart did +so need a friend who could stand between him and the rapacious wolf that +scratched and sniffed at his door as long as he lived. I do not know why +the wolf sniffed, for Mozart really never had anything worth carrying +away. He was so generous that his purse was always open, and so full of +unmixed pity that the beggars passed his name along and made cabalistic +marks on his gateposts. Every seedy, needy, thirsty and ill-appreciated +musician in Germany regarded him as lawful prey. They used to say to +Mozart, "I can not beg and to dig I am ashamed--so grant me a small +loan, I pray thee." + +Yes, Mozart needed me to plan his tours and market his wares. I'm no +genius, and although they say I was an infant terrible, I never was an +infant prodigy. At the tender age of six, Mozart was giving concerts and +astonishing Europe with his subtle skill. At a like age I could catch a +horse with a nubbin, climb his back, and without a saddle or bridle +drive him wherever I listed by the judicious use of a tattered hat. Of +course I took pains to mount only a horse that had arrived at years of +discretion, matronly brood-mares or run-down plow-horses; but this is +only proof of my practical turn of mind. Mozart never learned how to +control either horse or man by means of a tattered hat or diplomacy: +music was his hobby, and it was long years after his death before the +world discovered that his hobby was no hobby at all, but a genuine +automobile that carried him miles and miles, clear beyond all his +competitors: so far ahead that he was really out of shouting distance. + +Indeed, Mozart took such an early start in life and drove his machinery +so steadily, not to say so furiously, that at thirty-five all the +bearings grew hot for lack of rebabbitting, and the vehicle went the way +of the one-horse shay--all at once and nothing first, just as bubbles do +when they burst. + +At the age which Mozart died I had seen all I wanted to of business +life, in fact I had made a fortune, being the only man in America who +had all the money he wanted, and so just turned about and went to +college. This I firmly hold is a better way than to be sent to college +and then go into trade later and forget all you ever learned at school. +I had rather go to college than be sent. Every man should get rich, that +he might know the worthlessness of riches; and every man should have a +college education, just to realize how little the thing is worth. + +Yes, Mozart needed a good friend whose abilities could have rounded out +and made good his deficiencies. Most certainly I could not do the +things that he did, but I should have been his helper, and might, too, +had not a century, one wide ocean, and a foreign language separated us. + + * * * * * + +Waterloo: Friendship is better than love for a steady diet. Suspicion, +jealousy, prejudice and strife follow in the wake of love; and disgrace, +murder and suicide lurk just around the corner from where love coos. +Love is a matter of propinquity; it makes demands, asks for proofs, +requires a token. But friendship seeks no ownership--it only hopes to +serve, and it grows by giving. Do not say, please, that this applies +also to love. Love bestows only that it may receive, and a one-sided +passion turns to hate in a night, and then demands vengeance as its +right and portion. + +Friendship asks no rash promises, demands no foolish vows, is strongest +in absence, and most loyal when needed. It lends ballast to life, and +gives steadily to every venture. Through our friends we are made +brothers to all who live. + +I think I would rather have had Mozart for a friend than to love and be +loved by the greatest prima donna who ever warbled in high C. Friendship +is better than love. Friendship means calm, sweet sleep, clear brain and +a strong hold on sanity. Love I am told is only friendship, plus +something else. But that something else is a great disturber of the +peace, not to say digestion. It sometimes racks the brain until the +world reels. Love is such a tax on the emotions that this way madness +lies. Friendship never yet led to suicide. + + * * * * * + +Toledo: Yes, just at the age when Mozart wrote and played his "Requiem," +getting ready to die, I was going to school and incidentally falling in +love. I was thirty-four and shaved clean because there were gray hairs +coming in my beard. Love has its advantages, of course, and the benefits +of passionate love consist in scarifying one's sensibilities until they +are raw, thus making one able to sympathize with those who suffer. Love +sounds the feelings with a leaden plummet that sinks to the very depths +of one's soul. This once done the emotions can return with ease, and so +this is why no singer can sing, or painter paint, or sculptor model, or +writer write, until love or calamity, often the same thing, has sounded +the depths of his soul. Love makes us wise because it makes room inside +the soul for thoughts and feelings to germinate; but passionate love as +a lasting mood would be hell. Henry Finck says that is why Nature has +fixed a two-year limit on romantic or passionate love. "War is hell," +said General Sherman. "All is fair in Love and War," says the old +proverb. Love and War are one, say I. Love is mad, raging unrest and a +vain, hot, reaching out for nobody knows what. Of course the kind which +I am talking about is the Grand Passion, not the sort of sentiment that +one entertains towards his grandmother. + +"But it is good to fall in love, just as it is well to have the +measles," to quote Schopenhauer. Still, there is this difference: one +only has the measles once, but the man who has loved is never immune, +and no amount of pledges or resolves can ere avail. + +Just here seems a good place to express a regret that the English +language is such a crude affair that we use the same word to express a +man's regard for roast-beef, his dog, child, wife and Deity. There are +those who speedily cry, "Hold!" when one attempts to improve on the +language, but I now give notice that on the first rainy day I am going +to create some distinctions and differentiate for posterity along the +line just mentioned. + + * * * * * + +Elyria: As intimated in a former chapter, I was a successful farmer +before I went to college. I was also a manufacturer, and made a success +in this business, too. I made a fortune of a hundred thousand dollars +before I was thirty, and should have it yet had I sat down and watched +it. If you go into a railroad-car and sit down by the side of your +valise (or manuscript), in an hour your valuables will probably be there +all right. + +But if you leave the valise (or the manuscript) in a seat and go into +another car, when you come back the goods may be there and they may not. +That is the only way to keep money--fasten your eye right on it. If you +leave it in the hands of others, and go away to delve in books, the +probabilities are that, when you get back, certain obese attorneys have +divided your substance among them. + +However, there is good in every exigency of life, and to know that your +fortune is gone is a great relief. When the trial is ended and the +prisoner has received his sentence, he feels a great relief, for it is +only the unknown that fills our souls with apprehension. + + * * * * * + +Cleveland: In all the realm of artistic history no record of such +extremes can be found in one life as those seen in the life of Mozart. +The nearest approach to it is found in the career of Rembrandt, who won +fame and fortune at thirty, and then holding the pennant high for ten +years, his powers began to decline. It took twenty-six years of steady +down grade to ditch his destinies in a pauper's grave. + +But Rembrandt, during his lifetime, was scarcely known out of Holland, +whereas Mozart not only won the nod of nobility, and the favor of the +highest in his own land, but he went into the enemy's country and +captured Italy. Mozart's art never languished: he held a firm grip on +sublime verities right to the day of his death. The high-water mark in +Mozart's career was reached in those two years in Italy, when in his +thirteenth and fourteenth years. The arts all go hand in hand, for the +reason that strong men inspire strong men, and each does what he can do +best. In painting, sculpture and music (not to mention Antonio +Stradivari of Cremona) Italy has led the world. A hundred years ago no +musician could hope for the world's acclaim until Italy had placed its +stamp of approval upon him. + +Savants in Milan, Florence, Padua, Rome, Verona, Venice and Naples, +tested the powers of young Mozart to their fullest; and although he had +to overcome doubt and the prejudice arising from being "a barbaric +German," yet the highest honors were at the last ungrudgingly paid him. +He was enrolled as an honorary member of numerous musical societies, old +musicians gave their blessings, proud ladies craved the privilege of +kissing his fair forehead, and the Pope conferred upon the gifted boy +the Order of the Golden Spur, which gave him the right to have his mail +come directed to "The Signor Cavaliere Mozarti." + +At Naples the result of his marvelous playing was ascribed to +enchantment, and this was thought to be centered in a diamond ring that +had been presented to the lad by a fair lady in a mood of ecstasy. To +convince the Neapolitans of their error Mozart was obliged to accept +their challenge and remove the ring. He wrote home to his mother that he +had no time to practise, as in every city where he went artists insisted +on his sitting for his portrait. + +The acme of attention and applause was reached at Milan, where he was +commissioned to write an opera for the Christmas festivities. The +production of this opera at La Scala was the most glorious item in the +life of Mozart. A boy of fourteen conducting an opera of his own +composition before enraptured multitudes is an event that stands to the +credit of Mozart, and Mozart alone. "Evviva the Little Master--Evviva +the Little Master!" cried the audience. "It is music for the stars," and +against all precedent aria after aria had to be repeated. The boy, +always rather small for his age, stood on a chair to wield his baton, +and the flowers that were rained upon him nearly covered the lad from +view. + + * * * * * + +Ashtabula: The place of a man's birth does not honor him until after he +is dead, and every man of genius has been distrusted by his intimate +kinsmen. If he is granted recognition by the outside world, those who +have known him from childhood wink slyly and repeat Phineas T. Barnum's +aphorism, a free paraphrase of which the Germans have used since the +days of the Vandals. + +Leopold Mozart returned home with his wonderful boy not much richer than +when he went away. He had left the management of finances to others, and +was quite content to travel in a special carriage, stop at the best +hotels, and have any "label" he might order, just for the asking. + +Reports had reached Germany of the wonderful success of the youthful +Mozart in Italy, but Vienna smiled and Salzburg sneezed. + + * * * * * + +North East: It is not so very long ago that all the beautiful things of +earth were supposed to belong to the Superior Class. That is to say, all +the toilers, all the workers in metals, all the bookmakers, authors, +poets, painters, sculptors and musicians, did their work to please this +noble or that. All bands of singers were singers to His Lordship, and if +a man wrote a book he dedicated it to His Royal Highness. At first these +thinkers and doers were veritable slaves, and no court was complete that +did not have its wise man who wore the cap and bells, and made puns, +epigrams and quoted wise saws and modern instances for his board and +keep. This man usually served as a clerk or overseer, during his odd +hours, and only appeared to give a taste of his quality when he was sent +for. + +It was the same with the musicians and singers--they were cooks, waiters +and valets, and when there were guests these performers were notified to +be in readiness to "do something" if called upon. It was the same with +painters--every court had its own. Rubens, as we know, was looked upon +by the Duke of Mantua as his private property, and the artist had to run +away, when the time was ripe, to save his soul alive. Van Dyck was court +painter to Charles the First, and married when he was told to do so. + +There is no such office as "Poet Laureate of England"--the Laureate is +poet to the King, and used to dine with the Master of the Hounds. Later +he was allowed to choose his domicile and live in his own house, like +Saint Paul, the prisoner at Rome. His yearly stipend is yet that tierce +of Canary. + + * * * * * + +Silver Creek: Leopold Mozart, and the son who caused his name to endure, +were in the employ of the Archbishop of Salzburg. The Archbishop was a +veritable prince, with short breath and a double chin, and no shade of +doubt ever came to him concerning the divinity of his succession. He +ruled by divine right, and everybody and everything were made to +minister to the well-being of his person and estate. The Mozarts were +too poor to escape from the employ of the Archbishop, and he took pains +to warn all interested persons not to harbor, encourage or entice his +servants away on penalty of dire displeasure. Mozart ate with the +servants, and we have his letters written to his sister showing how his +seat was next below that of the coachman. When he was to play before +invited guests he was made to wait in the entry until the footman called +him, and there he often stood for hours, first on one foot, then on t' +other. + +It is easy to ask why a man of such sublime talent should endure such +treatment, but the simple fact is Mozart was gentle, yielding, +kind--immersed in his music--with no power to set his will against the +tide of tendency that 'compassed him round. The Archbishop forbade his +playing at concerts or entertainments, and blocked the way to all +advancement. The Archbishop didn't have a diplomat like Rubens to cope +with, or a fighter like Wagner, or a plotter like Liszt, or a +stiletto-bearing man like Paganini, and so Mozart wrote his music on a +table in one corner of a beer-garden, and waltzed with his wife, +Constance, to keep warm when there was no fire and the weather was cold, +and all the time danced attendance on the Archbishop of Salzburg. All of +his feeble, spasmodic efforts at freedom came to naught, because there +was no persistency behind them. + +Gladly would he have sold his services for three hundred gulden a year, +but even this sum, equal to one hundred fifty dollars a year, was denied +him. He was always composing, always making plans, always seeing the +silver tint in the clouds, but all of his music was taken by this one or +that in whom he foolishly trusted, and only debt and humiliation +followed him. + +When at long intervals a sum would come his way from a generous admirer +touched with pity, all the beggars in the neighborhood seemed to know it +at once. Then it was that music filled the air at the beer-garden, +carking care and unkind fate were for the time forgot, and all went +merry as a wedding-bell. + +Finally the position of Court Musician to the Emperor of Austria fell +vacant, and certain good friends of Mozart secured him the place. But +the Emperor was not like Frederick the Great, for he could not +distinguish one tune from another, and did not consider it any special +virtue so to do. The result was that his musicians were looked after by +his valet, and Mozart found that his position was really no better than +it had been with the Archbishop of Salzburg. + +And still his mind proved infirm of purpose, and he had not the courage +to demand his right, for fear he might lose even the little that he +had. + + * * * * * + +Buffalo: Mozart was in his twentieth year when he met Aloysia Weber. She +was a gifted singer, surely, and was needlessly healthy. She was of that +peculiar, heartless type that finds digression in leading men a merry +chase and then flaunting and flouting them. Young Mozart, the +impressionable, Mozart the delicate and sensitive, Mozart the AEolian +harp, played upon by every passing breeze, loved this bouncing bundle of +pink-and-white tyranny. + +She encouraged the passion, and it gradually grew until it absorbed the +boy and he grew oblivious to all else. He lived in her smile, bathed in +the sunshine of her presence, fed on her words, and as for her singing +in opera it was not so much what her voice was now but what he was sure +it would be. + +His glowing imagination made good her every deficiency. He thought he +loved the girl. It was not the girl at all he loved: he only loved the +ideal that existed in his own heart. His father opposed the mating and +hastily transferred the youth from Vienna to Paris; but who ever heard +of opposition and argument and forced separation curing love? So matters +ran on and letters and messages passed, and finally Mozart made his way +back to Vienna and with breathless haste sought out the object of his +whole heart's love. + +She had recently met a man she liked better, and as she could not hold +them both, treated Mozart as a stranger, and froze him to the marrow. + +He was crushed, undone, and a fit of sickness followed. In his illness, +Constance, a younger sister of Aloysia, came to him in pity and nursed +him as a child. Very naturally, all the love he had felt for Aloysia was +easily and readily transferred to Constance. The tendrils of the heart +ruthlessly uprooted cling to the first object that presents itself. + +And so Wolfgang Amadeus Mozart and Constance Weber were married. And +they were happy ever afterward. It would have been much better if they +had quarreled, but Mozart's gentle, yielding character readily adapted +itself to the weaker nature of his wife. In his music she took a sort of +blind and deaf delight and guessed its greatness because she loved the +man. But when two weak wills combine, the net result is increased +weakness--never strength. + +Constance was as beautiful a specimen of the slipshod housekeeper as +ever piled away breakfast dishes unwashed, or swept dirt under a settee. +If they had money she bought things they did not need, and if there was +no money she borrowed provisions and forgot to return the loan. +Irregularity of living, deprivation and hope deferred, made the woman +ill and she became a chronic sufferer. But she was ever tended with +loving, patient care by the overburdened and underfed husband. + +A biographer tells how Mozart would often arise early in the morning to +set down some melody in music that he had dreamed out during the night. +On such occasions he would leave a little love-letter for his wife on +the stand at the head of the bed, where she would find it on first +awakening. One such note, freely translated, runs as follows: +"Good-morning, Dear Little Wife. I hope you rested well and had sweet +dreams. You were sleeping so peacefully that I dare not kiss your cheek +for fear of disturbing you. It is a beautiful morning and a bird outside +is singing a song that is in my heart. I am going out to catch the +strain and write it down as my own and yours. I shall be back in an +hour." + + * * * * * + +East Aurora: Aloysia married the man of her choice--an actor by the name +of Lange. They quarreled right shortly, and soon he used to beat her. +This was endured for a year or more, then she left him. For a while she +lived with Wolfgang and Constance, and Mozart, true to his nature, gave +her from his own scanty store and deprived himself for her benefit. He +stood godfather to one of her children and was a true friend to her to +the last. + +After Aloysia lived to be an old woman, and long after Mozart had passed +out, and the world had begun to utter his praises, she said: "I never +for a moment thought he was a genius--I always considered him just a +nice little man." + +Mozart's soul was filled with melody, and all of his music is faultless +and complete. He possessed the artistic conscience to a degree that is +unique. Careless and heedless in all else, if his mood was not right and +the product was halting, he straightway destroyed the score. He was +always at work, always hearing sweet sounds, always weighing and +balancing them in the delicate scales of his judgment. + +So absorbed was he in his art that he fell an easy victim to the +designing, and never stopped his work long enough to strike off the +shackles that bound him to a vain, selfish and unappreciative court. + +Worn by constant work, worried by his wife's continued illness, dogged +by creditors, and unable to get justice from those who owed it to him, +his nerves at the early age of thirty-five gave way. + +His vitality rapidly declined and at last went out as a candle does when +blown upon by a sudden gust from an open door. + +It was a blustering winter day in December, Seventeen Hundred +Ninety-one, when his burial occurred. A little company of friends +assembled, but no funeral-dirge was played for him, save the blast blown +through the naked branches of the trees, as they hurried the plain pine +coffin to its final resting-place. At the gate of the cemetery the few +friends turned back and left the lifeless clay to the old gravedigger, +who never guessed the honor thus done him. + +It was a pauper's grave that closed over the body of Mozart--coffin +piled on coffin, and no one marked the spot. All we know is, that +somewhere in Saint Mark's Cemetery, Vienna, was buried in a trench the +most accomplished composer and performer the world has ever known. It +was a hundred years afterward before the city made tardy amends by +erecting a fitting monument to his memory. + +His best monument is his work. The melody that once filled his soul is +yours and mine; for by his art he made us heirs to all that wealth of +love that was never requited, and the dreams, that for him never came +true, are our precious and priceless legacy. + + + + +[Illustration: JOHANNES BRAHMS] + +JOHANNES BRAHMS + + + What is music? This question occupied my mind for hours last night + before I fell asleep. The very existence of music is wonderful, I + might even say miraculous. Its domain is between thought and + phenomena. Like a twilight mediator, it hovers between spirit and + matter, related to both, yet differing from each. It is spirit, but + spirit subject to the measurement of time; it is matter, but matter + that can dispense with space. + + --_Heine_ + + +JOHANNES BRAHMS + +Emerson has said that, next to the man who first voices a great truth, +is the one who quotes it. + +Truth is in the air; it belongs to all who can appreciate it; and the +difference between the man who gives a truth expression and the listener +who at once comprehends and repeats it, is very slight. If you +understand what I say, it is because you have thought the same thoughts +yourself--I merely express for you that which you already know. And so +you approve and applaud, not stopping to think that you are applauding +your own thought; and your heart beats fast and you say, "Yes, yes, why +didn't I say that myself!" + +All conversation is a sort of communion--an echoing back and forth of +thoughts, feelings and emotions. We clarify our thoughts by expressing +them--no idea is quite your own until you tell it to another. + +Music is simply one form of expression. Its province is to impart a +sublime emotion. To give himself is the controlling impulse in the heart +of every artist--to impart to others the joy he feels--this is the +dominant motive in his life. + +Hence the poet writes, the artist paints, the sculptor models, the +singer sings, the musician plays--all is expression--a giving voice to +the Silence. But it is all done for others. In ministering to others the +artist ministers to himself. In helping others we help ourselves. We +grow strong through exercise, and only the faculties that are +exercised--that is to say, expressed--become strong. Those not in use +atrophy and fall victims to arrested development. + +Man is the instrument of Deity--through man does Deity create. And the +artist is one who expresses for others their best thoughts and feelings. +He may arouse in men emotions that were dormant, and so were unguessed; +but under the spell of the artist-spirit, these dormant faculties are +awakened from lethargy--they are exercised, and once the thrill of life +is felt through them, they will probably be exercised again and again. + +All art is collaboration between the performer and the partaker--music +is especially a collaboration. It is a oneness of feeling: action and +reaction, an intermittent current of emotion that plays backward and +forward between the player and his audience. The player is the positive +pole, or masculine principle; and the audience the negative pole, or +feminine principle. + +In great oratory the same transposition takes place. Almost every one +can recall occasions when there was an absolute fusion of thought, +feeling and emotion between the speaker and the audience--when one mind +dominated all, and every heart beat in unison with his. The great +musician is the one who feels intensely, and is able to express +vividly, and thus impart his emotion to others. + +Robert Schumann was such a man. In his youth, when he played at parlor +gatherings he could fuse the listeners into an absolute oneness of +spirit. You can not make others feel unless you yourself feel; you can +not make others see unless you yourself see. Robert Schumann saw. He +beheld the moving pictures, and as they passed before him he expressed +what he saw in harmonious sounds. His many admirers say he gave +"portraits" on the piano, and by sounds would describe certain persons, +so others who knew these persons would recognize them and call their +names. + +Sterndale Bennett has told of Schumann's playing Weber's "Invitation to +the Dance," and accompanying it with little verbal explanations of what +he saw, thus: "There," said the player as he struck the opening chords, +"there, he bows, and so does she--he speaks--she speaks, and oh! what a +voice--how liquid! listen--hear the rustle of her gown--he speaks, a +little deeper, you notice--you can not hear the words, only their voices +blending in with the music--now they speak together--they are lovers, +surely--see, they understand--oh! the waltz--see them take those first +steps--they are swaying into time--away!--there they go--look!--you can +not hear their voices now--only see them!" + +Schumann studied law, and had he followed that profession he would have +made a master before a jury. He saw so clearly and felt so deeply, and +was so full of generosity and bubbling good-cheer, that he was +irresistible. As we know, he proved so to Clara Wieck, who left father +and mother and home to cleave to this unknown composer. + +This splendid young woman was nine years younger than Robert, but she +had already made a name and fortune for herself before they were +married. + +In passing it is well enough to call attention to the fact that this is +one of the great loves of history. It ranks with the mating of Robert +Browning and Elizabeth Barrett. How strange that such things are so +exceptional that the world takes note of them! + +Yet for quite a number of years after their marriage, Madame Schumann +was at times asked this question: "Is your husband musical?" + +But Robert Schumann, like Robert Browning, was too big a man to be +jealous of his wife. Jealousy is an acknowledgment of weakness and +insecurity. "Robert and Clara," their many dear friends always called +them. They worked together--composed, sang, played, and grew great +together. And as if to refute the carping critics who cry that +domesticity and genius are incompatible, Clara Schumann became the happy +mother of eight children, and not a year passed but she appeared upon +the concert stage, while a nurse held the baby in the wings. Schumann +was very proud of his wife. He was grateful to her for interpreting his +songs in a way he could not. His lavish heart went out to every one who +expressed the happiness and harmony which he felt singing in his soul. + +And so he welcomed all players and all singers, and all who felt the +influence of an upward gravitation. Especially was he a friend of the +young and the unknown. His home at Dusseldorf was a Mecca for the +aspiring--worthy and unworthy--and to these he gave his time, money and +influence. "Genius must have recognition--we will discover and bring +forth these beautiful souls; we will liberate and give them to the +world," he used to say. Not only did he himself express great things, +but he quoted others. + +Among those who had reverenced the Schumanns from afar, came a young man +of twenty, small and fair-haired, from Hamburg. He was received at the +regular "Thursday Night" with various other strangers. These meetings +were quite informal, and everybody was asked to play or sing. On being +invited to play, our young man declined. But on a second visit he sat +down at the piano and played. It was several minutes before the company +ceased the little buzz of conversation and listened--the fledglings were +never taken seriously except by the host and hostess. The youth leaned +over the keyboard, and seemed to gather confidence from the sympathetic +attitude of the listeners, and especially Clara Schumann, who had come +forward and stood at his elbow. + +He played from Schumann's "Carnival," and as he played, freedom came to +him. He surprised himself. When he ceased playing, Robert kissed his +cheek, and the company were vehement in their applause. Next day +Schumann met Albert Dietrich, another disciple who had come from a +distance to bask in the Schumann sunshine, and said with an air of +mystery: "One has come of whom we shall yet hear great things. His name +is Johannes Brahms." + + * * * * * + +We have at least four separate accounts of Brahms' first appearance and +behavior when he arrived at the city of Dusseldorf. These descriptions +are by Robert and Clara Schumann, Doctor Dieters and Albert Dietrich. +All agree that Johannes Brahms was a most fascinating personality. +Dieters and Dietrich were about the age of Brahms, and were lesser +satellites swinging just outside the Schumann orbit. Very naturally when +a new devotee appeared, they gazed at him askance. Many visitors were +coming and going, and from most of them there was nothing to fear, but +when this short, deep-chested boy with flaxen hair appeared, Dietrich +felt there was danger of losing his place at the right hand of the +Master. + +Brahms carried his chin in, and the crown of his head high. He was +infinitely good-natured, met everybody on an equality, without abasement +or condescension. He was modest, never pushed himself to the front, and +was always ready to listen. A talented performer who can listen well, is +sure to be loved. And yet when Brahms went forward to play, there was +just a suggestion of indifference to his hearers in his manner, and a +half-haughty self-confidence that won before he had sounded a note. We +always believe in people who believe in themselves. + +Young Brahms brought a letter of introduction from Joachim. But that was +nothing--Joachim was always giving letters to everybody. He was like +the men who sign every petition that is presented; or those other good +men who give certificates of character to people they do not know, and +recommendation letters to those for whom they have no use. + +So the letter went for little with Robert Schumann--it was the way +Brahms approached the piano, and settled his hands and great shock-head +over the keyboard, that won. + +"He is no beginner," whispered Clara to Robert before Johannes had +touched a key. + +It didn't take Brahms long to get acquainted--he mixed well. In a few +days he dropped into that half-affectionate way of calling his host and +hostess by their first names, and they in turn called him "Johannes." +And to me this is very beautiful, for, at the last, souls are all of one +age. More and more we are realizing that getting old is only a bad +habit. The only man who is old is the one who thinks he is. Of course +these remarks about age do not exactly apply just here, for no member of +the trinity we are discussing was advanced in years. Robert was +forty-three, Clara was thirty-four, and Johannes was twenty. + +Johannes Brahms was thrice well blest in being well born. His parents +were middle-class people, fairly well-to-do. They proved themselves +certainly more than middle-class in intellect, when they adopted the +plan of being the companions and comrades of their children. Johannes +grew up with no slavish fear of "old folks." He had worked with his +father, studied with him; learned lessons from books with his mother, +and played "four hands" with her at the piano, by the hour, just for +fun. + +Then when Remenyi came that way with his violin, and wanted a pianist, +he took young Brahms. When their lines crossed the line of Liszt, they +played for him at his inn; and then Liszt played for them. + +This Remenyi was our own "Ol' Man Remenyi," who passed over only a year +or so ago. I wonder if he was Ol' Man Remenyi then! He never really was +an old man, and that appellation was more a mark of esteem than anything +else--a sort of diminutive of good-will. I met Remenyi at Chautauqua, +where he spent a month or more in Eighteen Hundred Ninety-three. He gave +me my first introduction to the music of Brahms, of whom he never tired +of talking. He considered Brahms without a rival--the culminating flower +of modern music; and if the Ol' Man slightly exaggerated his own +influence in bringing Brahms out and presenting him to the world, I am +not the one to charge it up against his memory. + +In explaining Brahms and his music, Remenyi used to grow animated, and +when words failed he would say, "Here, it was just like this"--and then +he would seize his violin, the bow would wave through the air, and the +notes would tell you how Brahms transposed Beethoven's "Kreutzer +Sonata" from A to B flat--a feat he never could have performed if +Remenyi had not told him how. It was Remenyi who introduced Brahms to +Joachim, and it was Joachim who introduced Brahms to Schumann, and it +was Schumann's article, "New Paths," in the "Neue Zeitschrift fur +Musik," that placed Brahms on a pedestal before the world. Brahms was +not the great man that Schumann painted, Remenyi thought, but the +idealization caused him to put forth a heroic effort to be what Clara +and Robert considered him. So it was really these two who compelled him +to push on: otherwise he might have relaxed into a mere concert +performer or a leader of some subsidized band. + +Remenyi always seemed to me like a choice antique mosaic, a trifle +weather-worn, set into the present. He used to quote Liszt as if he +lived around the corner, and would criticize Wagner, and tell of +Moescheles, Haertel, the Mendelssohns and the Schumanns, as if they +might all gather tomorrow and play for us at the Hall in the Grove. + +Recently I met dear old Herr Kappes, eighty years young, who knew the +Mendelssohns, and admired Brahms, loved Clara Schumann, and liked +Remenyi--sometimes. They were too much alike, I fear, to like each other +all the time. But the harmony is still in the heart of Herr Kappes. He +gives music-lessons, and lectures, and will explain to you just how and +where Brahms differs from Schumann, and where Schubert separates from +both. + +Herr Kappes can speak five languages, but even with them all he finds +difficulty in making his meaning clear, and at times adopts the Remenyi +plan, and will just turn to the piano and cry, "It's like this, see! +Schumann wrote it in this way"--and then the strong hands will chase the +keys down and back and over and up. "But Brahms took the motif and set +it like this"--and Herr Kappes will strike the bass a thunderous +stroke--pause, look at you, glide back and down, up and over, and you +are carried away in a swirl of sweet sounds, and see a pink face framed +in its beautiful aureole of white hair. You listen but you do not "see" +the fine distinctions, because you do not care--Herr Kappes is all there +is of it, so animated, so gentle, so true, so lovable--because he used +to pay court to Fanny Mendelssohn and then transferred his affections to +Clara Schumann, and now just loves his art, and everybody. + + * * * * * + +Schumann's article, "New Paths," at once determined Brahms' career. He +must either live up to the mark that had been set for him--or else run +away. + +I give below an extract from Robert's estimate of Brahms and his work: + + Ten years have passed away, as many as I formerly devoted to the + publication of this paper--since I have allowed myself to commit my + opinions to this soil so rich in memories. Often in spite of an + overstrained productive activity, I have felt moved to do so; many + new and remarkable talents have made their appearance, and a fresh + musical power seemed about to reveal itself among the many aspiring + artists of the day, even if their compositions were only known to + the few. + + I thought to follow with interest the pathways of these elect; + there would--there must--after such a promise, suddenly appear one + who should utter the highest ideal expression of the times, who + should claim the mastership by no gradual development, but burst + upon us fully equipped, as Minerva sprang from the brain of + Jupiter. And he has come, this chosen youth, over whose cradle the + Graces and Heroes seem to have kept watch. + + His name is Johannes Brahms; he comes from Hamburg, where he has + been working in quiet obscurity, instructed by an excellent, + enthusiastic teacher in the most difficult principles of his art, + and lately introduced to me by an honored and well-known master. + His mere outward appearance assures us that he is one of the + elect. + + Seated at the piano, he disclosed wondrous regions. We were drawn + into an enchanted circle. Then came a moment of inspiration which + transformed the piano into an orchestra of wailing and jubilant + voices. There were sonatas, or rather veiled symphonies, songs + whose poetry revealed itself without the aid of words, while + throughout them all ran a vein of deep song-melody, several pieces + of a half-demoniacal character, but of charming form; then sonatas + for piano and violin, string quartets, and each of these creations + so different from the last that they appeared to flow from so many + different sources. Then, like an impetuous torrent, he seemed to + unite these streams into a foaming waterfall; over the tossing + waves the rainbow presently stretches its peaceful arch, while on + the banks butterflies flit to and fro, and the nightingale warbles + her song. + + Whenever he bends his magic wand towards great works, and the + powers of orchestra and chorus lend him their aid, still more + wonderful glimpses of the ideal world will be revealed to us. + + May the Highest Genius help him onward! Meanwhile another + genius--that of modesty--seems to dwell within him. His comrades + greet him at his first step in the world, where wounds may, + perhaps, await him, but the bay and the laurel also; we welcome + this valiant warrior! + +Robert Schumann had been before the public as essayist, poet, pianist +and composer for twenty years. He had given himself without stint to +almost every musical enterprise of Germany, and his sympathy was ever on +tap for every needy and aspiring genius. You may give your purse--he +who takes it takes trash--but to give your life's blood and then hope +for a renewal of life's lease, is vain. + +The public man owes to himself and to his Maker the duty of reserve. + +The desert and mountain are very necessary to the individual who gives +himself to the public. That any man should so bestride the narrow world +like a colossus that the multitude must stop to gaze, and thousands feed +upon his words, is an abnormal condition. The only thing that can hold +the balance true is solitude. Relaxation is the first requirement of +strength. Watch the cat, the tiger or the lion asleep. See what complete +absence of intensity--what perfect relaxation! It is all a preparation +for the spring. + +Schumann had not sought the mountain, nor abandoned himself to the woods +in old shoes, corduroys and a flannel shirt. Now he was paying the +penalty of publicity. Virtue had gone out of him; and in the article +just quoted, there are signs that he is clutching for something. He +hails this new star and proclaims him, because in some way he feels that +the ruddy, valiant and youthful Brahms is to consummate his work. Brahms +is an extension of himself. It is a part of that longing for +immortality--we perpetuate ourselves in our children and look for them +to accomplish what we have been unable to do. + +Johannes Brahms was the spiritual son of Robert Schumann. + +In less than a year after Brahms and Schumann first met, there were +ominous signs and evil portents in the air. "Why do you play so fast, +dear Johannes? I beg of you, be moderate!" cried Robert on one occasion. +Brahms turned, and his quick glance caught the ashy face and bloodshot +eyes of a sick man. His reply was a tear and a hand-grasp. + +Soon, to Schumann, all music was going at a gallop, and in his ears +forever rang the sound of A. He could hear naught else. Tenderness, +patience, and even love were of no avail. Indeed, love is not exempt +from penalty--the law of compensation never rests. Nature forever +strives for a right adjustment. + +The richness and intensity of Schumann's life were bought with a price. +The first year after his marriage he composed one hundred thirty-eight +songs. Sonatas, scherzos, symphonies and ballads followed fast, and in +it all his gifted wife had gloried. + +But when, in Eighteen Hundred Fifty-four, Robert had, after sleepless +nights, in a fit of frenzy thrown himself into the Rhine, and had been +rescued, shattered, unable to recognize even his nearest friends--the +loyal and devoted wife saw where she herself had erred. + +Writing to Brahms she says: "I encouraged him in his work, and this +fired his ambition to do and to become. Oh! why did I not restrain that +intensity and send him away into the solitude to be a boy; to do nothing +but frolic and play and bathe in the sunshine, and eat and sleep? The +life of an artist is death. Kill ambition, my Brother!" + +Activity and rest--both are needed. The idea of the "retreat" in the +Catholic Church is founded on stern, hygienic science. Wagner's forced +exile was not without its advantages, and the "retreats" of Paganini and +the "retirements" of Liszt were very useful factors in the devolution of +their art. + + * * * * * + +For the malady that beset Robert Schumann, there was no cure save death; +his only rest, the grave. When his spirit passed away in Eighteen +Hundred Fifty-six, his devoted wife and the loyal Brahms attended him. +Owing to the insidious creeping of the disease, Schumann's affairs had +got into bad shape; and it was now left to Brahms, more than all others, +to smooth the way of life for the stricken wife and her fatherless +brood. + +The versatility and sturdy commonsense of Brahms were now in evidence. +In business affairs he was ready, decisive and systematic. And the +delicacy, tact and charming good-nature he ever showed, reveal the man +as a most extraordinary figure. Great talent is often bought at a +price--how well we know this, especially with musicians! But Brahms was +sane on all subjects. He could take care of his own affairs, lend a +needed hand with others, but never meddle--smile with that half-sardonic +grimace at all foolish little things, weep with the stricken when +calamity came; yet above it all the little man towered, carrying himself +like the giant that he was. And yet he never made the mistake of taking +himself too seriously. "I am trying to run opposition to Michelangelo's +'Moses,'" he once called to Dietrich, as he leaned out of the window in +the sunshine, and stroked his flowing beard. In his later years many +have testified to this Jovelike quality that Brahms diffused by his +presence. No one could come into his aura and fail to feel his sense of +power. Around such souls is a sacred circle--if you are allowed to come +within this boundary, it is only by sufferance; within this space only +the pure in heart can dwell. + + * * * * * + +Tolstoy in "Anna Karenina" speaks of that quiet and constant light to be +seen on the faces of those who are successful--those who know that their +success is acknowledged by the world. + +Brahms was a successful man by temperament, for success (like East +Aurora) is a condition of mind. There is no tragedy for those who do not +accept tragedy; and the treatment we receive from others is only our own +reflected thought. + +Brahms thought well of everybody, if he thought of any one at all. He +reveled in the sunshine, and everywhere made friends of children. "We +saw Brahms on the hotel veranda at Domodossola," wrote a young woman to +me in Eighteen Hundred Ninety-five, "and what do you think?--he was on +all fours, with three children on his back, riding him for a horse!" + +For many years Brahms used to make an annual pilgrimage to Italy, and +often on these tours at fairs he would fall in with Gipsy bands. At such +times he would always stop and listen, and would lustily applaud the +performance. On one such occasion, Dietrich tells, the leader recognized +Brahms, and instantly rapped for silence. He was seen to pass the +whispered word along, and then the band struck up one of Brahms' pieces, +greatly to the delight of the composer. + +He was a man of the people, and I am glad to know that he hated a table +d'hote, smiled a smile of derision at all dress-coats, had small +sympathy with pink teas, loved his friends, doted on babies, and was +never so happy as when in the country walking along grass-grown lanes in +the early summer morning, when the dew was on and the air was melodious +with the song of birds. He had a habit of going bareheaded, carrying his +hat in his hand; and on these country walks, always with bared head, he +would sing or whistle, and unconsciously in his mind the music would be +taking shape that was to be written out later in the quiet of his study. + +Brahms knew the world--not simply one little part of it--he knew it as +thoroughly as any man can, and was interested in it all. He knew the +world of workers--the toilers and bearers of burdens. He knew the weak +and the vicious, and his heart went out to them in sympathy; for he knew +his own heart and realized the narrow margin that separates the +so-called "good" from the alleged "bad." He knew that sin is only a +wrong expression of life, and reacts to the terrible disadvantage of the +sinner. + +He was interested in mechanics--bookbinding, printing, iron-working, +carpentry, and was well acquainted with all new inventions and +labor-saving devices. He knew the methods of farming, the different +breeds of cattle; he knew what soil would produce best a certain crop, +and understood "rotation." He could call the wild birds by name and +imitate their notes, and studied long their haunts and habits. That +excellent man and talented, George Herschel, in a letter to a friend +speaks of walking with Johannes Brahms along the highway, and Brahms +suddenly calling in alarm, "Look out! look out! you may kill it!" + +It was only a tumblebug, but he shrank from putting foot on any living +thing. Brahms reverenced all life, and felt in his heart that he was +brother to that bug in the dust, to the birds that chirruped in the +hedgerows, and to the trees that lifted their outstretching branches to +the sun. + +He was deeply religious--although he never knew it. All music is a hymn +of praise, a song of thanksgiving, a chant of faith. Music is a making +manifest to our dull ears the divine harmony of the universe, and thus +all music is sacred music, and all true musicians are priests, for by +their ministrations we are made to realize our Oneness with the Whole. +Through music we read the Universal. + +Music is the only one of the arts that can not be prostituted to a base +use. We hear of bad books, of the "Index Expurgatorius," and in every +State there are laws against the publication of immoral books and +indecent pictures. We also hear of orders issued by the courts requiring +certain statues to be removed or veiled, but no indictment can be +brought against music. It is the only one of the arts that is always +pure. + +Brahms realized this and felt the dignity of his office, holding high +the standard; and yet he knew that the toilers in the fields were doing +a service to humanity, just as necessary as his own. And possibly this +is why he uncovered, walking with bared head. All is holy, all is +good--it is all God's world, and all the men and women in it are His +children. + + * * * * * + +For forty-two years Brahms was the devoted friend of Clara Schumann. She +was thirteen years his senior, yet their spirits were as children +together. From the first he was to her, "Johannes," and she was "Clara" +to him. A few of their letters have been published in the "Revue des +deux Mondes," and this woman, who was a great-grandmother, and had sixty +years before captured a world, then in her seventy-fifth year, wrote to +her "Dear Johannes" with all the gentle fervor of a girl of twenty, +congratulating him on some recent success. In reply he writes back to +his "Dear Clara" in gracious banter; mentions rheumatism in his legs as +an excuse for bad penmanship; hopes she is keeping up her practise; +tells of a "Steinway Grand" that some one has sent him, and regrets that +she does not come to try it "four hands," as he has failed utterly to +get out of it alone the melody that he knows is there. + +Brahms never married--the bond between himself and Clara was too sacred +to allow another to sever or share it. And yet the relationship was so +high, so frank, so openly avowed, that no breath of scandal has ever +smirched it. + +The purity and excellence of it all has been its own apology, as love +ever should be its own excuse for being. + +For about three months every year these two friends dwelt near each +other. Together they worked, composed, sang, read, wrote and roamed the +woods. "None of Madame Schumann's children is as young as she is," +wrote Doctor Hanslick, when Clara was sixty and Johannes was +forty-seven. "With the hope of passing for her father, Brahms is +cultivating a patriarchal beard," continues Hanslick. + +In his essay on "Friendship," Emerson speaks of the folly of forcing our +personal presence on the friend we love best, and of the faith that +ideality brings. Something of this thought is shown in the letters of +Madame Schumann to Brahms, and in his to her. + +Often for six months they would not meet, he doing his work in his own +way, she doing hers, but each ever conscious of the life and love of the +other--feeding on the ideal--writing or not writing, but glorying in +each other's triumphs--lives linked first by the love of a third person, +cemented by dire calamity, and then fused by a oneness of hope and +aspiration. + +Brahms' nature was too decidedly masculine, that is to say, one-sided, +to exist without the love of woman; Clara Schumann, gentle, generous, +motherly, plastic, needed Johannes no less than he needed her. + +When Clara's spirit passed away, in May, Eighteen Hundred Ninety-six, +Brahms attended her funeral at Frankfort. Hero that he was in body and +spirit, the shock unnerved him. No rebound came--every bodily faculty +seemed to have lost its buoyancy. The doctors tried to cheer him by +telling him that he had no organic ailment, and that twenty years of +life and work were before him. He knew better, and told them so. Men do +not live any longer than they wish to. "Shall I live to see the +anniversary of her death?" asked Brahms of the doctor in March, Eighteen +Hundred Ninety-seven. "Oh, undoubtedly--you can live many years if you +only will to," was the answer. Three weeks later--on April Third--Max +Kalbrech telegraphed to Widmann, this message, "Brahms fell asleep early +this morning." + + + + + SO HERE ENDETH "LITTLE JOURNEYS TO THE HOMES OF GREAT MUSICIANS," + BEING VOLUME FOURTEEN OF THE SERIES, AS WRITTEN BY ELBERT HUBBARD: + EDITED AND ARRANGED BY FRED BANN; BORDERS AND INITIALS BY ROYCROFT + ARTISTS, AND PRODUCED BY THE ROYCROFTERS, AT THEIR SHOPS, WHICH ARE + IN EAST AURORA, ERIE COUNTY, NEW YORK, MCMXXII + + ++-----------------------------------------------------------------+ +|Transcriber's note: The index covers the complete set of "Little | +|Journeys" books. | ++-----------------------------------------------------------------+ + + +INDEX + +(_Compiled for Wm. H. Wise & Co., by John T. Hoyle, Managing Editor "The +Fra" Magazine._) + + +Abbey, Edwin A., birth of, vi, 305; + evolution of the art of, vi, 312; + work of, in the Boston Public Library, vi, 323; + studio of, vi, 322; + George W. Childs and, vi, 309; + Henry James on, vi, 311. + +Abbotsford, home of Sir Walter Scott, iv, 321. + +Abbott, John S. C., iii, 7; + his life of Napoleon, vi, 129. + +Abbott, Lyman, on H. W. Beecher, vii, 378. + +Abildgaard, the painter, Thorwaldsen and, vi, 105. + +Ability, a bucolic estimate of, viii, 173. + +Abnegation, v, 243. + +Abolition, v, 205; + in New England, vii, 408. + +Abraham, x, 19. + +_Abraham_, Rembrandt's, iv, 63. + +Abstinence, v, 248. + +_Account of the English Poets_, Addison, v, 246. + +Achievement, the price of, v, 135. + +Acton, Lord, i, 60. + +_Adam Bede_, Eliot, i, 59; v, 148. + +Adams, Brooks, _The Law of Civilization and Decay_, xii, 89. + +Adams, John, iii, 79, 251, 239; + quoted, iii, 89. + +Adams, John Quincy, mother of, iii, 143; + marriage of, iii, 145; + president, iii, 146; + member of Congress, iii, 146; + death of, iii, 146; + on business, ix, 131; + on Thomas Paine, ix, 158. + +Adams, Maude, i, p xxvii; xii, 169. + +Adams, Samuel, + letter of, to Arthur Lee, iii, 78; + politics of, iii, 80; + part of, in the Boston uprising, iii, 81; + member of the Calkers' Club, iii, 85; + as a member of the Congress of the Colonies, iii, 91; + characteristics of, iii, 94; + place in history of, iii, 95, 251; + typical Puritan, iii, 232; + quoted, iii, 240. + +Adams, Sarah Flower, v, 48. + +Addison, Joseph, iii, 60; + birthplace of, v, 239; + the perfect English gentleman, v, 239; + education of, v, 244; + travels of, v, 247; + under-secretary of State, v, 252; + Parliamentary experience of, v, 252; + meeting of, with Steele, v, 254; + his connection with the _Tatler_ and the _Spectator_, v, 254; + referred to, v, 294; + on Plato, x, 121. + +Adirondack Murray, vii, 375. + +Adler, Felix, ix, 282; + preaching of, vii, 310. + +Adolescence, Dr. Charcot on, xii, 23. + +_Adoration of the Magi_, Botticelli, vi, 70. + +Adversity, uses of, i, 110. + +AEschines, disciple of Socrates, viii, 29. + +AEschylus, ii, 28. + +_AEsthetic England_, Walter Hamilton, xiii, 272. + +Affectation, v, 238. + +_Africa_, Petrarch, xiii, 239. + +Agassiz, Louis, xi, 419; xii, 407; + Darwinism and, xii, 230; + Thoreau and, viii, 417; + compared with Disraeli, v, 338. + +Age, of enlightenment, viii, 271; + of Herbert Spencer, viii, 354; + of Michelangelo, iv, 6; + of Rembrandt, iv, 78. + +_Age of Reason, The_, Thomas Paine, ix, 157, 160, 179. + +Agitators, personality of, vii, 409. + +Agnosticism, x, 342. + +Agnostic School, the, xii, 327. + +Agriculture, Humboldt on, xii, 140. + +_Aida_, Verdi, xiv, 294. + +_Aids to Reflection_, Coleridge, v, 313. + +Alameda smile, the, viii, 365. + +Alaska, population of, iv, 128. + +Albert memorial, i, 314. + +Alcibiades, Socrates and, viii, 29; + Nero compared with, viii, 71. + +Alcott, Bronson, viii, 403; + Emerson and, viii, 405; xi, 392; +Socrates compared with, viii, 27. + +Alcott, Louisa, on the death of Thoreau, viii, 428. + +Alden, John, iii, 135. + +Alden, John B., i, p xxxv. + +Alderney, island of, i, 195. + +Aldus, on the Bellinis, vi, 253. + +Alexander the Great, iii, 119; iv, 160; + Aristotle and, viii, 93; + Diogenes and, viii, 96. + +Alexander VI, Pope, vi, 43. + +Ali Baba, i, p xv; ii, p x; vii, 189. + +Allegri, Antonio, of Correggio, vi, 232. + +Allen, Grant, educator, iv, 288; + quoted, viii, 18; + on sparrows, viii, 400. + +_All Sorts and Conditions of Men_, Besant, i, 262. + +Allston, American artist, iv, 318. + +_Almagest, The_, Ptolemy, xii, 99. + +Alma-Tadema, painter, vi, 14. + +_Almighty, The_, Rembrandt, iv, 63. + +Almsgiving, xi, 15. + +Alsatia, reference to, iii, 281. + +Alschuler, Sam, ix, 283. + +Altgeld, John P., x, 65, 111; + as an orator, vii, 22. + +Altruistic injury, law of, xi, 390. + +Amazons, the, iv, 9. + +Ambition, iii, 260; iv, 46. + +Ambrosian Library, Milan, vi, 52. + +Ambrosius, Bishop Georgius, iii, 101. + +_Amelia_, Fielding, iv, 302. + +America, art in, iv, 282; + Ary Scheffer's interest in, iv, 235; + Blue Book of, i, p vi; + famous paintings in, iv, 142; + freedom in, vi, 146; + Richard Cobden on, ix, 142; + the greatest need of, vii, 38. + +American institutions, Bruce on, iii, 75. + +American natural oil, xi, 371. + +American Revolution, Sons of, iii, 95. + +American travelers in Ireland, i, 155. + +American Undertakers' Association, i, 230. + +_Americanization of the World, The_, W. T. Stead, vi, 341. + +_American Note-Book_, Dickens, viii, 297. + +Americans in England, ii, 95. + +Amiel's Journal, vi, 273. + +Anabasis, Xenophon, iii, 119. + +Ananias and Sapphira referred to, ii, 217. + +_Anatomy Lesson, The_, Rembrandt, iv, 59. + +Anaxagoras, Greek philosopher, xii, 98, 369; + pupil of Pythagoras, x, 71; + teacher of Pericles, vii, 17; + work of, i, 343. + +Anaximander, Greek philosopher, xii, 368. + +Ancestor worship, x, 19, 59. + +_Ancient Mariner, The_, Coleridge, v, 305. + +Andersen, Hans Christian, on Thorwaldsen, vi, 93. + +Anderson, Mary, vi, 321. + +_Anecdotes of Painting_, Walpole, iv, 101. + +_Angelus, The_, Millet, iv, 281; vi, 215. + +Anglican church, Voltaire on the, viii, 297. + +Animality, vi, 71. + +_Animal Kingdom, The_, Swedenborg, viii, 194. + +Animal magnetism, x, 342. + +_Annabel Lee_, Edgar Allan Poe, xiii, 256. + +_Anna Karenina_, Tolstoy, xiv, 351. + +_Ansidei_, Raphael, vi, 29. + +Anthony, Susan B., ii, 52; + Dr. Buckley's opinion of, i, 135. + +Anti-Corn-Law League, the, ix, 147, 236. + +Anti-Masonic party, iii, 266. + +Antisthenes, the Cynic, friend of Socrates, viii, 28. + +Antoninus, Roman emperor, character of, viii, 120. + +Antony, Mark, Cleopatra and, vii, 63; + Caesar and, vii, 54; + oration of, vii, 59; + death of, vii, 76. + +Antwerp, Spanish influence in, iv, 81; + Venice compared with, xiv, 224. + +A. P. A., the, iii, 265. + +Apollo referred to, i, 279. + +Apostle of negation, the American, v, 27. + +Apostle of the ugly, Beardsley, vi, 31. + +Apostolic succession, i, 114; v, 289. + +Appleton, Daniel, American publisher, ix, 58. + +Appreciation, vi, 238. + +Approbation, xiv, 81. + +Aquarellists, the, vi, 320. + +Archbold, John D., xi, 379. + +Architecture, Middle Ages in, v, 14. + +Ariosto, Ludovico, sonnet to Gian Bellini, vi, 254. + +Aristides the Just, iii, 244; + friend of Socrates, viii, 28. + +Aristocracy, iv, 242. + +Aristophanes, i, 342; + on the Pythagorean philosophy, x, 73; + on Cheropho, viii, 27; + quoted, vii, 32; + of heaven, Heine's estimate of, i, 147. + +Aristotle, xii, 99, 224, 370; + quoted, viii, 93; + the world's first naturalist, i, 341; + on happiness, viii, 82; + Leonardo compared with, viii, 91; + influence of, viii, 109; + +Kant compared with, viii, 154; + Alexander the Great and, viii, 93; + the Stagirite, viii, 86; + Plato and, viii, 88; x, 114; + the world's first scientist, xii, 265; + John Ray on, xii, 275; + Moses compared with, x, 13; + on science, xi, 386. + +Armour, Philip D., father of the packing-house industry, xi, 178; + boyhood of, xi, 167; + epigrams of, xi, 183; + David Swing and, xi, 186; + Joseph Leiter and, xi, 200; + Nelson Morris and, xi, 189; + Robert Collyer and, xi, 185; + in California, xi, 174; + business ideals of, xi, 199. + +Armstrong, Gen. Samuel C., founder of Hampton Institute, x, 198. + +Arnold, Matthew, quoted, v, 148; viii, 267; + Frederic Chopin and, xiv, 103; + Tennyson and, v, 80; + in America, x, 220; + home of, i, 218. + +Arnold of Brescia, x, 223. + +Arnold, Sir Edwin, as a lecturer, vii, 377. + +Arnold, Thomas, a teacher of teachers, x, 222; + education of, x, 226; + as head master of Rugby, x, 231; + Judge Lindsey compared with, x, 241; + parents of, x, 225; + the genius of, x, 234; + Thomas Jefferson compared with, x, 241. + +Arouet, Francois Marie, birthname of Voltaire, viii, 275. + +Arrested development, v, 72; vi, 175. + +Art, iv, 135; v, 183, 215; + definition of, i, p xl; vi, 17; + Venetian school of, vi, 255; + Wagner on, xiv, 22; + laws of, viii, 99; + for art's sake, i, 281; + roguery in, i, 241; + of the ugly, vi, 73; + of mentation, Spencer, viii, 355; + Wagner's essay on, iv, 260; + controlled by fad and fashion, iv, 220; + the Bible in, iv, 58; + the mintage of the soul, vi, 156; + evolution and, iv, 159; + the seven immortals of, vi, 244; + in the Middle Ages, vi, 17; + patriotism and, vi, 321; + sublimity and, x, 38. + +Artist, the, described, i, 132; + illustrator and, difference between, iv, 329; + Whistler on the, vi, 353; + personality of the true, vi, 178. + +Artistic conscience, the, iv, 133; vi, 177; x, 363. + +Artistic jealousy, vi, 176, 275. + +Artistic roustabouts, vi, 300. + +Artists, two classes of, iv, 49; + as teachers, iv, 53. + +Asbury, Francis, Methodist missionary, ix, 50. + +Asceticism, v, 105, 124, 235; + sensuality and, vi, 91. + +Aspasia, wife of Pericles, vii, 26; + Socrates and, vii, 32; viii, 20. + +Asser, father of English history, x, 139. + +_Assumption, The_, Titian, iv, 151, 167. + +Astor, John Jacob, boyhood of, xi, 205; + as a fur-trader, xi, 211; + prophecies of, xi, 213; + marriage of, xi, 214; + Thomas Jefferson and, xi, 221; + Fitz-Greene Halleck and, xi, 227. + +Astoria, history of, xi, 221. + +Astrology as a profession, xii, 184; + astronomy and, xii, 97; + Dean Swift's ridicule of, i, 149. + +Astronomy, Chinese, xii, 97; + the study of, xii, 176. + +Astuteness, John Fiske on, viii, 250. + +_As You Like It_, Shakespeare, v, 119. + +Atavism, vi, 97. + +Athens, i, 321; iv, 13; + climate of, viii, 28; + decline of, iii, 232. + +Atterbury, Bishop, reference to, i, 124. + +Attila, i, 238. + +Auburn, village of, i, 283. + +Audubon, the naturalist, v, 133. + +Augustus, age of, ix, 94; + the boast of, viii, 48. + +Austen, Jane, novels of, ii, 247; + family of, ii, 243; + home of, ii, 249; + friends of, ii, 254; + characters of, ii, 253; + referred to, v, 294. + +Austin, Hon. James T., attorney-general of Massachusetts, vii, 407. + +Australia, animals of, xii, 388. + +Authors, favorite, vi, 244; + troubles of, v, 308. + +Autobiography, xiii, 313. + +_Autobiography_, J. S. Mill, xiii, 153. + +Avon, the river, i, 301. + +Aztecs, the, vi, 70. + + +Babel, tower of, iv, 115. + +Bacchus, Michelangelo's statue of, iv, 19. + +Bachelors, classification of, viii, 290; + two kinds of, xi, 325. + +Bach, Johann Sebastian, xiv, 137; + home life of, xiv, 155; + Michelangelo compared with, xiv, 137. + +Bacon, Lord, referred to, iii, 37; + Shakespeare and, vi, 47. + +Baedeker's description of Stratford, i, 312; + description of London, ii, 118. + +Baer, Karl von, xii, 371. + +_Ballad of Boullabaisse_, Thackeray, i, 241. + +Ball family, the, xi, 404. + +Ballou, Hosea, and Thomas Paine compared, ix, 184. + +Balmoral, home of Queen Victoria, iv, 324. + +Baltimore and Ohio Railroad Company, formation of, xi, 247. + +Balzac and Madame De Berney, xiii, 282; + Napoleon and, xiii, 279; + on literary reputation, xiii, 209; + Victor Hugo on, xiii, 308; + _Contes Drolatiques_, iv, 338. + +Banbury Cross, i, 301. + +Bancroft, historian, quoted, iii, 48. + +Bandello and Leonardo, vi, 50. + +Baptists, Hook-and-Eye, v, 236. + +Barbarelli, Giorgio, vi, 258. + +Barbary pirates, the, iv, 295. + +Barbecue defined, vii, 247. + +Barbers' university, a, iii, 237. + +Barbizon, hills of, iv, 339; + school, the, vi, 189; + village of, iv, 278. + +Barnabee, Henry Clay, i, p xxvii. + +Barnum and Bailey Circus, iii, 194. + +Barnum of Science, the, i, 163. + +Barnum of Theology, the, i, 163. + +Barnum, Phineas T., iv, 344; xii, 383; xiv, 90, 319. + +Barons, age of the, xi, 306. + +Barrett, Elizabeth, ii, 239; v, 58. + +Barrie, James, xiii, 11; + on the Scotch, xi, 263. + +Barr, Robert, i, p xxvii. + +Bartenders, American, vii, 214. + +Bartol, Dr. C. A., on Starr King, vii, 313. + +Bartolomeo, the friend of Raphael, vi, 23. + +Bartolomeo, the friend of Savonarola, vi, 24. + +Bashfulness, Emerson on, v, 248. + +Bashkirtseff, Marie, diary of, vi, 273. + +Bastile, iii, 72. + +Bates, Joshua, on Starr King, vii, 317. + +Bath, English watering-place, xii, 167. + +_Battle of Wad Ras_, Fortuny, iv, 219. + +Bayreuth, home of Wagner, xiv, 35. + +Beaconsfield, Earl of, quoted, v, 41. + +Bear-baiting, v, 238. + +Beard, Dr. Charles, description of Luther's trial, vii, 145. + +Beardsley, Aubrey, iv, 159; vi, 73; + the apostle of the ugly, vi, 81. + +_Beata Beatrix_, Rossetti, xiii, 270. + +Beau Brummel, ii, 197. + +Beaumont, Sir George, and the Wordsworths, i, 215. + +Beau Nash, xiii, 412; + "the King of Bath," vi, 141. + +Beauty, v, 237; xiv, 26; + intellect and, x, 277; + Greek idealization of, iv, 9. + +Beecher, Henry Ward, vi, 148; xi, 258; + boyhood of, vii, 352; + influence of, vii, 345; + a man's preacher, vii, 356; + ministries of, vii, 356; + parents of, vii, 348; + preaching of, viii, 173; + wife of, vii, 368; + Lyman Abbott and, vii, 378; + Dr. E. H. Chapin and, vii, 320; + Robert Ingersoll and, vii, 357; + Lincoln and, vii, 379; + Lincoln compared with, vii, 348; + Major Pond and, vii, 360; + Talmage compared with, vii, 359; + the Tiltons and, vii, 364; + Rufus Choate on, vii, 359; + on elocution, viii, 54; vi, 187; + on the human heart, vii, 344; + on Henry Thoreau, viii, 424. + +Beecher, Lyman, logician, vii, 348; + W. L. Garrison and, vii, 395. + +Beecher, Sarah Porter, vii, 351. + +Beechers, the, ii, 115. + +Beef-eaters, the, v, 46. + +Beethoven, Ludwig van, xiv, 234; + blindness of, viii, 346; + influence of, on Wagner, xiv, 245. + +_Beggar, A_, Rembrandt, iv, 63. + +_Beggar's Opera, The_, Gay, viii, 295. + +Beilhart, Jacob, ix, 283. + +Bellamy, Edward, iii, 261; x, 117. + +Bellini, Gentile, vi, 252; + Giovanni and, iv, 156; + the Turkish Sultan and, vi, 261. + +Bellini, Gian, vi, 252; + Mrs. Oliphant's estimate of, vi, 248; + pupils of, vi, 254. + +Bellini, Giovanni, vi, 256. + +Bellini, Jacopo, iv, 60, 99; vi, 252. + +_Bells and Pomegranates_, Browning, v, 58. + +Benedictines, ii, 23; + industry of the, x, 318. + +Bentham, Jeremy, jurist, xi, 34; + Mill on, v, 289. + +Bergerac, Cyrano de, quoted, xi, 200. + +Berlitz method, the, ii, 245. + +Bernhardt, Sara, viii, 278; xiv, 266. + +Besant, Annie, Theosophist, x, 342; + Charles Bradlaugh and, ix, 266. + +Besant, Walter, i, 262; iii, 189. + +Bessemer, Sir Henry, xi, 278. + +Beveridge, Sen. Albert J., xi, 24. + +Bible, Dore's illustrations of, iv, 388; + in art, iv, 58. + +Bibliotheke, the, i, p xxvi. + +Bigelow, Poultney, and Herbert Spencer, viii, 189. + +Bigotry, vii, 30. + +Billingsgate fish market, i, 259. + +Biographies, machine-made, ii, 17; + the writing of, vi, 129. + +Biography, Edmund Gosse on, vii, 346; + James Anthony Froude on, vii, 347; + writers of, ii, 17. + +Biology, Humboldt on, xii, 140. + +Birrell, Augustine, the English essayist, quoted, i, 143; v, 176, 218; + on George Henry Lewes, viii, 339; + on Ruskin, vi, 126. + +_Birth of Venus, The_, Botticelli, vi, 69. + +Bishop of outsiders, Henry George, ix, 69. + +Bispham, David, i, p xxvii. + +_Blacksmith, The_, Whistler, vi, 177. + +Blackstone, xii, 179; + Burke and, vii, 164; + _Commentaries_, i, 295; + referred to, i, 295. + +Blaine, James G., Roscoe Conkling and, vii, 23; + compared with Henry Clay, iii, 222. + +Blair, John, v, 163. + +Blake, Admiral, and Oliver Cromwell, ix, 332. + +Blake, Harrison, friend of Thoreau, viii, 424. + +Blake, William, birth of, ii, 124. + +Blanc, Louis, i, 56. + +Blenheim, battle of, v, 250. + +_Blessed Damozel, The_, D. C. Rossetti, ii, 123; iv, 51; v, 16; xiii, 255. + +Blessington, Lady, and Lord Byron, v, 21. + +_Blithedale Romance_, Hawthorne, viii, 402. + +"Bloody Monday" at Harvard, i, 192. + +Bloomington, Ill., birthplace of Republican Party, iii, 287. + +Blue Book of America, i, p vi. + +Blue-coat school, ii, 218. + +Blue Grass Aristocracy, iii, 212. + +Boarding-schools, viii, 369; + English, ix, 135. + +Boccaccio and Petrarch, xiii, 232. + +_Body and Mind_, Maudsley, viii, 191. + +Boer war, the, vii, 35. + +Boleyn, Anne, ii, 198. + +Bolingbroke, Viscount, vii, 168. + +Bonaparte, Joseph, i, 185. + +Bonaparte, Napoleon, ii, 267. + +Bonheur, Rosa, v, 107; xiii, 22; xiv, 267; + father of, ii, 155; + birth of, ii, 155; + Paris home of, ii, 156; + success of, ii, 150; + home of, at By, ii, 147; vi, 213; + the Barbizon School and, vi, 213. + +Book-agents, Joseph Cannon on, viii, 349. + +Book-collectors, v, 44. + +Bookmaking, early, iv, 55. + +Book of Rules, St. Benedict, x, 324. + +Bookplate, Washington's, iii, 8. + +Bookplates, iv, 120. + +Books, illumination of, i, p xxv; + Charles Lamb's love of, iv, 140; + Turner's opinion of, i, 132. + +Boone, Daniel, iii, 216. + +Borgia, Cesare, and Leonardo, vi, 43. + +Borgia, Lucrezia, i, 75; v, 216; vi, 43. + +Bossism, political, v, 186. + +Boston Ideal Opera Company, i, p xxvii. + +Boston, founding of, ix, 337; + Washington at, iii, 19. + +Boston Massacre, iii, 114. + +Boston Public Library, vi, 323. + +Boston Thursday Lecture, ix, 358. + +Boswell, i, 259; iv, 8; ix, 164; xii, 179; + biographer of Samuel Johnson, v, 145; + Goldsmith's characterization of, viii, 26; + Garrick's characterization of, viii, 26; + Reynolds and, iv, 299; + Vasari compared with, vi, 19; + quoted, i, 294. + +Botany, science of, xii, 268. + +Botticelli, Sandro, iv, 28; vi, 12, 69; + _Adoration of the Magi_, vi, 70; + appearance of, vi, 70; + Burne-Jones and, vi, 71; + George Eliot on, vi, 69; + Goldsmith compared with, vi, 70; + influence of, iv, 159; + Rembrandt compared with, vi, 69; + Simonetta and, vi, 83; + _Spring_ of, vi, 78; + _Birth of Venus_ of, vi, 69; + Walter Pater on, vi, 65. + +"Bottled Hate," i, 240. + +Bouncers described, i, 218. + +Bow-legs, vi, 308. + +Boyd, Hugh Stuart, ii, 21. + +Boys, Elbert Hubbard's love for, vi, 102. + +Bradlaugh, Charles, Annie Besant and, ix, 266; + Gladstone and, ix, 268; + Henry Labouchere and, ix, 266; + Mark Marsden and, ix, 246; + J. S. Mill and, xiii, 171; + John Morley and, ix, 271; + biography of, ix, 243; + Paine and Ingersoll compared with, ix, 243; + law practise of, ix, 256; + on the clergy, xii, 154; + services of, ix, 243; + wife of, ix, 255. + +Brahms, Johannes, and the Schumanns, xiv, 337. + +Brain power described, i, 342. + +Brain versus Brawn, vi, 51. + +Bramante, Italian architect, iv, 26. + +Brann the Iconoclast, ix, 97. + +Brantwood, i, 88. + +Brashear, John, maker of telescopes, xii, 178. + +Breathing habit, the, viii, 159. + +Breeds in birds and animals, ix, 275. + +Breton, Jules, ix, 198. + +Bridge of Sighs, Venice, iv, 150; v, 200. + +Bright, John, Robert Owen and, ix, 226; + Richard Cobden and, ix, 149, 231; + Gladstone on, ix, 238; + on the Corn Laws, ix, 216; + Sir Robert Peel on, ix, 238; + on taxation, ix, 228. + +Bright, Dr. Richard, physician, ix, 224. + +Bright's Disease, iii, 123. + +Brisbane, Arthur, x, 338. + +British Museum, origin of, i, 124. + +Broadway, the village of, vi, 319. + +Brockway methods, viii, 72. + +Bronco-busting, viii, 328. + +Bronte, Charlotte, ii, 239; + father of, ii, 98; + mother of, ii, 99; + death of, ii, 99; + home of, ii, 107; + sisters of, ii, 108; + works of, ii, 112; + Thackeray and, i, 240; + referred to, v, 294. + +Bronze, casting of, vi, 274. + +Brooke, Lord, referred to, i, 303. + +Brooke, Stopford, quoted, v, 78. + +Brook Farm, viii, 402; x, 319; + influence of the, viii, 402; + Theodore Parker and, ix, 293. + +Brookfield and Alfred Tennyson, v, 76. + +Brooklyn, Washington at, iii, 24. + +Brooks, Phillips, preaching of, vii, 309. + +Brooks, Shirley, i, 236. + +Brotherhood, of Fine Minds, the, v, 304; + of Latter-Day Swine, i, 71; + of man, ix, 133; + of Saint Luke, Antwerp, iv, 173. + +Brougham, Lord, i, 108; ii, 83: + Byron and, v, 218. + +Brown, Dr. John, xi, 264. + +Brown, Ford Madox, ii, 125; v, 18; vi, 11; + his description of Elizabeth Eleanor Siddal, xiii, 261. + +Brown, John, vii, 409; + Theodore Parker and, ix, 300; + Major Pond and, vii, 360. + +Brown, Osawatomie, vi, 148. + +Browning, Elizabeth B., date of birth, ii, 17; + early years of, ii, 19; + mother of, ii, 19; + father of, ii, 20; + education of, ii, 21; + London home of, ii, 27; + friends of, ii, 30; + meeting of, with Robert Browning, ii, 35; +marriage of, ii, 37; + Italian home of, ii, 38; + favorite book of, ix, 376; + grave of, v, 64; + influence of, on William Morris and Burne-Jones, v, 12; + quoted, iv, 5. + +Browning, Robert, i, 96, 236; ii, 109; v, 97; + appearance of, v, 40; + his ancestry, v, 41; + grave of, v, 43; + parents of, v, 44; + life of, by Mrs. Sutherland Orr, v, 40; + habits of, v, 42; + love for Lizzie Flower, v, 48; + gipsy life of, v, 51; + his friendship for Fanny Haworth, v, 56; + his meeting with Elizabeth Barrett, ii, 35; v, 58; + his marriage, v, 61; + death of, v, 65; + homage rendered his memory, v, 66; + Elizabeth Barrett and, xiv, 125; + John Stuart Mill compared with, xiii, 170; + Rembrandt compared with, vi, 67; + Wordsworth compared with, i, 222; + on spiritual advisers, viii, 174; + quoted, iii, 41; v, 62; + love of society, v, 79. + +Brown-Sequard, Dr., i, 247. + +Bruno, Giordano, xii, 47; + Luther and, xii, 54; + Sir Philip Sidney and, xii, 51; + statue of, ix, 123. + +Bryant, William Cullen, iv, 51; v, 97; xi, 258. + +Bryce, James, on American institutions, iii, 75; + on Parnell, xiii, 204. + +Buck, Dudley, on Mozart, xiv, 298. + +Bucke, Dr., friend of Whitman, i, 166. + +Bucke, Richard Maurice, quoted, xiii, 61. + +Buckingham, Duke of, iv, 115. + +Buckingham, poet, contemporary of Addison, v, 249. + +Buckle, Henry Thomas, the historian, v, 196; + grave of, i, 231; + noted, iv, 42; + quoted, iii, 60; vii, 180; + referred to, v, 289. + +Buckley, Dr., opinion of, regarding Susan B. Anthony, i, 135; ii, 52. + +Buddha, quoted, xiii, 84. + +Buffalo Bill, i, 119; ii, 149. + +Buffalo Normal School, i, p xvii. + +Buffon, French naturalist, xii, 370. + +Builder's itch, x, 313. + +Bull Run, battle of, iii, 200. + +Bulwer-Lytton, and Disraeli, v, 333; + on Verdi, xiv, 274. + +Bunker Hill, battle of, iii, 140. + +Bunsen, Robert, German chemist, xii, 351. + +Bunyan, John, and Oliver Cromwell, ix, 331. + +Buonarroti, Michel Agnola, iv, 6. + +Burbank, Luther, and Andrew Carnegie, xi, 290. + +Burgoyne, British general, iii, 168. + +_Burial of Sir David Wilkie at Sea, The_, Turner's painting, i, 138. + +Burke, Edmund, ix, 164; xii, 179; + appearance of, vii, 160; + birthplace of, vii, 159; + at Bath, xii, 169; + _English Settlements in North America_, vii, 172; + Blackstone and, vii, 164; + Frances Burney and, vii, 161; + Charles Fox and, vii, 179; + William Gerard Hamilton and, vii, 174; + Warren Hastings and, vii, 161; + Samuel Johnson and, v, 162; vii, 165; + Hannah More and, vii, 161; + Thomas Paine and, ix, 173; + Reynolds and, iv, 305; vii, 160, 174; + Marquis of Rockingham and, vii, 177; + Richard Shackleton and, vii, 165; + Cicero compared with, vii, 174; + Goldsmith compared with, vii, 161; + Daniel Webster compared with, iii, 204; + influence of Bolingbroke on, vii, 168; + Macaulay on, vii, 173; + on the Hessians, xi, 149; + on the Irish, xi, 335; + on Malthus, ix, 11; + _On the Sublime_, vii, 172, 318; + _The Vindication of Natural Society_, vii, 168; + on William Pitt, vii, 186; + parentage of, vii, 159; + wife of, vii, 170; + quoted, iii, 48; + referred to, i, 280; v, 188. + +Burke, John, _Peerage_, iii, 8, 210; iv, 303. + +Burne-Jones, Edward, v, 12; + avatar of Giorgione, iv, 158; + avatar of Raphael, vi, 12; + Botticelli and, vi, 71; + influence of, on Morris, v, 15; + William Morris and, xiii, 254; + marriage of, ii, 125; + referred to, iii, 150. + +Burney, Frances, ii, 183; xii, 183; + Reynolds and, iv, 299; + Jane Austen compared with, ii, 247; + Edmund Burke and, vii, 161. + +Burns, James A., ix, 283. + +Burns, Robert, worth as a poet, v, 97; + love-affairs of, v, 102; + classification of his poems, v, 103; + his moral and religious nature, v, 105; + main facts in the life of, v, 115; + as a farmer, v, 26; + Aubrey Beardsley compared with, vi, 73. + +Burr, Aaron, iv, 193; vii, 191; + member of Washington's family, iii, 166; + character of, iii, 175; + parentage of, iii, 176; + attorney-general of N. Y. State, iii, 177; + vice-president, iii, 177; + quarrel of, with Alexander Hamilton, iii, 177; + duel of, with Hamilton, iii, 179; + arrest of, iii, 180; + death of, iii, 181; + U. S. Senator, iii, 177. + +Burr, Margaret, wife of Gainsborough, vi, 139. + +Burroughs, John, x, 249; xii, 273; + Elbert Hubbard and, xii, 376; + Rousseau and, ix, 394; + Prof. Youmans and, viii, 346; + on Henry Thoreau, viii, 423; + quoted, v, 108. + +Bushnell, Uncle Billy, i, p xxv; vii, 189. + +Business, as a profession, ix, 130; + success in, xi, 355. + +Businessman, definition of a, xi, 315. + +Butler, Ben, Wendell Phillips and, vii, 388. + +Butterbriefe, vii, 126. + +_Butterfly, The_, Wordsworth, i, 214. + +Byron, Lord George Gordon, ii, 184, 306; iv, 196; v, 97, 203; + birth of, v, 203; + the true Byron, v, 204; + father of, v, 206; + mother of, v, 206; viii, 57; + life of, at Harrow, v, 211; + love-affairs of, v, 212; + birth of his poetic genius, v, 215; + admission to the House of Lords, v, 220; + travels of, v, 221; + meeting of, with Thomas Moore, v, 224; + marriage of, v, 226; + death of, v, 231; + corsair life of, i, 179; + Coleridge and, v, 310; + Disraeli and, v, 324; + Giorgione and, iv, 165; + Shelley and, v, 229; + Southey and, v, 281; + Thorwaldsen and, vi, 116; + Aubrey Beardsley compared with, vi, 73; + Shakespeare compared with, v, 204; + John Galt's life of, vi, 129; + opinion of, on painting, i, 134; + quoted, vii, 67; xiii, 226; + referred to, v, 50; v, 183; + poem of, on Thomas Moore, i, 157. + +By, village of, ii, 146. + + +Cabbages and cauliflowers, vi, 67. + +Caesar, iv, 193; + character of, vii, 49; + Cleopatra and, vii, 44; + funeral of, vii, 58; + Mark Antony and, vii, 54; + Mark Antony on, vii, 49; + referred to, iii, 119; v, 185, 201. + +Caesar Augustus, nephew of Julius Caesar, x, 125. + +Caine, Hall, ii, 129. + +Calamity, vii, 318. + +Calcutta, i, 233. + +Calhoun, John C., iii, 199. + +California, ii, 241; + a land of extremes, ix, 71; + Southern, ii, 111. + +Caligula, Roman emperor, ii, 195; viii, 49. + +Calvert, William, and the Wordsworths, i, 215. + +Calvinism, iii, 80. + +Calvin, John, i, 238; ii, 183; ix, 187, 197; + referred to, v, 123; + Servetus and, ix, 201; + wife of, ix, 210. + +Cambrai, Archbishop of, ii, 54. + +Camden, N. J., description of, i, 168. + +_Campaign, The_, Addison, v, 251. + +Canada, boundary-line of, iii, 247. + +Cane-rush, a college, viii, 245; + reference to, i, 192. + +Canned life, vi, 170. + +Canning, George, referred to, v, 188. + +Cannon, Joseph, on book-agents, viii, 349. + +Canova, Antonio, sculptor, vi, 107; + Thorwaldsen and, vi, 108. + +Canute, king of England, x, 148. + +Capitol at Washington, dome of, iv, 35. + +Caprera, home of Garibaldi, ix, 121. + +_Captain, My Captain_, Whitman, iv, 262. + +Carlile, Mrs. Richard, suffragist, ix, 249. + +Carlisle, Lord, and Byron, v, 220. + +Carlyle, Thomas, i, 56; ii, 127; iv, 253; + mother of, i, 69; + father of, i, 69; + education of, i, 70; + philosophy of, i, 71; + his domestic life, i, 74; + home of, in Chelsea, i, 77; + statue of, i, 77; + Emerson and, ii, 286, vi, 155; + Simonne Evrard and, vii, 226; + eulogy of Tennyson, v, 80; + eulogy of Daniel Webster, iii, 184; + Herbert Spencer and, xii, 340; + influence of, on John Tyndall, xii, 349; + _Life of Frederick_, viii, 312; + on Oliver Cromwell, ix, 305; + on Darwin, xii, 230; + on death, xi, 407; + on John Knox, ix, 213; + on J. S. Mill, xiii, 151; + on Lord Nelson, xiii, 429; + on respectability, xi, 362; + Macaulay and, v, 182; + Milburn and, vii, 227; + quoted, iii, 40, 231; v, 85; xiii, 49; + referred to, v, 162; + remark concerning George Eliot, xiv, 95; + Taine on, viii, 312; + Jeannie Welsh and, i, 75; + his "House of Lords," ii, 57. + +Carlyle Society, the, i, 79. + +Carman, Bliss, xiv, 49. + +Carnegie, Andrew, + beneficences of, xi, 282; + boyhood of, xi, 267; + governmental experience of, xi, 276; + James Anderson and, xi, 281; + the Bessemer steel process and, xi, 278; + Luther Burbank and, xi, 290; + +Elbert Hubbard and, xi, 284; + Bill Jones and, x, 161; + the Pittsburgh bankers and, xi, 322; + Thomas A. Scott and, xi, 273; + Booker T. Washington and, xi, 290; + Lincoln compared with, xi, 295; + quoted, xi, 65; xiii, 88; + as a telegraph-operator, xi, 273. + +Carnegie Hall, i, p xxxvii; xi, 282. + +Carnegie libraries, xi, 286. + +Carnot, president, death of, i, 202. + +Carpenter, Edward, quoted, v, 101; + Walt Whitman and, x, 46. + +Carrara quarries, the, iv, 26. + +Cartesian philosophy, the, viii, 226. + +Carthage, iii, 232. + +Carus, Dr. Paul, xiv, 114; + American exponent of Monism, xii, 260. + +Casabianca, xiii, 420. + +Cassiodorus, vii, 114. + +Caste, social, xi, 139. + +Castiglione, v, 258. + +Castle Garden, iii, 131; xi, 56. + +Catholic clergy, celibacy of, i, 153. + +Catholicism, ix, 279. + +Catholics, Protestant opinions regarding, vi, 13. + +_Cato_, Addison's tragedy of, v, 260. + +_Cato's Soliloquy_, Addison, v, 234. + +Cato, suicide of, ii, 164; v, 250. + +Cats, Manx, viii, 328. + +_Cat's Paw_, Landseer, iv, 321. + +Cauliflowers and cabbages, vi, 67. + +Cause and effect, viii, 270. + +Caveat emptor, xi, 11. + +Cazenovia creek, i, p xxiv. + +Cebes, disciple of Socrates, viii, 29. + +Celibacy of the Catholic clergy, i, 153. + +Cellini, Benvenuto, boyhood of, vi, 277; + Michelangelo and, vi, 281; + Tasso and, vi, 282; + Torrigiano and, vi, 281; + Vasari and, vi, 288; + life of, in Pisa, vi, 279; + personality of, vi, 273; + in prison, vi, 289; + The _Perseus_ of, vi, 291. + +Centennial Exposition, Philadelphia, i, 329. + +Central Music Hall, Chicago, i, p xxxvii. + +Cerebrum, fatty degeneration of the, vi, 20. + +Cervantes, i, 317; vi, 50. + +Chaillu, Paul du, xii, 382. + +_Chains of Slavery, The_, Marat, vii, 220. + +Chair, the Morris, v, 21. + +Chalmers, Hugh, i, p vi. + +Channel Island boats, i, 195. + +Channing, William Ellery, xiii, 238; + Thoreau and, viii, 397. + +Chapin, Dr. E. H., and Beecher, vii, 320; + on Starr King, vii, 316. + +Character, Cobden on, ix, 139; + Socrates on, viii, 27. + +Charcot, Dr., on adolescence, vii, 353; + quoted, xii, 23. + +Charity, v, 238; xi, 304. + +Charles Albert of Piedmont, ix, 118. + +Charles I, King of England, iv, 114; + execution of, ix, 332. + +Charles V, Emperor of Germany, vii, 144. + +Charles X, King of France, i, 191. + +Charles XII of Sweden, equestrian statue of, vi, 99. + +Charlestown, burning of, iii, 140. + +Charmides, disciple of Socrates, viii, 29. + +Charm of manner, xi, 317; xiii, 42. + +Charon, referred to, v, 97. + +Charterhouse School, i, 233. + +Chateaubriand, quoted, iv, 258. + +Chateauneuf, Abbe de, Voltaire and, viii, 278. + +Chatham, Lord, referred to, i, 151; + quoted, iii, 93; + Daniel Webster compared with, iii, 204. + +Chatterton, Thomas, v, 97. + +Chaucer, i, 110; v, 14. + +Chautauqua, i, p xxxviii. + +Chavannes, Puvis de, vi, 323. + +Chelsea, i, 61; i, 77. + +_Chemistry of a Sunbeam, The_, Youmans, viii, 347. + +Cheropho, disciple of Socrates, viii, 26. + +Chesterfield, letter of Johnson to, v, 144. + +Chiaroscuro, Rembrandt's ideas of, iv, 57. + +Chicago, as an art center, iv, 142. + +Chicago Convention, nomination of Lincoln at, iii, 304. + +Chicago Fair, the, iv, 60. + +Chicago fire, the, Fortuny's contribution to the sufferers of, iv, 218. + +_Childe Harold_, Byron, v, 200, 224; + _Contarini_ compared with, v, 332. + +Child, evolution of the, vi, 196; xii, 279. + +Childhood, impressions of, iv, 341. + +Child-labor, xi, 23. + +Child, Professor, and William Morris, v, 30. + +Children, diseases of, xi, 137; + education of, xi, 173; ix, 224; + God-given tenants, vi, 313; + Macaulay's love of, v, 193; + sorrows of, x, 157. + +Childs, George W., vi, 318; + Abbey and, vi, 309. + +_Child's History of England_, Dickens, i, 248. + +China, astronomers of, xii, 97; + Edward Carpenter on, x, 46; + future of, x, 43. + +Chivalry, v, 249. + +Choate, Rufus, on Beecher, vii, 359. + +_Choir Invisible, The_, George Eliot, i, 48. + +Chopin, Frederic, Aubrey Beardsley compared with, vi, 73; + Giorgione and, vi, 254; + mother of, xiv, 88; + Stephen Crane compared with, xiv, 81. + +_Christ at Emmaus_, Rembrandt, vi, 66. + +Christian astrology, xii, 97. + +Christian dogma, Ingersoll on, vii, 257. + +Christianity, ii, 195; + evolution in definition of, vi, 146; + freethought and, xii, 151; + paganism and, vi, 224; vii, 49; ix, 276; + primitive, ix, 19. + +Christian Science, ix, 19; x, 329, 336; + orthodox Christianity and, x, 372; + Transcendentalism and, viii, 404. + +Christian Scientists, characteristics of, x, 329. + +Christian Socialists, v, 22. + +Christ life, the, ii, 201. + +Chromos, v, 33. + +Chrysalis, the, v, 175. + +Church, divine authority of, i, 111; + Martin Luther on the, vii, 131; + a menace, ix, 182; + the mother of modern art, iv, 18; + State and, xiv, 231. + +Churches as trysting-places, xiii, 122. + +Churchill, Winston, vii, 21. + +Cicero, on Mark Antony, vii, 61; + referred to, v, 162, 185; + +Cigarette habit, the, iv, 108; + x, 204. + +Cimabue, Giovanni, Florentine painter, vi, 21. + +Cincinnatus, Roman patriot, xiii, 85. + +Circuit-rider, the, ix, 42. + +City slums, ix, 83. + +Civilization, ii, 193; + the badge of, xi, 296; + English, x, 134; xiii, 52; + the problem of, xii, 221; + problems of, xii, 155; + savagery and, iv, 263. + +Clairvoyant, the, viii, 174. + +_Clarissa Harlowe_, Richardson, iv, 302. + +Clarke, Mary Cowden, ix, 285. + +Clarkson, Thomas, and the Wordsworths, i, 215. + +Class-day poets, vi, 325. + +Classic art, xiv, 252. + +_Classification of Animals_, Huxley, xii, 327. + +Claudius, Roman emperor, viii, 49; + James I compared with, viii, 58. + +Clay, Henry, iii, 269; + ancestry of, iii, 209; + home of, iii, 212; + education of, iii, 218; + as a lawyer, iii, 219; + member of the Fayette County bar, iii, 220; + U. S. Senator, iii, 220; + speaker of the House, iii, 220; + as an agitator, iii, 221; + as an orator, iii, 222; + monument of, iii, 226. + +Clemens, Samuel L. (Mark Twain), i, 164; + H. H. Rogers and, x, 110; xi, 389. + +Clement VII, Pope, iv, 31. + +Cleopatra, death of, vii, 77; + Julius Caesar and, vii, 44; + Mark Antony and, vii, 63. + +Clergymen, + the children of, v, 294; + orthodox, iii, 81. + +Clergy, Voltaire's contempt for, viii, 280. + +Cleveland, as an art center, iv, 142. + +Cleveland, Grover, xii, 238. + +Clinton, De Witt, iii, 239, 263; xiii, 185. + +Cobbett, William, and Thomas Paine, ix, 161, 167. + +Cobden, Richard, ii, 83; v, 30; + on America, ix, 142; + John Bright and, ix, 149, 231; + Disraeli's criticism of, ix, 140; + influence of, ix, 127; + John Morley on, ix, 140; ix, 153; + on boarding-schools, ix, 135; + on the moral power of England, ix, 126; + Lord Palmerston on, ix, 152; + Sir Robert Peel and, ix, 150; + political life of, ix, 146; + Arthur F. Sheldon and, ix, 138. + +Cobden-Sanderson, T. J., + partner of William Morris, v, 30; + wife of, ix, 234. + +Code duello, the, i, 276. + +Cohen, origin of name, x, 30. + +Coke, Sir Edward, ix, 313. + +Coleridge, Hartley, v, 274. + +Coleridge, Samuel Taylor, ii, 221; + his place as a philosopher, v, 289; + birth of, v, 294; + parents of, v, 294; + precocity of, v, 295; + education of, v, 297; + fame of, as a poet, v, 301; + home of, in the Lake District, v, 303; + marriage of, v, 302; + friendship of Dorothy Wordsworth for, v, 304; + his literary work, v, 307; + physical and mental breakdown of, v, 309; + death of, v, 310; + the creator of the higher criticism, v, 314; + _Aids to Reflection_, v, 313; + _The Ancient Mariner_, v, 305; + Byron and, v, 310; + Dr. Gillman and, v, 309; + Keats and, v, 310; + Harriet Martineau and, ii, 83; + Shelley and, v, 310; + Josiah Wedgwood and, v, 305; + Mary Wollstonecraft and, xiii, 102; + the Wordsworths and, i, 212, 216; + cited, ii, 220; + Dore's illustrations of the works of, iv, 338; + estimate of Jane Austen, ii, 254; + Mill on, v, 289; + Principal Shairp on, v, 314; + Mary Lamb and, ii, 220. + +Collecting and collectors, iv, 119. + +Colleges, in America, xii, 244; + the small college, x, 240; + education, worth of, iv, 128; + college training, xii, 241; + Thoreau on, viii, 397. + +Collins, William, on Dean Swift, i, 151; + referred to, iii, 37. + +Collyer, Rev. Robert, James Oliver and, xi, 79; + Philip D. Armour and, xi, 185. + +_Cologne--Evening_, Turner's painting, i, 135. + +Colonia Agrippina, viii, 67. + +Colonial "broadsides," ix, 74. + +Colosseum, Rome, i, 317. + +_Colosseum, The_, Corot, vi, 188. + +Columbus, Christopher, vi, 50; xii, 144. + +Comedy, v, 240. + +Come-outers, ii, 189; ix, 318. + +Comets, iv, 331. + +Commerce, Cobden on, ix, 128; + Emerson on, ix, 130. + +_Common Sense_, Thomas Paine, ix, 157. + +Communists, classes of, xi, 42. + +Companionship, xiv, 110; + spiritual, v, 227. + +Compasses, proportional, xii, 64. + +_Compensation_, Emerson's essay on, xii, 261. + +Compensation, law of, ii, 238; iv, 226; vii, 349; xi, 149; xiv, 41. + +Competition, xiii, 247; + co-operation and, v, 23. + +Complacency, i, 237. + +_Compromise_, Morley, vii, 17. + +Comte, Auguste, ii, 86; + marriage of, viii, 250; + insanity of, viii, 255; + teachings of, ii, 86; + Clothilde de Vaux and, viii, 264; + Benjamin Franklin and, viii, 246; + Harriet Martineau and, viii, 257; + John Stuart Mill and, viii, 257; + Napoleon and, viii, 242; + Saint Simon and, viii, 247, 277; + Alexander von Humboldt and, viii, 254. + +_Comus_, Milton, v, 137. + +Condorcet, Marquis de, viii, 241. + +Confessional, the, iv, 339; + need of, v, 86. + +_Confessions_ of St. Augustine, vi, 273. + +_Confessions_, Rousseau, i, 55; ix, 376. + +Confidence, v, 238. + +Confucius, Emerson compared with, x, 51; + Socrates compared with, x, 50, 60; + contemporaries of, x, 44; + influence of, x, 43; + mother of, x, 59; + Lao-tsze and, x, 63. + +Congregationalism, ix, 279. + +Congregational singing, vii, 338. + +Congregational societies, ix, 297. + +Congreve on Addison, v, 252; + Voltaire and, viii, 295. + +_Coningsby_, Disraeli, v, 341. + +_Conjugal Love_, Swedenborg, viii, 191. + +Conkling, Roscoe, as an orator, vii, 22. + +Conklin, James C., friend of Lincoln, iii, 288. + +Connecticut policy, the, v, 173. + +Connecticut, Washington on, iii, 27. + +_Connestabile Madonna_, Raphael, vi, 27. + +Conotancarius, Indian name of Washington, iii, 17. + +Consanguinity, v, 295. + +Conscience, the artistic, iv, 133. + +Constable, the English painter, iv, 318; + influence of, on Corot, vi, 201. + +Constant, Benjamin, writer and politician, ii, 178. + +Constantine the Great, xi, 131; + composite religion of, ix, 279. + +_Contarini Fleming_, Disraeli, v, 324. + +_Contes Drolatiques_, Dore's illustrations of, iv, 338. + +Convent life, advantages of, vi, 227. + +_Conversations_ of Meissonier, iv, 118, 140. + +_Conversion of St. Paul_, Michelangelo, iv, 34. + +Conway, Rev. Moncure D., ix, 243; + life of Thomas Paine by, xi, 100. + +Cook, Captain, ix, 164; xi, 214. + +Cook's tourists, i, 100; v, 284. + +Co-operation, ix, 225; + competition and, v, 23. + +Co-operative stores, xi, 47. + +Cooper, Peter, America's first businessman, xi, 233; + as a glue-manufacturer, xi, 244; + as an inventor, xi, 245; + boyhood of, xi, 237; + marriage of, xi, 242; + public services of, xi, 253; + Benjamin Franklin compared with, xi, 234; + Cyrus W. Field and, xi, 235; + Matthew Vassar and, xi, 242; + R. G. Ingersoll and, xi, 259. + +Cooper Union, the, xi, 255; + Faneuil Hall compared with, xi, 258. + +Copernicus, Nicholas, parentage of, xii, 101; + epitaph of, xii, 120; + at Frauenburg, xii, 111; + Columbus and, xii, 107; + +King Sigismund of Poland and, xii, 112; + Novarra and, xii, 104; + Pythagoras compared with, x, 92; + the teachings of, xii, 49. + +Copley, the Boston artist, iv, 304. + +Copperheads, definition of, iii, 287. + +Coquetry, flirtation and coyness, differentiated, xiii, 235. + +Corday, Charlotte, i, 75; + assassination of Marat by, vii, 227. + +_Coriolanus_, Shakespeare, i, 317. + +Corn Laws, John Bright on the, ix, 216. + +Cornwall, Barry, v, 55. + +Cornwallis, General, Washington's friendship for, iii, 27; + monument of, i, 314; + quoted, iii, 242. + +Corot, Camille, iv, 339; + early efforts of, vi, 187; + compared with other painters of the Barbizon School, vi, 217; + good-nature of, vi, 198; + friend of Millet, iv, 281; + landscapes of, vi, 137; + life of, at Barbizon, vi, 212; + parents of, vi, 193; + poetical character of, vi, 204; + style of, vi, 214; + Constable, the English painter, and, vi, 201; + Claude Lorraine and, vi, 201; + Achille Michallon and, vi, 198; + Jean Francois Millet and, vi, 213; + George Moore and, vi, 205; + Turner compared with, vi, 189; + Walt Whitman compared with, vi, 190; + letter to Stevens Graham, vi, 187, 205; + at the siege of Paris, vi, 190; + tribute to his mother, vi, 198. + +Corporal punishment, v, 75. + +Correggio, iv, 99; + Leonardo and, vi, 233; + John Ruskin and, vi, 222; + place of, among artists, vi, 244; + "putti" of, vi, 240; + _The Day_, vi, 222; + Ludwig Tieck on, vi, 220. + +Correggio, village of, vi, 236. + +Correlation of forces, law of, xii, 272. + +Cortelyou, George B., xi, 181. + +Corwin, Tom, on Mexico, xi, 149. + +Cosmic consciousness, vii, 292. + +Cosmic urge, the, x, 304. + +_Cosmos_, Humboldt, xii, 159. + +_Cotter's Saturday Night_, Burns, i, 69; v, 104. + +Cotton, Rev. John, ix, 294; ix, 338. + +Country, advantages of, ii, 239; + liberty of the, iii, 280; + life in the, xi, 171. + +_Country Doctor, The_, Balzac, xiii, 276. + +Courage, v, 174; vi, 25. + +Courtesy compared with genius, ii, 49. + +_Courtier_, Castiglione, v, 258. + +Covenant, of grace, ix, 346; + of works, ix, 346. + +Covetousness, v, 238. + +Cowden-Clarke, Mary, ii, 233. + +Cowley's _Elegy on Sir Anthony Van Dyck_, iv, 172. + +Craik, Dr., Washington's acquaintance with, iii, 26. + +Crane, Stephen, ii, 253; xiv, 80; + Aubrey Beardsley compared with, vi, 73; + Frederic Chopin compared with, xiv, 81; + Chancellor Symms and, v, 300. + +Cranks, v, 111. + +Crapsey, Dr. Algernon S., on truth, xi, 319. + +Crassus and Pompey, vii, 50. + +Crawford, Captain Jack, x, 249. + +Creation, Christian view of, xii, 98. + +Cremation, i, 230. + +"Cretinous wretch," i, 95. + +Crimean war, Dore's illustrations of, iv, 338. + +_Crisis, The_, Winston Churchill, vii, 21. + +_Crisis, The_, Thomas Paine, ix, 159. + +Criticism, Johnson on, v, 147. + +_Critique of Pure Reason_, Kant, viii, 169. + +Crito and Socrates, viii, 28, 35, 37. + +Crivelli, Lucrezia, Leonardo's painting of, vi, 54. + +Cromwell, Oliver, i, 81; + at the execution of Sir Walter Raleigh, ix, 309; + Thomas Carlyle on, ix, 305; + Paul Jones compared with, ix, 331; + mother of, ix, 317; + Parliamentary experiences of, ix, 313; + parents of, ix, 305; + referred to, i, 303; + rule of, ix, 332; + Shakespeare and, ix, 307. + +Cromwell, Richard, ix, 334. + +Crookes tube, viii, 359. + +Crosby, Ernest, viii, 53. + +_Crossing of the Bar_, Tennyson, v, 90. + +Crotona, Italy, home of the Pythagorean School, x, 84. + +_Crucifixion of St. Peter_, Michelangelo, iv, 34. + +_Crucifixion, The_, Rubens, iv, 102. + +Cryptograms, vi, 65. + +Culture, vii, 314; ix, 191; + the pursuit of, viii, 104; + religion of, ix, 188, 192. + +Cunningham, Allan, on Gainsborough, vi, 131. + +Curie, Madame, Herbert Spencer and, viii, 359. + +Curtis, George William, ii, 39, 286; v, 254; vii, 409; + as an orator, vii, 314; + Brook Farm and, viii, 402; + +Lincoln and, i, 165; + Lowell on, viii, 87. + +Custom, tyranny of, v, 205. + +Cynicism, i, 240. + + +Dalton, Richard, and Reynolds, iv, 306. + +Damascus, iii, 41. + +Damocles, the sword of, v, 184. + +Damrosch, Walter, xi, 282; + on Handel, xiv, 253; + and Wagnerian opera, xiv, 26. + +Dana, Charles A., v, 254; + and Brook Farm, viii, 402. + +Dancing, v, 236. + +Daniels, George H., i, xxx; + James Oliver and, xi, 82; + Rev. Thomas R. Slicer compared with, xi, 83. + +Dante, i, 113, 317; ii, 61; iv, 23, 120; + referred to, v, 83; + on Aristotle, viii, 109; + Archdeacon Farrar on, xiii, 138; + Galileo on, xii, 60; + Longfellow on, xiii, 110; + Dore's illustrations of the works of, iv, 338; + father of modern literature, xiii, 139; + his description of Beatrice, xiii, 120; + influence of, on Milton, xiii, 137; + meeting of, with Beatrice, xiii, 127; + Hamlet compared with, xiii, 126; + Walt Whitman compared with, i, 170. + +Danton, ii, 265; + Marat and, vii, 224; + Thomas Paine and, ix, 172. + +Dartmouth College case, iii, 202. + +Dart, the almanac-maker, Franklin on, i, 150. + +Darwin, Charles, Benjamin Disraeli and, vi, 341; + Asa Gray and, xii, 198; + Professor Henslow and, xii, 206; + Alfred Russel Wallace and, xii, 223, 372; + Emerson compared with, xii, 203; + Huxley compared with, xii, 313; + Huxley on, xii, 198; + Swedenborg compared with, viii, 179; + quoted, ii, 97; iv, 46; + referred to, v, 174, 289; xi, 370; xiii, 78; + on Sir Isaac Newton, xii, 34; + voyage in the _Beagle_, xii, 210; + wife of, xii, 216. + +Darwin, Dr. Erasmus, on the study of medicine, xii, 203. + +Daubigny, Charles Francois, French landscape painter, iv, 129, 281. + +Daughters of the Revolution, xi, 146. + +Daumier, friend of Meissonier, iv, 129. + +Davenant, Sir William, and Leonardo compared, vi, 48. + +_David Copperfield_, Dickens, i, 251. + +David, Jacques Louis, French historical painter, iv, 229. + +_David_, Michelangelo, iv, 23, 102. + +Davidson, John, his dedication of a book, vi, 331. + +Davis, David, judge, nominator of Lincoln, iii, 288. + +Davis, Jefferson, i, 112; iii, 293. + +Davitt, Michael, xiii, 185. + +Davy, Sir Humphry, vi, 149; + Michael Faraday and, xii, 352; + the Wordsworths and, i, 215. + +_Dawn_, Michelangelo, vi, 32. + +_Day, The_, masterpiece of Correggio, vi, 222. + +Dead Sea, the, iii, 40. + +Death, Carlyle on, v, 85; + Johnson's dread of, v, 167; + Whitman on, i, 175. + +Debating societies, iii, 188. + +Debs, Eugene, x, 117. + +Debtors' Prison, the, i, 253. + +Decimal monetary system, iii, 75. + +Declaration of Independence, Jefferson's part in, iii, 75. + +_De Clementia_, Seneca, ix, 201. + +Dedications, vi, 331. + +_Defense of Guinevere, The_, William Morris, v, 13. + +_Defense of Idlers, A_, Stevenson, xiii, 16. + +_Defensio Secunda_, Milton, v, 128. + +Definition, religion by, ix, 188. + +Degradation and woman, vi, 74. + +De Keyser, rival of Rembrandt, iv, 68. + +Delacroix, Ferdinand, French painter, iv, 230. + +_De l'Allemagne_, Madame de Stael, ii, 179. + +Delaroche, friend of Millet, iv, 271; + Meissonier and, iv, 136. + +Delftware, xiii, 52. + +Delices, home of Voltaire, viii, 314. + +Delilah, i, 75. + +Delium, the battle of, viii, 31. + +Delsarte, Seneca compared with, viii, 56; + quoted, iii, 121. + +Democracy, Shakespeare's limitations regarding, i, 179. + +Demosthenes, i, 248, 306; iii, 188; v, 162. + +Denominations in religion, origin of, ix, 19. + +Denslow's dandies, iv, 67. + +Dentists, v, 207; vi, 70. + +_Departure of the Pilgrims, The_, Robert Weir, vi, 343. + +Depew, Chauncey, on Scotch humor, xiii, 11; + quoted, xiv, 238. + +De Quincey, life at Dove Cottage, i, 212; + referred to, iii, 130. + +Descartes' _Meditations_, viii, 226. + +_Descent From the Cross_, Rubens, iv, 102. + +Deschaumes, friend of Meissonier, iv, 129. + +_Deserted Village_, Goldsmith, ii, 232; iii, 256; + selections from, i, 283. + +Desire, suppression of, xii, 89. + +De Stael, Madame, father of, ii, 163; + mother of, ii, 165; + appearance of, ii, 168; + charm of, ii, 169; + marriage of, ii, 171; + literary efforts of, ii, 173; + religion of, ii, 176; + exile of, ii, 181; + death of, ii, 182; + Swiss home of, ii, 183; + conflicts of, with Napoleon, ii, 180; + referred to, viii, 216. + +De Tocqueville, recipe for success, x, 319. + +Development, arrested, v, 72. + +Devotion, v, 238. + +_Devotional Exercises_, Harriet Martineau, ii, 79. + +DeWet, Christian, Boer leader, ix, 107. + +Dewey, John, x, 249. + +_Dial, The_, Thoreau's contributions to, viii, 421; + Theodore Parker's contributions to, ix, 293. + +_Dialogue, The_, Galileo, xii, 79. + +_Diana Bathing_, Rembrandt, iv, 68. + +_Diary_ of John Adams, iii, 81. + +_Diary_ of John Quincy Adams, iii, 210. + +Diaz, friend of Millet, iv, 281. + +Dickens, Charles, i, 57, 236, 248, ii, 119; v, 97; + birthplace of, i, 196; + education of, i, 248; + early life of, i, 249; + as a playwright, i, 249; + popularity of, i, 249; + American tour of, i, 250; + the London of, i, 251; + characters of, i, 267; + Robert Browning and, v, 55; + his idea of betterment, xi, 15; + Thackeray's estimate of, i, 228; + Voltaire compared with, viii, 283; + on the boarding-school, ix, 135; + on Oliver Cromwell, ix, 317; + on Preraphaelitism, xiii, 252. + +Diderot, quoted, ii, 174; + on Erasmus, x, 152; + on Rousseau, ix, 386. + +_Dido Building Carthage_, painting, i, 129. + +Diet of Worms, Luther at the, vii, 143. + +Dignity, xiv, 304. + +Dilettante Society, the, iv, 302. + +Dilettante, Whistler on the, vi, 353. + +Diminishing returns, law of, x, 308. + +Diminutives, use of, iv, 5. + +Diodati, friend of Milton, v, 127. + +Diogenes, viii, 19; + Alexander the Great and, viii, 96; + influence of, viii, 204. + +_Diotalevi Madonna_, Perugino, vi, 27. + +Diplomacy, women and, v, 114. + +_Dipsy Chanty_, Kipling's, ii, 75. + +Disagreeable girl, the, described, xiii, 113. + +Discipline, Thomas Arnold on, x, 231; + the parental idea of, vi, 160. + +Discontent, xiv, 77. + +Discord, uses of, vi, 329. + +Disestablishment, i, 114. + +_Dispute, The_, Raphael, vi, 32. + +Disraeli, Benjamin, xii, 199; + ancestry of, v, 322; + education of, v, 324; + personality of, v, 325; + literary efforts of, v, 327; + political life of, v, 331; + marriage of, v, 338; + Chancellor of the Exchequer, v, 340; + Prime Minister, v, 340; + _Coningsby_, v, 341; + _Contarini Fleming_, v, 324; + _Endymion_, v, 342; + _Lothair_, v, 342; + _Sybil_, v, 341; + _Tancred_, v, 341; + _Vivian Gray_, v, 324; + attitude toward Free Trade, v, 340; + Agassiz compared with, v, 338; + Mrs. Austen and, v, 327; + Lady Blessington and, v, 333; + Bulwer-Lytton and, v, 333; + Lord Byron and, v, 324; + Froude on, v, 326; + Mrs. Wyndham Lewis and, v, 333; + Macaulay compared with, v, 197; + Mephisto compared with, v, 320; + Thomas Moore and, v, 333; + Lady Morgan and, v, 333; + Napoleon compared with, v, 321; + O'Connell and, v, 336; + Count d'Orsay and, v, 333; + Pitt and, v, 331; + Voltaire compared with, viii, 295; + N. P. Willis on, v, 329; + Mrs. Willyums and, v, 344; + on Cobden, ix, 140; + on Charles Darwin, v, 341; + on democracy, xi, 255; + on the Established Church, xii, 155; + on initiative, xiv, 152; + on Dr. Jowett, viii, 351; + on love, xiii, 158; + quoted, iv, 160; v, 41; xiii, 408. + +Disraeli, Isaac, v, 322. + +Dissection, iv, 59. + +_Divine Comedy, The_, Dante, xiii, 134. + +Divine passion, the, ii, 36; iv, 242. + +Divine right of kings, ii, 83; v, 291. + +Divinity, idea of, vi, 49. + +Divinity of business, xi, 14. + +Division of labor, iii, 99. + +Divorce, i, 111; + Milton on, v, 130; + women and, viii, 133; + Voltaire on, viii, 290. + +Dixon, photographer of animals, ii, 125. + +_Dr. Jekyl and Mr. Hyde_, Stevenson, xiii, 27. + +Doctors, v, 203; + Kant on, viii, 162. + +_Dodo_, Edward F. Benson, i, 148. + +Dogmatism, vi, 348; x, 292. + +Dog-star, influence of, v, 103. + +_Doll's House_, Ibsen, xiii, 112. + +Don Juan, referred to, iii, 176; + Byron compared with, v, 221. + +Donnelly, Ignatius, vi, 65. + +Donniges, Helene von, xiii, 363. + +Donnybrook Fair, ix, 252; + spirit of, xii, 337. + +Dore Gallery in London, the, iv, 344. + +Dore, Gustave, early life of, iv, 332; + "the child illustrator," iv, 336; + life in Paris, iv, 338; + love for his mother, iv, 339; + ability as a musician, iv, 340; + decorated with the Cross of the Legion of Honor, iv, 340; + characteristics of his art, iv, 341; + his visit to England, iv, 344; + presented to Queen Victoria, iv, 345; + death of, iv, 346. + +Dorset, poet, contemporary of Addison, v, 249. + +Douglas, Fred, vii, 409. + +Draco, laws of, ii, 20. + +Drake, Edwin L., xi, 370. + +Drake, English admiral, iv, 81. + +Draper, J. W., historian, v, 94. + +_Dream of Fair Women, A_, Tennyson, v, 78. + +_Dream of John Ball, A_, William Morris, v, 23. + +_Droll Stories_, Balzac, xiii, 300. + +Drummond, Henry, referred to, v, 290. + +_Drum-Taps_, Whitman, i, 175. + +Drunkard's home, the, xiv, 234. + +Dryden, Addison and, v, 246; + Shakespeare and, i, 124; + his opinion of Shakespeare, i, 134. + +Duality of the human mind, i, 113. + +Duane, James, New York's first Continental Mayor, iii, 238. + +Dumas, Alexandre, iv, 249; + friend of Meissonier, iv, 126; + a negro, x, 205; + on Garibaldi, ix, 115. + +_Dunciad_, Pope, i, 179; vi, 329. + +Dunkards, the, ii, 189. + +Duplicity, evils of, vii, 371. + +Durer, Albrecht, xii, 119; vi, 259; + Martin Luther and, vii, 139; + Moses compared with, x, 37; + on Erasmus, x, 157. + +Duse, Eleanor, xiv, 127. + +Dutch, industry of, iv, 42. + +Dyer, Mary, execution of, ix, 365; + Governor Endicott and, ix, 363; + Anne Hutchinson and, ix, 359. + +Dynamic force, iv, 193. + + +Earth, early notions regarding the, xii, 92. + +East Aurora, home of Vice-Pres. Fillmore in, iii, 270; + racetracks of, xi, 291; + village of, i, p xxiv; ii, p ix. + +East India Company, the, v, 189. + +Eastlake, Sir Charles, the artist, grave of, i, 231. + +East, religion of the, ii, 18. + +_Ecce Labora_, motto of St. Benedict, x, 318. + +Eccentricities of genius, i, 97. + +Ecclesiastes, Book of, compared with Meissonier's _Conversations_, iv, 141. + +Economics, v, 94; + religion and, ix, 192. + +Economy, blessings of, iv, 289. + +_Economy of the Universe, The_, Swedenborg, viii, 194. + +Ecstasy, x, 208; + an essential of genius, iv, 253. + +Eddy, Mary Baker, characteristics of, x, 336; + founder of Christian Science, x, 329; + marriages of, x, 333; + Julius Caesar compared with, x, 360; + Hypatia compared with, x, 280; + Jesus compared with, x, 361; + Shakespeare compared with, x, 338; + Herbert Spencer and, viii, 189; + Swedenborg and, x, 355; + Swedenborg compared with, viii, 190. + +Eden, Garden of, ii, 111; iii, 282. + +Edgeworth, Miss, Jane Austen compared with, ii, 245. + +Edison, Thomas A., ii, 238; xi, 196; xii, 21; + prophecy of, regarding 20th century, i, 320; + mother of, i, 321; + birthplace of, i, 323; + early life of, i, 324; + first invention of, i, 325; + success of, i, 328; + some inventions of, i, 329; + appearance of, i, 330; + humor of, i, 337; + position of, in history, i, 341; + age of, i, 345; + Leonardo compared with, vi, 41; + on science, xi, 386; + quoted, vi, 41. + +Editors, managing, characterized, vi, 315. + +Educated man, the, xii, 127. + +Educated men, the five greatest, i, 341. + +Education, v, 11; vii, 314; viii, 203; + of children, ix, 224; + definition of, i, 341; + formula of, x, 202; + getting an, vii, 285; + Hegel on, vii, 322; + Victor Hugo on, xi, 203; + Charles Lamb on, ii, 214; + object of, x, 200; + science of, viii, 100; + Herbert Spencer on, viii, 324; xi, 171; + John Tyndall on, xii, 346. + +Edwards, Rev. Jonathan, iii, 176; + influence of, vii, 237; + theology of, viii, 179. + +Egotism, v, 242; vi, 25. + +Egotism in literature, vi, 273. + +Egotist, the, vi, 49. + +Egyptian civilization, x, 17. + +Egypt, the cradle of mystery and miracle, x, 75; + in the time of the Pharaohs, x, 17. + +_Eighteen Hundred Seven_, Meissonier, iv, 142. + +Elba, Napoleon's exile in, ii, 181. + +_Elective Affinities_, Goethe, xiii, 228. + +Electricity, Edison regarding future of, i, 320; + Spencer's discoveries in, viii, 359. + +Electric pen, invention of, i, 329. + +_Elegy on Sir Anthony Van Dyck_, Cowley, iv, 172. + +_Elegy, The_, Gray, v, 126. + +Elemental conditions, v, 88. + +_Elementary Physiology_, Huxley, xii, 327. + +Elgin marbles, iv, 318; vi, 13; vii, 13. + +Eliot, George, ii, 239; v, 49; + early life of, i, 50; + birthplace of, i, 52; + acquaintance of, with Herbert Spencer, i, 56; + marriage, i, 57; + appearance of, i, 63; + home of, i, 63; + grave of, i, 64; + estimate of Jane Austen, ii, 254; + on Botticelli, vi, 69; + favorite book of, ix, 376; + on the art life of Florence, vi, 90. + +Elizabeth, Queen of England, iv, 81; + visit at Kenilworth, i, 304. + +Elks, Order of, x, 77. + +Ellis, Charles M., and Theodore Parker, ix, 297. + +Ellis, F. S., and William Morris, v, 29. + +Ellsworth, Oliver, chief justice, iii, 248. + +Elocution, H. W. Beecher on, vi, 187; viii, 54. + +Elzevirs, the, publishers, iv, 55, 65. + +Emancipated men, xiv, 246. + +Emancipation of women, ii, 70. + +Embankment, the London, i, 77. + +Emerald Isle, the, ii, 95. + +Emerson, Ralph Waldo, and the Brook Farm, viii, 402; + and Concord, viii, 405; + Bronson Alcott and, xi, 392; + Carlyle and, ii, 286; vi, 155; + Carlyle's letter to, iii, 184; + Darwin compared with, xii, 203; + _Essay on Compensation_, xii, 261; + Confucius compared with, x, 51; + favorite book of, ix, 376; + Hypatia compared with, x, 280; + influence of, on John Tyndall, xii, 349; + as a lecturer, v, 26; + Mazzini compared with, ix, 94; William Morris' estimate of, v, 32; + on astronomy, xii, 116; + on beauty, xiii, 211; + on commerce, ix, 130; + on eloquence, ix, 104; + on knowledge, vii, 322; + on Nature, x, 306; + on originality, xii, 407; + on Theodore Parker, ix, 301; + on Wendell Phillips, vii, 413; + on place and power, vi, 168; + on plain living, xiii, 251; + on Plato, viii, 31; + on slavery, vii, 393; + on the soul, viii, 403; + on Swedenborg, viii, 177; + on Thoreau, viii, 408; + on truth, xiv, 333; + Robert Owen and, xii, 349; + Theodore Parker compared with, ix, 279, 292; + Theodore Parker's lecture on, ix, 274; + Wendell Phillips on, xiii, 171; + quoted, i, 242, 267, 341; ii, 76, 285; iii, 108; iv, 7, 128, 259; + v, 12, 79, 98, 158, 248; vi, 65, 95; vii, 309; viii, 305; + ix, 61; x, 339; xi, 14; xiii, 89; referred to, i, p vi; + i, 55, 90, 223; iv, 253; v, 294; + Seneca compared with, viii, 56; + Shelley compared with, ii, 287; + Socrates and, viii, 16; + Thoreau and, viii, 397; + George Francis Train on, vii, 325. + +_Emile_, Rousseau, vii, 207; ix, 371; xiii, 85. + +Emilian Highway, the, vi, 226. + +Emmett, Robert, Southey to, v, 264. + +Empire State Express, i, p xxx. + +Endless punishment as a doctrine, viii, 357. + +_Endymion_, Disraeli, v, 342. + +Enemies, the uses of, xii, 18. + +Energy, example of, i, 339. + +Energy, universal, v, 123. + +England, colonies of, x, 131; + freedom in, vi, 146; + freedom of speech in, ix, 175; + Greece compared with, vii, 35; + the heart of, i, 308; + a nation of shop-keepers, ii, 207; + the people of, x, 130; + rural, ii, 240; + settlement of, by the Engles and Saxons, x, 132; + of Shakespeare, i, 301; + Spain and, in the 16th century, iv, 81. + +_English Bards and Scotch Reviewers_, Byron, v, 218; vi, 329. + +_English Idylls_, Tennyson, v, 81. + +_English Literature_, Taine, xiii, 171. + +_English Note-Book_, Voltaire, viii, 297. + +_English Settlements in North America_, Burke, vii, 172. + +_English Traits_, Emerson, viii, 297. + +Enlightenment, age of, viii, 271. + +_Enquiry Into the Present State of Polite_ _Learning in Europe_, + Goldsmith's first book, i, 293. + +Entail, law of, v, 70. + +Enthusiasm, vii, 319; x, 242. + +Environment, ii, 189; iii, 56; xiii, 215; + force of, iv, 332; + influence of, xi, 335. + +Epictetus, viii, 119; + compared with Walt Whitman, i, 170. + +Epigram, definition of, x, 52. + +Epitaphs, i, 158; iv, 86; v, 159. + +Epochs in life, three great, ix, 66. + +Epworth League, referred to, ii, 137. + +Epworth parsonage, birthplace of John Wesley, ix, 16. + +Equanimity, x, 58; xiii, 84. + +Erasmus, i, 248; x, 117; xiv, 40; + an authority on books and printing, x, 175; + the Bishop of Cambray and, x, 161; + Froben, the publisher, and, x, 173; + Melanchthon and, x, 172; + Sir Thomas More and, x, 170; + Lord Mountjoy and, x, 169; + Luther compared with, x, 152; + Diderot on, x, 152; + Albrecht Durer on, x, 157; + _In Praise of Folly_, x, 177; + intellectual pivot of the Renaissance, x, 150; + on preaching, x, 150; + quoted, vi, 46; + reference to, i, 124; v, 123; + travels of, x, 161. + +Erfurt, university of, vii, 119. + +Esoteric and exoteric, vii, 133. + +Esoterics, v, 96. + +_Essay on Education_, Herbert Spencer, viii, 324. + +_Essay on Human Understanding_, Locke, xiii, 85. + +_Essay on Mind_, E. B. Browning, ii, 29. + +_Essay on the Sublime_, Burke, vii, 318. + +_Essays of Elia_, Charles Lamb, ii, 214; v, 297. + +Etching, iv, 55, 315. + +_Etching and Dry Points_, Whistler, vi, 351. + +Etiquette, books on, v, 239. + +Etruria, home of Wedgwood pottery, xiii, 75. + +Euclid of Megara, disciple of Socrates, viii, 29. + +Eugenics of Plato, x, 118. + +Eugenie, Empress, and Rosa Bonheur, ii, 159. + +Euripides, referred to, v, 185. + +Eusebius on Aristotle, viii, 109. + +Eve, guilt of, iv, 83. + +Everett, Edward, xi, 258. + +Evolution, doctrine of, i, 135; v, 290; vi, 196; viii, 341; xii, 215. + +_Excursion, The_, Wordsworth, i, 219. + +Executive, an, defined, xi, 361. + +Exile, advantages of, viii, 60; xiv, 21. + +Exodus, the Israelitish, x, 38. + +Expense-account, working the, vi, 314. + +Expression, v, 235; vi, 58; + need of, v, 215. + + +_Fable for Critics_, Lowell, i, 179. + +Faddism, xii, 131. + +Fagging in English schools, x, 230. + +Fairy-tales, uses of, viii, 269. + +Faith, v, 238; + Wordsworth on, i, 210. + +_Fall of Wagner, The_, Nietzsche, xiv, 38. + +Falmouth, Lord, quoted, vi, 13. + +Falstaff compared with Johnson, v, 168. + +_Falstaff_, Verdi, xiv, 295. + +Fanaticism, ix, 182. + +Faneuil Hall, and Cooper Union compared, xi, 258; + Wendell Phillips' speech in, vii, 414. + +Faraday, Michael, and Sir Humphry Davy, xii, 352; + John Tyndall and, xii, 352; + John Tyndall on, xii, 334. + +Farrar, Canon, on Claudius and James I, viii, 58; + on Darwin, xii, 234. + +Fashionable society, vi, 170. + +Fate, ii, 89, 163; + masters of, ii, 17. + +Father of lies, the, i, 291. + +Faulkner, Charles Joseph, designer, v, 20. + +_Faust_, Goethe, v, 249. + +Faustus and Disraeli compared, v, 320. + +Favoritism, iii, 256. + +Fay, Amy, biographer of Liszt, xiv, 207. + +Fear, v, 173; xii, 89. + +Federal Constitution, adoption of, iii, 245. + +Fellowship, William Morris on, vi, 332. + +Fenelon, ii, 49; + Madame Guyon and, xiii, 350; + Thomas Jefferson compared with, xiii, 353; + on justice, xiv, 77. + +Ferguson, Charles, on the simple life, x, 108. + +Ferney, home of Voltaire, viii, 315. + +Feudalism, x, 320. + +F. F. V., iii, 212. + +Field, Cyrus W., xi, 235. + +Field, Eugene, xi, 80; + Francis Wilson and, v, 256. + +Fielding's _Amelia_, iv, 302. + +Field, Kate, ii, 39. + +Field, Marshall, xi, 294. + +Fields, James T., i, 251; ii, 39. + +Fifteenth century, household decorations of the, v, 18. + +Fighting-man, the eternal, vi, 164. + +Fillmore, Vice-President, iii, 270. + +Finck, Henry, on passionate love, xiv, 313. + +Fiske, John, Louis Agassiz and, xii, 407; + discoveries of, xii, 401; + Henry Drummond compared with, xii, 408; + early career of, xii, 397; + Huxley and, xii, 323; + Huxley compared with, xii, 408; + Huxley on, xii, 414; + John Morley compared with, xii, 412; + on astuteness, viii, 250; + on Darwinism, xii, 405; + on Huxley, xii, 313; + on truth, xii, 412; + on the uses of religion, xii, 413; + scientific work of, xii, 407; + _Through Nature to God_, xii, 396; + _Outlines of Cosmic Philosophy_, xii, 406. + +Fiske, Minnie Maddern, i, p xxvii. + +Fisk Jubilee Singers, i, 113. + +Fitzgerald, Lord Edward, and Thomas Paine, ix, 175. + +Fitzgerald's _Omar Khayyam_, v, 149. + +Flanders, battle-ground of Europe, iv, 82. + +Flanders, dog of, ii, 59, 66. + +_Flagellant, The_, Southey's contributions to, v, 279. + +Flattery, v, 216. + +Flaubert, Gustave, on marriage, xiv, 92. + +Flaxman and Thorwaldsen, vi, 110; + Landseer and, iv, 319. + +Fleischer, Rabbi, ix, 283. + +Flint, Austin, i, 247. + +Flirtation, coquetry and coyness, differentiated, xiii, 235. + +Floorwalker, rise of the, xi, 345. + +Florence, wonders of, iv, 56. + +Florida and Sweden contrasted, viii, 182. + +Florida cracker, the, ii, 112. + +Flowers, transplanted weeds, vi, 234; + John Wesley's love of, ix, 49. + +_Flying Dutchman, The_, Wagner, xiv, 22. + +Fontainebleau, ii, 57; iv, 278. + +Fools of Shakespeare, i, 239. + +Forestry, x, 248. + +Forgiveness, the joy of, vi, 221. + +Forrest, Edwin, actor, xi, 94. + +_Fors Clavigera_, Ruskin, i, 96. + +Forster, John, on Oliver Cromwell, ix, 321; + life of Dean Swift by, i, 143. + +Fortuny, Mariano, early life of, iv, 202; + education of, iv, 208; + life of, in Rome, iv, 213; + experience of, in Algeria, iv, 213; + compared with Meissonier, iv, 218; + leader of modern Spanish school of painting, iv, 222; + pictures by, in America, iv, 218. + +_Forum, The_, Corot, vi, 188. + +Forum, the Roman, v, 201. + +Fourier, Francois, French socialist, xii, 344. + +Fourierism, ix, 225; viii, 412. + +Four-o'clock, the, i, p xxiii. + +Fowler, Professor O. S., x, 274. + +Fox, Charles, ix, 164; + on the Hessians, xi, 149; + referred to, v, 188. + +Fox, George, as a leader, ix, 217. + +Fox, Richard, and Edmund Burke, vii, 179. + +Francesca, Piero Della, Italian painter, vi, 31. + +France, the king of, and Elizabeth Fry, ii, 188; + married women in, ii, 173; + senility of, iii, 232; + villages in, ii, 58. + +_Frankenstein_, Mary W. Shelley, ii, 305. + +Frank, Henry, ix, 184, 283. + +Franklin, Benjamin, birthplace of, iii, 33; + early literary efforts of, iii, 36; + in New York, iii, 38; + in Philadelphia, iii, 38; + meeting of, with Deborah Read, iii, 39; + marriage of, iii, 43; + public services of, iii, 48; + foremost American, iii, 50; + writings of, iii, 50; + autobiography of, xiii, 313; + Comte and, viii, 246; + Peter Cooper compared with, xi, 234; + Peter Cooper's ideal, xi, 257; + founder of the first public library in America, ix, 226; + John Jay compared with, iii, 250; + on Catholicism, x, 368; + on Harvard university, xi, 96; + on love, viii, 290; + Thomas Paine and, ix, 157, 164, 167; + peace commissioner, iii, 252; + prayer of, iii, 42; + prophecy of, regarding Dart, the almanac-maker, i, 150; + Ary Scheffer's admiration for, iv, 235; + _Poor Richard's Almanac_, i, 150; + referred to, i, 342; vi, 47; xi, 94; xii, 57, 179. + +Franklin stove, the, iii, 47. + +Frankness, v, 174. + +Frederick, Elector of Saxony, vii, 143. + +Frederick the Great, i, 81; + Voltaire and, viii, 309; + on Voltaire, ix, 387. + +Freedom, ix, 85; xiii, 85; + happiness compared with, ix, 56; + Mary Wollstonecraft on, xiii, 104; + of speech and action in England, vi, 146. + +Freeman, Edward, on King Alfred, x, 124. + +Freethought, Byron and, v, 205; + Christianity and, xii, 151. + +Free Trade, i, 114; + Disraeli's attitude toward, v, 340. + +Fremont, John C., vii, 354. + +_French Revolution, The_, Carlyle, i, 80. + +French Revolution, cause of, ix, 372. + +"Friday Afternoon, A," iii, 185. + +Friendship, v, 175, 272; ix, 18; xiv, 312; + the desire for, v, 85; + Emerson on, ii, 286; + ideal, v, 88; + Michelangelo and Vittoria Colonna, iv, 36; + a religion of, ix, 217; + striking instances of, i, 132; + wine of, ii, 21. + +Friends, Society of, ix, 217. + +Frobisher, English sea-fighter, iv, 81. + +Froebel, Friedrich, debt of, to Rousseau, ix, 371; + Herr Gruner and, x, 254; + the Von Holzhausen family and, x, 257; + influence of, viii, 204; + parents of, x, 247; + Pestalozzi and, x, 252; + philosophy of, ix, 136; + referred to, v, 211. + +Froude, James Anthony, on biography, vii, 347; + on Benjamin Disraeli, v, 326. + +Fry, Elizabeth, ancestry of, ii, 198; + religious nature of, ii, 200; + marriage of, ii, 202; + children of, ii, 202; + prison experience of, ii, 206; + continental experiences of, ii, 210; + friend of humanity, ii, 212; + message of, ix, 221; + quoted, vii, 28. + +Fugitive Slave Law, ix, 297. + +Fuller, Chief Justice, on damage cases, x, 144. + +Fuller, Margaret, and Brook Farm, viii, 402; + quoted, ix, 94. + +Fulton, Robert, xi, 21, 196, 248. + +Fulvia, wife of Mark Antony, vii, 67. + +_Fundamenta Botanica_, Linnaeus, xii, 300. + +Furniture, William Morris, v, 21; + of the 15th century, v, 18. + +Furnivall, Dr., v, 40. + + +Gage, General, quoted, iii, 94. + +Gainsborough hat, the, vi, 144. + +Gainsborough, Thomas, xii, 179; + Margaret Burr and, vi, 138; + early life of, vi, 132; + Garrick and, vi, 142; + independence of, vi, 147; + landscapes of, vi, 137; + his love of country life, vi, 136; + on memory, vi, 140; + Reynolds compared with, iv, 287; + Sir Joshua Reynolds and, vi, 150; + Philip Thicknesse's life of, vi, 129; + Benjamin West and, vi, 150; + Wiltshire and, vi, 142. + +Galileo, iv, 85; + Castelli on, xii, 83; + Giordano Bruno and, xii, 56; + inventions of, xii, 64; + Leonardo compared with, xii, 56; + John Milton and, xii, 82; + "the modern Archimedes," xii, 59; + Sir Isaac Newton compared with, xii, 37; + +Pope Urban VIII and, xii, 78. + +Gallio, proconsul of Achaia, viii, 46; + St. Paul and, ix, 189. + +Galton, Sir Francis, quoted, xii, 305. + +G. A. R., iii, 258. + +Garden of Eden, ii, 111. + +Garibaldi, Joseph, ix, 93; + Julius Caesar compared with, ix, 104; + Mazzini and, ix, 94, 101; + Savonarola compared with, ix, 124; + in South America, ix, 102. + +_Garibaldi the Patriot_, Alexandre Dumas, ix, 115. + +Garnett and Juliet, iii, p xi. + +Garrick, David, v, 155; xii, 179: xiv, 260; + on Boswell, viii, 26; + his criticism of Joshua Reynolds, iv, 301; + Gainsborough and, vi, 142; + Johnson's epitaph on, v, 159. + +Garrison, William Lloyd, iii, 259; vi, 148; vii, 221, 409; + Lyman Beecher and, vii, 395; + Henry George and, ix, 59; + Theodore Parker and, ix, 299. + +Gates, General of U. S. Army, iii, 168. + +Gautier, Theophile, i, 192; + Dore's illustrations of the works of, iv, 338; + quoted, xiii, 307. + +Gaynor, Judge, on Whistler, vi, 333. + +Genealogy, Icelandic, vi, 97. + +Geneva in the 18th century, ix, 385. + +Genius, i, 97; ii, p ix; + compared with courtesy, ii, 49; + creative, vii, 19; + definition of, iv, 329; + distinguishing work of, xii, 103; + essentially feminine, vi, 250; + formula for a, v, 12; + of the genus, viii, 250; + inspiration and, i, 134; + interesting example of, ii, 115; + madness and, vi, 286; + men of, i, 75; + Herbert Spencer on, vii, 316; + the stepping-stones of, xii, 191; + talent versus, vi, 56. + +_Gentle Art of Making Enemies, The_, Whistler, vi, 330, 351. + +Gentleman, Addison the best type of, v, 239; + Thomas Arnold's ideal of, x, 239; + the true, xii, 184. + +Geognosy, xii, 139. + +_Geographical Distribution of Animals, The_, Wallace, xii, 389. + +George, Henry, xi, 228; xiii, 93; + early life of, ix, 59; + life of, in California, ix, 62; + lecture of, before the University of California, ix, 71; + John Stuart Mill and, ix, 74; + philosophy of, ix, 57; popularity of, in England, ix, 79; + _Progress and Poverty_, ix, 73; + quoted, xiii, 186; + Ricardo compared with, ix, 80; + Professor Swinton and, ix, 76; + E. L. Youmans and, ix, 78; + John Russell Young and, ix, 78. + +George Junior Republic, the, x, 241. + +George III and William Pitt, vii, 200. + +Germanicus, Roman general, viii, 49. + +Germans, virtues of the, xi, 205. + +Germany, America's debt to, xii, 241. + +_Germ, The_, chipmunk magazine, ii, 123. + +_Gertha's Lovers_, William Morris, v, 15. + +Gettysburg, iii, 296; + speech of Lincoln at, iii, 278. + +Gettysburg Cyclorama, iv, 344. + +Ghetto, the, xi, 128; + Wolfgang Goethe on, xi, 134; + Moses Mendelssohn on, viii, 223. + +Ghirlandajo, the painter, iv, 28; vi, 21. + +Giannini's Indians, iv, 67. + +Gibbon, Edward, ix, 164; xii, 179; + love-affair of, ii, 165; + on the diplomacy of women, viii, 68; + on Judaism, xi, 131; + on Roman law, viii, 139; + on Roman religion, viii, 79; + on university education, ix, 21. + +Gibson girl, the, iv, 67; xiii, 112. + +Gilman, Charlotte Perkins, and Mary Wollstonecraft compared, xiii, 92. + +Giorgione, iv, 158; + Bellini and, vi, 258; + Shelley and Chopin compared with, vi, 254; + referred to, v, 323. + +Gipsy life, v, 51. + +Giralda of Seville, i, 317. + +Girard college, Philadelphia, iii, 202; xi, 122. + +Girardin, pupil of Rousseau, ii, 183. + +Girard, Stephen, x, 365; xi, 94; + boyhood of, xi, 101; + marriage of, xi, 113; + will of, iii, 201; + bank of, xi, 120; + Benjamin Franklin compared with, xi, 96; + at the island of Martinique, xi, 110; + Thomas Jefferson and, xi, 96; + and Maryland, xi, 321; + Thomas Paine and, xi, 97; + Walt Whitman compared with, xi, 99. + +Gladstone, William E., education of, i, 108; + appearance of, i, 109; + marriage of, i, 110; + influence of, i, 110; + home of, i, 119; + Charles Bradlaugh and, ix, 268; + Huxley and, xii, 199; + Huxley on, xii, 318; + Macaulay compared with, v, 197; + on John Bright, ix, 238; + on Benjamin Disraeli, v, 336; + on evolution, xii, 230; + on Handel, xiv, 253; + on Irish Home Rule, xiii, 204; + on Dr. Jowett, viii, 351; + on opportunity, x, 225; + on Josiah Wedgwood, xiii, 60; + Parnell and, xiii, 184, 198; + his reply to Ingersoll, x, 363; + referred to, iii, 136; + Herbert Spencer and, xii, 230. + +Glassmaking, art of, iv, 155; vi, 252. + +_Gleaners_, Millet, iv, 281. + +_Glory_, Dore's statue of, iv, 345. + +Glucose industry, the, xii, 238. + +Glynne, Sir Stephen, i, 110. + +_God Is Everywhere_, Madame Guyon, ii, 42. + +Godiva, Lady, i, 51. + +Gods in the chrysalis, v, 175. + +God, the masterpiece of, vi, 58. + +Godwin, William, ii, 291; + Robert Ingersoll compared with, xiii, 87; + _Political Justice_, xiii, 85; + Robert Southey and, xiii, 103. + +Goethe, Wolfgang, i, 63; ii, 184; + Lord Byron compared with, v, 230; + Cellini and, vi, 274; + and electricity, iii, 47; + on the Ghetto, xi, 134; + the Von Humboldts and, xii, 125; + influence of, on Thackeray, i, 233; + on marriage, ix, 383; + Mendelssohn and, xiv, 153; + Mephisto of, v, 320; + Napoleon and, xi, 151; + meeting with Napoleon, i, 165; + on Platonic love, xiii, 229; + referred to, v, 249; + Mayer Rothschild and, xi, 134, 145; + Schopenhauer and, viii, 371; + Christine Vulpius and, vi, 111. + +Goldsmith, art of the, vi, 274. + +Goldsmith, Oliver, father of, i, 281; + early life of, i, 281; + home of, i, 283; + London life of, i, 291; + acquaintance of, with Samuel Richardson, i, 291; + death of, i, 297; + simplicity of, i, 298; + Botticelli compared with, vi, 70; + Burke compared with, vii, 161; + _Deserted Village_, iii, 256; + on Boswell, viii, 26; + on Dr. Johnson, vii, 167; + on Richard Brinsley Sheridan, xii, 171; + quoted, v, 147; + referred to, i, 259, 306; ii, 232; iii, 12; v, 294; xii, 179; + Reynolds and, iv, 305, 306. + +Golgotha, ii, 53, 84. + +Gomez, carrying the message to, v, 195. + +Gondoliers, superstitions of, iv, 148; + Venetian, vi, 257. + +Good-cheer, v, 174. + +_Good-Natured Man, The_, Goldsmith, i, 272, 295. + +Gosse, Edmund, on biography, vii, 346; + on Stevenson, xiii, 42. + +Government loans, xi, 163. + +Graham, Stevens, Corot's letter to, vi, 205. + +Grammar, function of, viii, 328. + +Grasmere, i, 88, 211. + +Grattan, John, Quaker preacher, ix, 226. + +Gravitation, the law of, xii, 31. + +Gravity, spiritual, v, 241. + +Gray, Dr. Asa, xii, 231; + Louis Agassiz and, xii, 408; + Charles Darwin to, xii, 198, 232. + +Gray, Thomas, xiv, 51; + _Elegy_, iv, 302; v, 126. + +Great Awakening, the, ix, 41. + +Greatness, defined, ix, 369; + the germ of, vi, 175. + +Greece, the decline of, vii, 37; + education of women in, xii, 173; + England compared with, vii, 35; + gods of ancient, iv, 18; vii, 17; + golden age of, x, 71; + Rome and Judea compared with, x, 36; + in the time of Pericles, vii, 27. + +Greed, xii, 89. + +Greek art, rise of, vii, 12. + +Greek culture, influence of, vi, 14. + +_Greek Heroes_, Kingsley, i, 248. + +Greek-letter societies, x, 77. + +Greeley, Horace, vii, 409; xiii, 183; + on farming, xi, 387; + at Girard College, xi, 123; + influence of, vi, 155; + in prison, vi, 170; + on Sam Staples, viii, 403; + quoted, i, 200. + +Green Mountain Boys, the, xi, 308. + +Greenough, Horatio, sculptor, iii, 5. + +Gretna Green, i, 67; ii, 38. + +Grief, expression of, xiii, 268. + +Grimm, Baron, on Rousseau, ix, 386. + +Grind, the college, v, 151; viii, 183. + +Gross, Samuel Eberly, vi, 275. + +Grub Street, referred to, i, 292; + the wrangles of, viii, 249. + +Guam, isle of, i, p xxv. + +Guernsey, island of, i, 195. + +Guiccioli, Countess, and Lord Byron, v, 211, 230. + +Guilds, i, p xviii. + +_Gulliver's Travels_, referred to, i, 160; vi, 329. + +Guyon, Madame, appearance of, ii, 43; + autobiography of, xiii, 312, 315, 329, 351; + marriage of, ii, 45; + meeting of Fenelon with, ii, 50; + philosophy of, ii, 51; + home of, ii, 58; + portrait of, ii, 64. + +Gynecocracy, Spartan, vii, 32. + +_Gypsy Queen_, Rembrandt, iv, 73. + + +Haeckel, Ernst, characteristics of, xii, 246; + Charles Darwin and, xii, 252; + Goethe and, xii, 255; + Huxley compared with, xii, 248; + on monogamy, x, 305; + _The Natural History of Creation_, xii, 249; + Major Pond and, xii, 242; + _The Riddle of the Universe_, xii, 249; + Herbert Spencer compared with, xii, 257; + at the World's Freethought Convention, ix, 123. + +Hagiology, x, 362. + +Hale, Edward Everett, on O. W. Holmes, vii, 327; + on Mill's _Autobiography_, xiii, 162; + preaching of, vii, 309. + +Hale, Sir Matthew, Chief Justice of England, x, 366. + +Hallam, Arthur, v, 77. + +Hall, Stanley, x, 249; + on incentive, xii, 59. + +Hallucination, ix, 182. + +Hals, Frans, Dutch painter, iv, 68; vi, 70. + +Haman, story of, ii, 210. + +Hamerton, Philip Gilbert, vi, 50; + criticism of _The Last Judgment_, iv, 33; + quoted, i, 131, 168; iv, 116, 135. + +Hamilton, Alexander, birthplace of, iii, 156; + early life of, iii, 157; + literary skill of, iii, 157; + education of, iii, 158; + as an orator, iii, 161; + lieutenant-colonel, iii, 167; + assistant to Washington, iii, 167; + his most important mission, iii, 168; + marriage of, iii, 169; + quarrel of, with Washington, iii, 169; + secretary of the treasury, iii, 171; + Aaron Burr and, iii, 175; + death of, iii, 180; + John Jay compared with, iii, 250; + likened to Napoleon, iii, 173; + quoted, iii, 252; + referred to, iii, 235, 242; iv, 193; vii, 191; xiv, 40. + +Hamilton, Walter, on Rossetti, xiii, 272. + +Hamilton, Sir William, on Aristotle, viii, 109; + on Chinese astronomy, xii, 97. + +Hamilton, William Gerard, and Edmund Burke, vii, 174. + +Hamlet and Dante compared, xiii, 125. + +_Hamlet_, Shakespeare, i, 317; + quotation from, iv, 85. + +Hamlin Stock Farm, i, p xvii. + +Hammersmith, works of William Morris at, v, 27. + +Hampden, John, ix, 307. + +Hampton Institute, x, 193. + +Hancock, John, ancestry of, iii, 102; + early life of, iii, 108; + tour of Europe, iii, 108; + part of, in Boston Massacre, iii, 114; + suit against, iii, 115; + as an orator, iii, 115; + delegate to second congress, iii, 117; + signature of, iii, 120; + as governor of Massachusetts, iii, 121; + as treasurer of Harvard college, iii, 123; + widow of, iii, 123; + monument of, iii, 124; + grave of, iii, 124; + social position of, iii, 81. + +Handel, George Frederick, xiv, 253; + Linnaeus and, xii, 300; + Walter Damrosch on, xiv, 253; + Dean Swift on, xiv, 271; + Rev. H. R. Haweis on, xiv, 250. + +Hanks, Nancy, Lincoln's love for, vii, 349. + +Happiness, xi, 137; + Aristotle on, viii, 82. + +Hare-soup, viii, 329. + +Harley, Lord, friend of Richard Steele, v, 257. + +Harmony, vi, 21; + as a life principle, x, 372. + +Harmonyites, the, xi, 42. + +Harrison, Benjamin, vii, 13, 191. + +Harrison, Frederic, xiii, 92; + Comte and, viii, 266. + +Harum, David, xii, 239. + +Hastings, Warren, ii, 244; xii, 180; + Edmund Burke and, vii, 161. + +Hate, v, 173; + Herbert Spencer on, viii, 358. + +Hat, the Gainsborough, vi, 144. + +Hawarden, i, 105. + +Hawkins, Sir John, v, 254; + _Life of Johnson_, v, 148. + +Hawthorne, Nathaniel, _Blithedale Romance_, viii, 402; + and the Brook Farm, viii, 402; + as custom-house inspector, v, 26; + on Shakespeare, i, 312; + on Thompson, the artist, viii, 190. + +Hayden, Dr. Seymour, vi, 338. + +Haydn, Joseph, Franz Liszt and, xiv, 188. + +Hay-harvest, the, v, 95. + +Hay, John, quoted, v, 149. + +Hayne, Robert, logic of, iii, 83; + speech of, iii, 198. + +Hazlitt, William, ii, 232. + +_Healing Christ_, Rembrandt, iv, 66. + +Health, v, 173; + potential power, vi, 169. + +Hearn, Lafcadio, on Japanese art, vi, 347. + +Heaven, early notions of, xii, 92; + a going home, ii, 22; + Jefferson on, iii, 54; + a locality, iii, 281; + Milton on, i, 179; + Montesquieu on, viii, 130. + +Hegel, George, German philosopher, on Aristotle, viii, 109; + on education, vii, 322. + +Heine, Heinrich, i, 147; xii, 352; + on the kingly office, x, 109; + +Mendelssohn and, xiv, 174; + on musicians, xiv, 165; + on Paganini, xiv, 54. + +Helen of Troy, vi, 61. + +Hell, Dante on, i, 179; + early notions of, xii, 92; + Johnson's fear of, v, 167; + a place, iii, 281; + a separation, ii, 22. + +Hendricks, Thomas A., vii, 13. + +_Henriade_, Voltaire, viii, 296. + +Henry, Patrick, parents of, vii, 279; + boyhood of, vii, 280; + as a merchant, vii, 282; + admitted to the bar, vii, 284; + his first great speech, vii, 287; + Governor of Virginia, vii, 204; + his remark regarding the Alleghany Mountains, xi, 223; + Samuel Adams and, iii, 91; + John Jay and, iii, 251; + Thomas Jefferson and, iii, 61; vii, 283. + +Henry VIII, king of England, iv, 188. + +Herbert, Victor, on Paganini, viii, 173. + +Hercules, iv, 102, 334. + +Herder, Johann, on Kant, viii, 169. + +Heredity, ii, 115; xiv, 140; + law of, vii, 185; viii, 57. + +Heresy and treason, ix, 24. + +Heretics, theological, x, 358. + +Hermann the magician, i, 163. + +_Hernani_, Victor Hugo, i, 189. + +Herod, i, 238. + +Herodias, i, 75. + +Herschel, Caroline, xii, 173. + +Herschel, Sir John, xii, 193. + +Herschel, William, xii, 167; + Sir William Watson and, xii, 182. + +Herschels, the, ii, 115. + +_Herve Riel_, Browning, v, 65. + +Hervey, James, colleague of the Wesleys, ix, 27. + +Hessians, the, in America, xi, 146. + +Hewlett, Maurice, on the death of Simonetta, vi, 87. + +Higginson, Thomas Wentworth, and Theodore Parker, ix, 299. + +Higher criticism, v, 314. + +Hill, James J., xi, 196, 315; + boyhood of, xi, 401; + appearance of, xi, 405; + Barbizon collection of, xi, 428; + his interest in agriculture, xi, 425; + Norman Kittson and, xi, 415; + railroad experience of, xi, 413; + Donald Smith and, xi, 422. + +Hipparchus, Greek astronomer, xii, 99. + +Hirschberg, Rabbi, on Darwinism, xii, 228. + +Hirsch, Rabbi, vii, 310. + +Historian, Macaulay on the office of, v, 172. + +History, five leading men of, i, 341; + literature and, xiii, 83. + +_History of Civilization_, Buckle, ix, 64. + +_History of England_, Macaulay, v, 196. + +_History of Virginia_, John Burke, iii, 58. + +Hogarth, bookplates of, iv, 123; + Governor Oglethorpe and, ix, 28; + the school of, vi, 79. + +Holbein, Hans, iv, 189; + bookplates of, iv, 123. + +Holland, canals of, iv, 43; + the home of freedom, viii, 209; + in the 17th century, iv, 69; + place of, in art, xiv, 223; + the name of Van Dyck in, iv, 173; + windmills of, iv, 42. + +Holmes, Oliver Wendell, ix, 285; + Emerson and, viii, 408; + Dr. Hale on, vii, 327; + on satiety, x, 309; + quoted, iv, 254. + +_Holy Family, The_, Van Dyck, iv, 184. + +Homer, i, 113, 317; ii, 21, 76; v, 185; + Gladstone on, i, 102. + +Home rule, Gladstone on, xiii, 204. + +Honesty as a business asset, ix, 132. + +Hoodlumism, i, p xvi. + +Hood, Thomas, + Dore's illustrations of the works of, iv, 338; + quoted, ii, 231. + +Hook-and-Eye Baptists, v, 236. + +Hooker, Sir Joseph, xii, 372. + +Hope, Anthony, iv, 178. + +Horace and Maecenas, i, 179. + +Horne, Richard H., ii, 30. + +_Horse Fair, The_, Rosa Bonheur, ii, 158. + +Horseless carriage, the, xii, 21. + +Horse-sense, iii, 261. + +Horseshoes and junk, xi, 288. + +Horses, John Wesley's love of, ix, 40, 43. + +Hortense, Queen of Holland, ii, 281. + +_Hours of Idleness_, Byron, v, 218. + +Household decorations of the 15th century, v, 18. + +_House of Life, The_, Rossetti, xiii, 267. + +House of Lords, Carlyle's imaginary, ii, 57. + +Houssaye, Arsene, vi, 46. + +Howard, John, philanthropist, ii, 210. + +Howe, E. W., _Story of a Country Town_, x, 247. + +Howe, Gen., experience of Washington with, iii, 26. + +Howells, William Dean, on rhetoric, vi, 187. + +Hubbard, Alice, ii, p xi. + +Hubbard, Bert, Little Journeys Camp, iii, p vii. + +HUBBARD, ELBERT, his dream of game of "I-spy" in Kenilworth Castle, i, 52; + his experience with the butler at No. 4, Cheyne Walk, + home of Mrs. Cross, i, 61; + he witnesses a Gretna Green wedding, i, 67; + calls on Thomas Carlyle's brother in Shiawassee County, Mich., i, 70; + in the haunted house, i, 81; + interview with Ruskin, i, 92; + meets Gladstone and his wife, i, 105; + visits at Hawarden, i, 118; + visits the room in Chelsea where Turner spent his last days, i, 138; + his visit to Saint Patrick's Cathedral and the grave of Swift, i, 157; + his first and only interview with Whitman in Camden, i, 170; + his voyage from Southampton to Saint Peter Port, i, 195; + attends funeral of President Carnot, i, 202; + acquaintanceship with "Bouncers," i, 218; + visits the Lake Country, i, 218; + his interview with the gravedigger of Kensal Green Cemetery, i, 230; + his tour of Dickens' London, i, 251; + his life in an Irish cottage, i, 278; + visits the site of the Globe Theater, i, 314; + his interview with Thomas Edison, i, 331; + as a teacher, ii, p ix; + his memorial, ii, p xi; + his call at the home of the Barretts, ii, 27; + his bicycle journey from Paris to Montargis, ii, 56; + visits Cardigan Hall, ii, 100; + his experience with Yorkshire humor, ii, 105; + visits the home of the Brontes, ii, 107; + meets William Michael Rossetti, ii, 124; + his acquaintance with White Pigeon, ii, 140; + visits the home of Rosa Bonheur, ii, 147; + his description of his visit to the Chateau de Necker, ii, 103; + his argument regarding Dr. Joseph Parker, ii, 237; + courtesy of Mrs. Humphries of Overton, ii, 241; + visits the grave of Jane Austen, ii, 255; + visits the home of John Hancock, iii, 104; + eats dinner in the Adams cottage, iii, 148; + his description of a "Friday afternoon," iii, 185; + story of the English and Irish immigrants, iii, 209; + visit to Ashland, home of Henry Clay, iii, 215; + the spelling-class in the little red school-house, iii, 255; + childhood of, iii, 278; + boyhood days in Illinois, iii, 280; + his description of his participation in a pioneer funeral, iii, 283; + birth of, in Bloomington, Ill., iii, 287; + he sits in the lap of Judge Davis, nominator of Lincoln, iii, 288; + recital of events attending the death of Lincoln, iii, 300; + Copperhead experiences of, iii, 292, 301; + he visits the grave of Rubens, iv, 92; + his dislike of olives, iv, 108; + his experience in Cadiz, Spain, iv, 108; + his adventure with the little girl collector, iv, 123; + his experience in Saint Mark's Square, Venice, iv, 147; + his adventures with Enrico, the Venetian gondolier, iv, 149; + criticism of John Ruskin's literary work, iv, 166; + admiration of, for Titian's _Assumption_, iv, 168; + story regarding portrait artist in Albany, iv, 183; + his description of a Queenstown embarkation, iv, 274; + his visit to the village of Auburn, Ireland, iv, 286; + his conversation with the little girl drawing pussy cats, iv, 314; + visit to the Kelmscott Press, v, 28; + William Morris and, v, 32; + W. H. Seward and, v, 71; + experiences of, in an Ayrshire hay-field, v, 96; + his adventures with cranks, v, 111; + he visits the home of Macaulay, v, 177; + traveling experiences in Scotland, v, 265; + his adventures with White Pigeon at Grasmere, v, 269; + he visits the birthplace of Raphael, vi, 19; + he meets White Pigeon at East Aurora, vi, 39; + his sojourn in the art-gallery of Luxembourg, vi, 75; + his love for boys, vi, 102; + Augustus St. Gaudens and, vi, 117; + the Harvard "right tackle" and, vi, 174; + the grocery-store genius and, vi, 197; + his adventure with the market woman of Parma, vi, 237; + Robert Ingersoll and, vii, 255; + his experience with Boston preachers, vii, 309; + George William Curtis and, vii, 315; + his encounter with mob law, vii, 389; + Wendell Phillips and, vii, 410; + his recital of the taming of a sculptor, vii, 24; + Rev. Theodore Parker and, ix, 389; + Andrew Carnegie and, xi, 284; + his horseshoe adventure, xi, 288; + at the birthplace of H. H. Rogers, xi, 365; + H. H. Rogers and, xi, 392; + Mark Twain and, xi, 392; + J. J. Hill and, xi, 425; + his adventure with the Irish lumbermen, xii, 336; + lumbermen, xii, 336; + he meets the son of Alfred Russel Wallace, xii, 375; + John Burroughs and, xii, 376; + he loses the Mozart manuscript on a railroad-train, xiv, 299. + +Hubbard's Law, xi, 390. + +Hudson, Hendrik, viii, 45. + +Hughes, Arthur, painter, v, 20. + +Hughes, Thomas, _Tom Brown at Rugby_, x, 229. + +Hugo, Victor, parents of, i, 185; + marriage of, i, 188; + character of, i, 193; + his love of light, i, 200; + tomb of, i, 205; + wife of, v, 133; + childhood impressions of, iv, 341; + on the death of Balzac, xiii, 308; + Dore's illustrations of the works of, iv, 338; + on education, xi, 203; + on falsehood, vii, 371; + influence of, on Giuseppe Verdi, xiv, 292; + opinion of, regarding Rosa Bonheur, ii, 134; + on police officials, vi, 100; + quoted, ii, 80; + referred to, i, 306; ii, 183; iv, 230; v, 83; + on Shakespeare, i, 316; + as a stylist, ix, 388; + on the Unknown, xii, 89; + on Voltaire, viii, 320; + on Rousseau, viii, 241. + +Huguenots, described, ii, 49; + in America, ii, 77; + banishment of, from France, iii, 231; + Puritans compared with, iii, 232; + in England, ii, 77; + virtues of, iii, 231. + +_Human Comedy, The_, Balzac, xiii, 301. + +Humanity, Schopenhauer on, viii, 362. + +Human mind, duality of, i, 113. + +Humboldt, Alexander von, i, 341; + on agriculture, xii, 140; + Bonpland and, xii, 146; + Auguste Comte and, viii, 254; + Ingersoll on, xii, 160; + Thomas Jefferson and, xii, 147; + lectures of, xii, 158; + religious views of, xii, 151; + _Subterranean Vegetation_, xii, 139; + John Tyndall and, xii, 351. + +Hume, David, ii, 296; iii, 37; ix, 164; xii, 179. + +Humility, v, 243. + +Humor, i, 237; ii, 229; v, 70; + commonsense and, xii, 329; + Jefferson's sense of, iii, 73; + melancholy and, v, 156. + +_Hunchback of Notre Dame_, Hugo, i, 193. + +Hunt, Holman, ii, 123; v, 18; + quoted, xiii, 253. + +Hunt, Leigh, i, 250; + Robert Browning and, v, 55; + cited, ii, 220; + grave of, i, 231; + the Shelleys and, ii, 307. + +Hutchinson, Anne, ix, 294; + death of, ix, 362; + Mary Dyer and, ix, 359; + her arrival in Boston, ix, 343; + mother of New England Transcendentalism, ix, 356; + Sir Henry Vane and, ix, 358. + +Hutton, _Literary Landmarks_, ii, 118. + +Huxley, Thomas H., i, 56; + early life of, xii, 307; + the wife of, xii, 311; + Charles Darwin and, xii, 198; + Darwin compared with, xii, 313; + George Eliot and, xii, 329; + John Fiske and, xii, 313, 323; + on John Fiske, xii, 414; + Gladstone and, xii, 199; + on Gladstone, xii, 318; + Haeckel compared with, xii, 248; + Sir Joseph Hooker and, xii, 321; + Ingersoll compared with, xii, 319; + John Stuart Mill compared with, xii, 311; + Rev. Dr. Parker and, xii, 322; + Spencer and, viii, 345; + Toole the comedian and, xii, 322; + experience of, with the University of Toronto, xii, 326; + as a writer, xii, 327; + Canon Wilberforce and, xii, 226. + +Hyacinths, white, vi, 235. + +Hyde Park, London, i, 62. + +Hymettus, honey of, v, 97. + +Hypatia, Mrs. Eddy compared with, x, 280; + Emerson compared with, x, 280; + her estimate of Plotinus, x, 282; + on Neo-Platonism, x, 270; + on superstition, x, 275. + +_Hypatia_, Charles Kingsley, x, 283. + +Hypnotism, x, 274, 352. + +Hypocrisy, vii, 268. + + +Ibsen, Henrik, xiii, 112; + quoted, xii, 182. + +Iceland, i, p xxv. + +Ideal life, Morris on the, vi, 16. + +Ideal man, the, v, 198. + +_Idylls of the King_, Tennyson, v, 13. + +Ignorance and wisdom, Starr King on, vii, 308. + +Illegitimacy, xiv, 39; + Marcus Aurelius on, viii, 133. + +Illinois, farmers' wives in, ii, 222; + pioneer days in, iii, 280. + +Illumination of books, i, p xxv. + +_Illustrations of Political Economy_, Harriet Martineau, ii, 83. + +Illustrator and artist, difference between, iv, 329. + +_Il Penseroso_, Milton, v, 126, 137. + +_Il Pensiero_, Michelangelo, iv, 32. + +_Il Trovatore_, Verdi, xiv, 292. + +Imagination, iv, 332; v, 105, 240. + +Immortality, i, 247; x, 11; + power and, vi, 57. + +Incandescent lamp, invention of, i, 329. + +Incompatibility, iv, 254; v, 129; vii, 68. + +Inconsistency, examples of, x, 366. + +Independence, vi, 332. + +Independence, Declaration of, iii, 75. + +Indians, Canada's treatment of, xi, 404; + North American, in London, ix, 28; + Washington's mission among, iii, 17. + +Indian, the American, xii, 141; + as an orator, iii, 189. + +Indifference, vi, 325. + +Individuality, xiv, 43. + +Indulgences, vii, 123. + +Infant phenomenon, the, v, 122. + +_Inferno_, Dante, iv, 340. + +Infidelity, vi, 13; x, 342. + +Influence of women, i, 75. + +Ingalls, John J., quoted, vii, 177. + +Ingersoll, Ebon, brother of Robert Ingersoll, vii, 249; + death of, vii, 235. + +Ingersoll, Robert G., xii, 251; + birthplace of, vii, 242; + parents of, vii, 237; + wife of, vii, 259; + his great achievement, vii, 268; + mental evolution of, vii, 257; + H. W. Beecher and, vii, 357; + Peter Cooper and, xi, 259; + the dictum of, viii, 173; + Gladstone's reply to, x, 363; + William Godwin compared with, xiii, 87; + the Governor of Delaware and, ix, 261; + Elbert Hubbard and, vii, 255; + on Alexander von Humboldt, xii, 160; + Huxley compared with, xii, 319; + on love, vii, 232; + lecture on the mistakes of Moses, x, 15; + opinions regarding, vii, 253; + compared with Paine and Bradlaugh, ix, 243; + quoted, iii, 288; + on Shakespeare, xii, 319. + +Initiative, xii, 242. + +_In Memoriam_, Tennyson, v, 82, 88. + +Innocent III, Pope, referred to, i, 151. + +_In Patience_, Christina Rossetti, ii, 114. + +_In Praise of Folly_, Erasmus, x, 177. + +Inquisition, the Spanish, vi, 171. + +Insanity, defined, i, 163; viii, 255; + originality and, viii, 197. + +Inspiration, vi, 155. + +Instrumental music, v, 236. + +Insurance, a species of gambling, viii, 300. + +Intellect and beauty, x, 277. + +_Intellectual Life, The_, Hamerton, vi, 50. + +Intellectual tyranny, x, 348. + +Introspection, vii, 118. + +_Invocation_, Tennyson, v, 89. + +Iowa, farmers' wives in, ii, 222. + +Ireland, American travelers in, i, 155; + beauty of, i, 274; + Edmund Burke on, vii, 178; + Parnell on, xiii, 174; + Lord Dufferin on, xiii, 175; + Gladstone on, xiii, 176; + Henry George on, xiii, 190; + Home Rule in, xiii, 199; + the Irish and, xi, 335; + lawlessness in, i, 277; + women of, i, 275. + +Irish Church, the, i, 114. + +Irish immigration, xiii, 179. + +Iron, the consumption of, xi, 296. + +Ironsides, Cromwell's regiment, ix, 320. + +_Irreparableness_, E. B. Browning, ii, 16. + +Irrigation and religion, ix, 278. + +Irving, Henry, ii, 237; + at Harvard University, xiv, 177; + Seneca compared with, viii, 56; + on success, viii, 345. + +Irving, Washington, iv, 218; vi, 316; + John J. Astor and, xi, 221; + on the Jews, viii, 207; + quoted, i, 293. + +"Isaac Bickerstaff," pseudonym of Dean Swift, i, 149. + +Isaiah, the Prophet, i, 317. + +Israelites, or Children of Israel, ii, 140; x, 21. + +Italian Renaissance, the, xiii, 210. + +Italy, senility of, iii, 232. + +Itineracy, Wesley on the, ix, 48. + + +Jacks and Jennies, xi, 20. + +Jackson, Andrew, iii, 190, 210, 221. + +Jacqueminot roses, ii, 241. + +James I, iv, 189; + Claudius compared with, viii, 58. + +James, Henry, on Edwin Abbey, vi, 311; + on Verdi, xiv, 291; + on Tyndall, xii, 358. + +Jameson, Mrs., quoted, iv, 159. + +_Jane Eyre_, Charlotte Bronte, i, 240; ii, 94, 108. + +Jansen, Cornelius, painter, v, 122. + +Japanese art, vi, 349. + +Jay, John, home of, at Rye, N. Y., iii, 233; + legal training of, iii, 236; + Samuel Adams regarding, iii, 240; + governor of N. Y., iii, 247; + his religious nature, iii, 249; + genius of, iii, 250; + referred to, ii, 77; iii, 89; + typical Huguenot, iii, 232. + +Jealousy, artistic, vi, 176, 275; + Gainsborough's freedom from, vi, 150. + +Jefferson, Thomas, education of, iii, 55; + appearance of, iii, 55; + friends of, iii, 58; + Patrick Henry and, iii, 61; + as a lawyer, iii, 63; + member of Virginia + legislature, iii, 65; + marriage of, iii, 68; + governor of Virginia, iii, 70; + member of Colonial Congress, iii, 70; + daughter of, iii, 71; + home of, at Monticello, iii, 70; + death of wife of, iii, 71; + opposition of, to Hamilton, iii, 72; + mission to France, iii, 72; + humor of, iii, 73; + President of U. S., iii, 75; + achievements of, iii, 75, 177; + Thomas Arnold compared with, x, 241; + John J. Astor and, xi, 221; + Fenelon compared with, xiii, 353; + Stephen Girard and, xi, 96; + Patrick Henry and, vii, 283; + on Patrick Henry, vii, 293; + Alexander von Humboldt and, xii, 147; + John Jay compared with, iii, 250; + James Madison and, iii, 54; + Thomas Paine and, ix, 160, 170; + quoted, xi, 380; + Socrates compared with, xi, 97. + +Jeffrey, Francis, Lord, v, 181. + +Jeffrey, the tribe of, v, 78. + +Jersey, island of, i, 195. + +Jerusalem, referred to, ii, 140. + +Jesuits, referred to, iv, 89. + +Jesus of Nazareth, influence of, viii, 204; + Thoreau on the character of, vii, 316. + +_Jewish Bride_, Rembrandt, iv, 73. + +Jews, the, xi, 127; + Alexander the Great on the, viii, 95; + in England, ii, 77; + expulsion of, from Spain, viii, 207; + Washington Irving on, viii, 207; + legal disabilities of, v, 187; + orthodox, viii, 221; + Thomas Paine on the, ix, 165; + rational, viii, 221. + +Jiu jitsu, v, 319. + +Joan of Arc, iii, 28; iv, 241. + +Job, i, 247; + the Book of, x, 30; + humor of, i, 238. + +Johnsonese, v, 146. + +Johnson, Samuel, i, 259; iv, 178; vi, 148; xiv, 260; + letter of, to Chesterfield, v, 144; + physical characteristics of, v, 145; + his literary style, v, 147; + biography of, by Boswell, v, 148; + superstitions of, v, 153; + marriage of, v, 154; + his meeting with David Garrick, v, 155; + his gruffness, v, 162; + charity of, v, 165; + influence of, v, 170; + biography of Dean Swift, i, 143; + dictionary of, v, 43; + on Burke, vii, 165; + life of, by Hawkins, v, 148; + William Pitt and, vii, 192; + quoted, i, 282; iii, 12; v, 239; xiii, 291; + Reynolds and, iv, 306; + his opinion of Shakespeare, i, 134; + on Richard Brinsley Sheridan, xii, 171; + visit of, to Goldsmith, i, 294; + Mary Wollstonecraft and, xiii, 90. + +John the Baptist, xiii, 84; + Salome and, vi, 76. + +Joint stock company, xi, 24. + +Jones, Paul, and Oliver Cromwell compared, ix, 331; + quoted, viii, 399. + +Jones, Samuel M., of Toledo, i, 321. + +Josephine, Empress of the French, birthplace of, ii, 259; + marriage of, to Vicomte Alexander Beauharnais, ii, 261; + children of, ii, 262; + imprisonment of, ii, 265; + meeting of, with Napoleon, ii, 267; + marriage of, ii, 275; + created empress, ii, 279; + divorced, ii, 280; + death of, ii, 281; + tomb of, ii, 281. + +Josh Billings Almanac, reference to, i, 130. + +_Joshua_, Handel, xiv, 269. + +_Journal to Stella_, Dean Swift, i, 148. + +_Journey Through Italy, A_, Taine, vi, 38. + +Jowett, Rev. Dr., of Baliol, quoted, ii, 296; xi, 85; + Herbert Spencer and, viii, 350. + +Joy, vii, 84. + +Judaism, v, 319; ix, 279; + Christianity and, Gibbon on, xi, 131. + +Judas Iscariot, ii, 181. + +Judea, Rome and Greece compared, x, 36. + +Juliet and Garnett, iii, p x. + +Julius Caesar, Mary Baker Eddy compared with, x, 360; + Edison compared with, i, 330; + Garibaldi compared with, ix, 104; + Lincoln compared with, viii, 72; + Seneca compared with, viii, 72. + +_Julius Caesar_, Shakespeare, i, 317. + +Julius, Michelangelo's statue of, iv, 28. + +Julius II, Pope, iv, 25; vi, 17. + +Juno, ii, 43. + +Junto Club, the, iii, 45. + +Justinian code, the, x, 324. + +Juvenal, i, 317. + +_Juvenilia_, Byron, v, 215. + + +Kabojolism, viii, 278. + +Kant, Immanuel, xii, 371; + parents of, viii, 156; + Aristotle compared with, viii, 154; + _Critique of Pure Reason_, viii, 169; + the greatness of, xii, 242; + Herder on, viii, 169; + Plato compared with, viii, 154; + philosophy of, viii, 152; + referred to, v, 306; + Professor Royce on, viii, 154; + Schopenhauer on, viii, 170; + stubbornness of, viii, 166; + father of modern Transcendentalists, viii, 403. + +Katabolism, viii, 358. + +Kauffman, Angelica, artist, iv, 305. + +Keats, John, iv, 159; v, 50, 97; + Aubrey Beardsley compared with, vi, 73; + Coleridge and, v, 310. + +Keeley Institute, i, 278. + +Keeners, Irish, i, 229. + +Keller, Helen, ii, 76; + H. H. Rogers and, xi, 389. + +Kelmscott House, v, 21. + +Kelmscott Press, the, v, 28. + +Kemble's "Coons," iv, 67. + +Kenilworth Castle, i, 51, 303. + +Kensington Gardens, i, 62. + +Kenyon, John, ii, 23; + Robert Browning and, v, 58. + +Keppel, Commander, friend of Joshua Reynolds, iv, 295. + +Keswick pencils, viii, 400. + +Kilkenny, cats of, i, 223. + +Kindergarten, the, vi, 194; xii, 128; + purpose of the, x, 246; + the first, x, 259. + +King Alfred, Freeman on, x, 124; + Napoleon compared with, x, 137; + reforms of, x, 140. + +_King Lear_, Shakespeare, i, 317; ii, 251. + +Kings, divine right of, ii, 83. + +King's evil, the, v, 153. + +Kingsley, Charles, i, 248; + on friendship, ix, 17; + _Hypatia_, x, 283; + quoted, v, 85. + +King, Starr, Dr. Bartol on, vii, 313; + Joshua Bates on, vii, 317; + in California, vii, 336; + Rev. E. H. Chapin on, vii, 316; + death of, vii, 341; + Dr. Leonard on, vii, 313; + Lincoln and, vii, 341; + memorials to, vii, 311, 313; + parents of, vii, 317; + Theodore Parker on, vii, 320; + personality of, vii, 315; + _Substance and Show_, vii, 328. + +Kinship, xiv, 240. + +Kipling, Rudyard, ii, 125, 253; + his estimate of woman, vi, 74; + quoted, ix, 292; x, 174; xii, 182; + on R. L. Stevenson, xiii, 40. + +Kittson, Norman, xi, 415. + +Knitting-machines, ii, 70. + +Knock-knees, vi, 308. + +Knott, Proctor, quoted, i, 248. + +Knowledge, v, 239; vii, 314; + learning, wisdom and, x, 74; + wisdom and, vii, 217. + +Knowles, Sheridan, i, 250. + +Knox, John, ix, 187; + Carlyle's estimate of, ix, 213; + Queen Elizabeth and, ix, 211; + +Martin Luther compared with, ix, 205; + Mary, Queen of Scots, and, ix, 210; + referred to, v, 266. + +Konigsberg, home of Immanuel Kant, viii, 160. + +Krupp, Herr, iv, 28. + + +Laban, iii, 35, 62. + +Labor, dignity of, vi, 117; + division of, iii, 99. + +Labor exchange, the, xi, 47. + +Labouchere, Henry, and Charles Bradlaugh, ix, 266; + quoted, xii, 57. + +_Labourge Nivernais_, Rosa Bonheur, ii, 158. + +La Bruyere, Jean, de, v, 258. + +_Lachesis Laponica_, Linnaeus, xii, 292. + +_Lady of Shalott, The_, Tennyson, v, 78. + +La Farge, John, lecture on art, vi, 244. + +Lafayette, Marquis de, ii, 183; iii, 15; + Thomas Paine and, ix, 176; + quoted, iv, 235. + +_La Gioconda_, Leonardo, vi, 59. + +Lagrange, Margaret, ix, 283. + +Lake District of England, v, 282. + +Lake Poets, the, ii, 227; v, 285. + +_Lalla Rookh_, Moore, i, 156. + +_L'Allegro_, Milton, v, 126, 137. + +Lamb, Charles, ii, 215; + as a bookkeeper, v, 26; + his estimate of Jane Austen, ii, 254; + S. T. Coleridge and, v, 295; + his love of books, iv, 140; + quoted, iv, 197; + referred to, v, 56, 279. + +Lamb, Mary, + education of, ii, 219; + meeting of, with Samuel Taylor Coleridge, ii, 221; + tragedy of, ii, 222; + literary work of, ii, 230; + friends of, ii, 229; + death of, ii, 234; + referred to, v, 56. + +Lamennais, the Abbe, on Liszt, xiv, 205. + +Lamp-chimneys, the making of, xi, 372. + +Land-laws, English and American, compared, vii, 188. + +Landlordism, ix, 88. + +Landor, Walter Savage, ii, 28; viii, 20; xii, 305; + Robert Browning and, v, 55. + +Landscape, as an art term, iv, 91. + +Landscape painting, the art of, vi, 136. + +Landscapist's day, Corot's description of a, vi, 206. + +Landseer, parents of, iv, 311; + brothers of, iv, 312; + birthplace of, iv, 313; + education of, iv, 314; + genius of, iv, 315; + popularity of, iv, 320; + friends of, iv, 321; + friendship of Queen Victoria for, iv, 324; + influence of, iv, 326; + genius of, iv, 329. + +Lang, Andrew, ii, 17; ix, 395. + +Langenthal, Henry, and Froebel, x, 258. + +Language, a form of expression, iv, 159. + +Lao-tsze and Confucius, x, 63. + +Lassalle, Ferdinand, xiii, 367. + +_Last Judgment, The_, Michelangelo, iv, 33. + +_Last Supper, The_, Leonardo, v, 229; vi, 54. + +Latin, knowledge of, iv, 288. + +_La Traviata_, Verdi, xiv, 292. + +Laud, William, Archbishop of Canterbury, ix, 315, 328, 337. + +Laurence, the artist, Turner's treatment of, i, 135. + +Laurens, Henry, ii, 77. + +Lautner, Max, vi, 65. + +Law, of altruistic injury, the, xi, 390; + of antithesis, the, i, 164; + of attraction or gravitation, xii, 272; + Col. Bumble's opinion of, ix, 88; + as a business, vii, 404; + of compensation, ii, 238; iv, 226; vii, 349; xi, 149; xiv, 41; + of the correlation of forces, xii, 272; + of diminishing returns, x, 308; + of entail, v, 70; + of heredity, vii, 185; + of natural selection, v, 95; + of pivotal points, x, 308; + profession of, iii, 99; + of reversion to type, ii, 192. + +_Law of Civilization and Decay, The_, Brooks Adams, xii, 89. + +Lawsuits, county, vii, 245. + +Law-wolf, ix, 311. + +Lawyers, class B, vi, 174; + Kant on, viii, 163; + Philadelphia, vi, 306. + +Lear compared with Milton, v, 140. + +Learning, knowledge and wisdom, x, 74. + +Lease, Mrs., of Kansas, v, 145. + +_Leaves of Grass_, Whitman, i, 172, 179, 181; iv, 259; xiii, 18. + +Lecky, the historian, quoted, xi, 204; + on Methodism, ix, 49. + +_Lectures on English Humorists_, Thackeray, i, 239. + +_Lecture on Homer_, Gladstone, i, 102. + +_Lectures to Young Men_, Beecher, vii, 357. + +Lee, Ann, founder American Society of Shakers, x, 318. + +Lee, Richard Henry, iii, 67, 89. + +Le Gallienne, Richard, i, p xxvii; v, 246; + quoted, xiii, 220; + referred to, v, 218. + +Legion of Honor, Cross of, ii, 159. + +Legitimate perquisites, v, 44. + +Leibnitz, Gottfried Wilhelm, Baron von, xii, 21; + referred to, v, 306. + +Leicester, Earl of, iv, 25. + +Leighton, Frederick, friend of the Brownings, v, 64. + +Leipzig, university of, vii, 134. + +Leonard, Dr. Charles H., on Starr King, vii, 313. + +Leonardo da Vinci, i, 122; i, 341; iv, 6, 59, 90, 99; v, 230; xiv, 40; + appearance of, vi, 50; + birth of, vi, 46; + mother of, vi, 46; + Aristotle compared with, viii, 91; + Bandello and, vi, 50; + Cesare Borgia and, vi, 43; + Correggio and, vi, 233; + Sir William Davenant compared with, vi, 48; + Edison compared with, vi, 41; + Hamerton on, vi, 50; + _Last Supper_ of, vi, 54; + Michelangelo and, vi, 28. + +Leo X, Pope, iv, 31; vi, 31; + quoted, vi, 13. + +_Les Huguenots_, Meyerbeer, characterized, xiv, 126. + +Leslie, Charles R., American artist, iv, 321. + +_Les Miserables_, Hugo, i, 187. + +_Letters of a Self-Made Merchant to His Son_, Lorimer, xi, 183. + +Letters of indulgence, vii, 126. + +Lettre de cachet, the, xiii, 349; ix, 378. + +Levi, origin of name, x, 30. + +Lewes, George Henry, i, 57; v, 148; + Augustine Birrell on, viii, 339; + Comte and, viii, 261; + Herbert Spencer and, viii, 337; + Thackeray on, viii, 337. + +Lewis, Alfred Henry, i, p xxvii; ix, 311; x, 344. + +Lewis and Clark Expedition, the, xi, 220. + +Lewis, Fielding, iii, 15. + +Lewis, Lawrence, iii, 15. + +Leyden, Lucas van, vi, 78. + +_L'Historie de Romanticisme_, Gautier, i, 192. + +Liberal denominations, the, ix, 184. + +Liberal thought, obligations of, xiii, 87. + +_Liberator, The_, William Lloyd Garrison and, vii, 394. + +Liberty, Patrick Henry on, vii, 276. + +Licentiousness, vii, 73. + +Life, canned, vi, 170; + forms of, vi, 228; + the game of, v, 158; + Robert Ingersoll on, vii, 235; + the larger, viii, 204; + a privilege, vii, 118; + the privileges of, vi, 151. + +Life-insurance, value of, viii, 300. + +_Life of Charles XII_, Voltaire, viii, 297. + +_Life of Frederick_, Carlyle, viii, 312. + +_Life of Jesus_, Strauss, i, 55. + +_Life of Johnson_, Hawkins, v, 148. + +_Life of Washington_, Weems, iii, 7; v, 41; vii, 199. + +_Life's Uses_, Harriet Martineau, ii, 68. + +Ligereaux, Saint Andre de, xi, 390. + +Light and shade, Rembrandt's experiments in, iv, 61. + +Lily Dale, i, 321. + +Lincoln, Abraham, boyhood of, vi, 102; + face of, iv, 52; + speech of, at Gettysburg, iii, 278; + home of, at Springfield, Ill., iii, 287; + acquaintances of, iii, 288; + stories of, iii, 288; + Ingersoll's speech on, iii, 291; + assassination of, iii, 300; + the country of, iii, 303; + early home of, iii, 303; + as clerk in country store, iii, 303; + law office of, iii, 303; + debates with Douglas, iii, 304; + nomination of, iii, 271, 304; + election of, iii, 273, 304; + home ties of, iii, 305; + example of, iii, 305; + Beecher compared with, vii, 348; + Beecher on the death of, vii, 379; + contrasted with John Brown and Marat, vii, 214; + Julius Caesar compared with, viii, 72; + attitude of California toward, vii, 339; + his call for volunteers, xiii, 84; + Simon Cameron, secretary of war, and, xi, 276; + Andrew Carnegie compared with, xi, 295; + Winston Churchill on, vii, 21; + his Cooper Union speech, xi, 258; + George W. Curtis and, i, 165; + Douglas and, xiii, 187; + Emancipation Proclamation of, ix, 56; + General Grant and, xii, 313; + humor of, i, 239; + Ingersoll on, ix, 331; + on the American juror, x, 366; + Starr King and, vii, 341; + and the law of diminishing returns, x, 309; + love of, for memory of his mother, vii, 349; + love of, for Seward, iii, 274; + to the portrait-painter, xiii, 118; + quoted, iv, 128; xi, 276; vii, 286; + referred to, i, 248; ii, 238; iii, 174; v, 201; vi, 320; xi, 370; + xiii, 85; xiv, 40; + on responsibility, xi, 287; + reference to the Sangamon steamboat, xii, 318; + visit of, to W. H. Seward, iii, 272; + Southern feeling and, x, 111; + on stepmother-love, xii, 398; + Washington and, iii, 29; + Henry Watterson on, vii, 393; + Walt Whitman and, i, 164. + +Lincolnshire, the woods of, v, 75. + +Lindsey, Judge Ben, i, p xxvii; ix, 283; + Thomas Arnold compared with, x, 241; + and the Juvenile Court, ix, 349; + quoted, ix, 87. + +Linnaeus, boyhood of, xii, 278; + George Frederick Handel and, xii, 300; +at the University of Upsala, xii, 285. + +Lion-hunters, iv, 253. + +_Lion of Lucerne, The_, Thorwaldsen, vi, 123. + +Lippi, Fra Lippo, vi, 51. + +Liszt, Franz, and the Countess d'Agoult, xiv, 194; + Amy Fay's biography of, xiv, 207; + Joseph Haydn and, xiv, 188; + inspirer of musicians, xiv, 187; + Plato compared with, viii, 87; + George Sand and, xiv, 194; + remark concerning George Sand, xiv, 95; + Richard Wagner and, xiv, 30. + +Literary conscience, the, x, 363. + +Literary eczema, i, 292. + +_Literary Landmarks_, Hutton, ii, 118. + +Literary stinkpots, v, 218. + +Literature, a confession, xiii, 313; + a byproduct, v, 26; + history and, xiii, 83. + +Litigation, a luxury, vii, 293. + +Little Journeys Camp, iii, p ix. + +Little red schoolhouse, the, iii, 255. + +Littre, pupil of Auguste Comte, viii, 265. + +_Lives of the Poets_, Johnson, v, 147. + +Livingston, David, vi, 347. + +Lloyd, Charles, and the Wordsworths, i, 215. + +Local option, iii, 129. + +Lodge, Cabot, iii, 23. + +_Logic_, J. S. Mill, xiii, 160. + +_Lohengrin_, Wagner, xiv, 32. + +Lombroso, Prof., referred to, i, 164. + +_London_, Baedeker, ii, 118. + +London, compared with New York, ii, 118; + monuments of, i, 313. + +Longfellow on Dante, xiii, 110; + Emerson and, viii, 408. + +Long, John D., vi, 333; vii, 191. + +Long Parliament, the, ix, 318. + +Lord Palmerston and Richard Cobden, ix, 152. + +Lorenzo, the Magnificent, iv, 13; + Savonarola and, vii, 97; + Pericles compared with, iv, 13. + +Lorimer, George Horace, xi, 183. + +Lorraine, Claude, iv, 162; + influence of, on Corot, vi, 201; + influence of, on Turner, i, 126. + +_Lost Arts, The_, Wendell Phillips, vii, 328. + +_Lothair_, Disraeli, v, 342. + +Lot referred to, i, 306. + +_Lot_, Rembrandt, iv, 63. + +_Lotus-Eaters, The_, Tennyson, v, 78. + +Louis XIV, "The Grand," iv, 95. + +Louis XV, i, 203. + +Louis XVIII and Victor Hugo, i, 188. + +Louisiana Purchase, the, iii, 76. + +Love, iv, 178; v, 238, 346; xiv, 312; + Marcus Aurelius on, viii, 138; + of brother and sister, ii, 215; + Robert Burns and, v, 93; + the great enlightener, ii, 78; + eternal, v, 90; + Benjamin Franklin on, viii, 290; + idealization of, v, 86; + Robert Ingersoll on, vii, 232; + laws of, xi, 137; + memory of, vi, 21; + one-sided, xiii, 117; + a pain, ii, 32; + religion and, xiv, 206; + romantic, ii, 189; xiii, 211; + the great teacher, vi, 311; + value of, ii, 87; + woman's, exemplified, ii, 170; + Emerson's essay on, ii, 287. + +Lovejoy, Rev. E. O., death of, vii, 405. + +Lovelace on prison-life, vi, 170. + +Love-letters, great, vii, 81. + +Lovell, Robert, and Southey, v, 301. + +_Love's Lovers_, Dante Gabriel Rossetti, xiii, 246. + +Lowell, James Russell, Emerson and, viii, 408; + _The Fable for Critics_, i, 179; + on Plato, viii, 87; + quoted, i, 276; iii, 102; xiv, 80; v, 254; + referred to, i, 231; v, 39, 294; + on truth, x, 112. + +Loyalty, xiv, 228. + +Loyola, referred to, vi, 50. + +Lubke, Wilhelm, on Raphael, vi, 10. + +Luck, exemplified, xi, 288. + +Lumpkin, Tony, vi, 315. + +Lunacy, defined, iii, 266. + +_Lusitania_, Cunard Liner, ii, p x. + +Luther, Martin, + Giordano Bruno and, xii, 54; + character of, vii, 117; + "Catherine the Nun" and, vii, 156; + at the Diet of Worms, vii, 143; + Albrecht Durer and, vii, 139; + John Eck and, vii, 134; + at Eisenach, vi, 212; + Erasmus compared with, x, 152; + excommunication of, vii, 137; + Henry VIII of England and, vii, 155; + humor of, i, 238; + insanity of, viii, 255; + John Knox compared with, ix, 205; + as an orator, vii, 120; + quarrel of, with the Church, vii, 116; + referred to, iii, 35; v, 183; vi, 50; ix, 187, 194, 210; + spiritual experiences of, viii, 181; + John Tetzel and, vii, 123; + and the 95 Theses, vii, 122, 129; + in the Castle of Wartburg, vii, 153; + at the University of Wittenberg, vii, 117. + +Lyceum, the, iii, 188; + the New England, vii, 325. + +_Lycidas_, Milton, v, 137. + +Lyell, Sir Charles, xii, 372; + Darwin and, xii, 223. + +Lyman, Theodore, mayor of Boston, vii, 390. + +Lyon, Emma, Lady Hamilton, xiii, 408. + + +Macaulay, Thomas B., iv, 193; + appearance of, v, 176; + father of, v, 177; + mother of, v, 178; + boyishness of, v, 178; + his love of frolic, v, 179; + college life of, v, 181; + literary style of, v, 182; + his law practise, v, 184; + political life of, v, 186; + as an orator, v, 187; + fame of, v, 189; + commissioner of Board of Control, v, 189; + legal adviser of the Supreme Council of India, v, 192; + Secretary of War, v, 195; + Lord Rector of the University of Glasgow, v, 196; + elevation to the peerage, v, 197; + estimate of Jane Austen, ii, 254; + on Edmund Burke, vii, 173; + quoted, v, 238; vii, 180; vii, 199; + Rubens compared with, v, 176. + +Macbeth, Lady, i, 75. + +McCarthy, Justin, on J. S. Mill, xiii, 160; + on Parnell, xiii, 199. + +McCormick, Cyrus H., ix, 285; xi, 196. + +McCormick reaper, the, xi, 328. + +McGuffy's Third Reader, ix, 317. + +Machiavelli's use of women, vi, 81. + +Mackaye, Steele, quoted, viii, 168. + +Mackay, Mrs. J. W., experience of, with Meissonier, iv, 136. + +McKinley, William, President, vi, 336; + death of, viii, 291. + +MacLaren, Ian, xiii, 24; + on Scotch penuriousness, xi, 264. + +MacMonnies, Frederick William, xiv, 29. + +Macready and Robert Browning, v, 55; + quoted, i, 250. + +McSorley, Rev. Hugh, and Bradlaugh, ix, 262. + +Madame Tussaud's Wax-works, iv, 344. + +Madison and Jefferson, iii, 54. + +Madrid, court life at, iv, 104; + Royal Gallery at, iv, 109. + +Maecenas, Horace and, i, 179; + referred to, iv, 291; + Saint-Simon compared with, viii, 247. + +Maeterlinck, quoted, vii, 245. + +Mahomet, quoted, iv, 86. + +_Maid of Athens_, Byron, v, 222. + +Mail, proposing marriage by, v, 226. + +Maintenon, Madame de, ii, 54. + +_Maker of Lenses, The_, Zangwill, viii, 217. + +_Makers of Venice, The_, Mrs. Oliphant, vi, 248. + +_Malay Archipelago, The_, Wallace, xii, 366, 382. + +Mallory, referred to, v, 14. + +Malthus and Edmund Burke, ix, 11. + +Managing editors, characterized, vi, 315. + +Mandeville, Sir John, xii, 144. + +_Manfred_, Byron, v, 230. + +Mangasarian, M. M., 283. + +Man, the ideal, iv, 6; + an invocation to, v, 201; + a land animal, ix, 82; + Nature and, viii, 394. + +Mankind, saviors of, ii, 197. + +_Manners and Fashion_, Herbert Spencer, viii, 342. + +_Manners_, Casa, v, 259. + +Manning, Cardinal, i, 108; + on evolution, xii, 227. + +Mansfield, Richard, xii, 169. + +_Man's Place in Nature_, Huxley, xii, 327. + +Manual labor, xii, 341. + +Manual training, vi, 194. + +_Man Who Laughs, The_, Hugo, i, 200. + +_Man With the Hoe, The_, Millet, iv, 262. + +Marat, Jean Paul, appearance of, vii, 210; + assassination of, by Charlotte Corday, vii, 227; + character of, vii, 220; + Danton and, vii, 224; + education of, vii, 210; + Benjamin Franklin and, vii, 214, 219; + life of, in Paris, vii, 222; + medical diploma of, vii, 215; + Mirabeau and, vii, 223; + Thomas Paine and, vii, 220; ix, 178; + Robespierre and, vii, 224; + wife of, vii, 226. + +Marat, Simonne Evrard, to the convention, vii, 207. + +Marconi, Guglielmo, xii, 21. + +Marco Polo, xii, 144. + +Marcus Aurelius, ii, 195; + boyhood of, viii, 113; + Canon Farrar on, viii, 124; + on love, viii, 138; + _Meditations_ of, viii, 140; + Ouida regarding, viii, 130; + Renan on, viii, 131. + +_Marguerite_, Ary Scheffer's painting, iv, 246. + +_Mariana_, Tennyson, v, 78. + +Marie Antoinette, Queen of France, ii, 176, 264; + quoted, xiii, 92. + +Marie Louise, wife of Napoleon, ii, 281. + +_Marion Delorme_, Victor Hugo, i, 190. + +Market-places, French, iv, 124. + +Marlborough, Duchess of, and William Pitt, vii, 193. + +Marriage, iv, 135; + Goethe on, ix, 383; + a mousetrap, ii, 190; + philosophy and, viii, 251; + Roman laws regarding, viii, 133; + Bernard Shaw on, ix, 44; + Swedenborg on, viii, 191; + divorce and, viii, 134; + Voltaire on, viii, 290. + +Marsden, Mark, and Charles Bradlaugh, ix, 246. + +Marshall, John, Chief Justice, on the Book of Nature, ix, 387. + +Marshall, Peter Paul, landscape-gardener, v, 20. + +Marston Moor, battle of, ix, 322. + +Martignac, M. de, and Victor Hugo, i, 190. + +Martineau, Elizabeth, ii, 72. + +Martineau, Harriet, ii, 109, 163, 190; xiv, 89; + childhood of, ii, 71; + love-affair of, ii, 78; + religion of, ii, 79; + influence of, ii, 83; + as a writer, ii, 85; + home of, i, 218; + Auguste Comte and, viii, 257. + +Martineau, Doctor James, theologian, ii, 71; viii, 258. + +Martyn, Carlos, on Beecher, vii, 395. + +Martyr and persecutor, ii, 195. + +Martyrdom, compensations of, vi, 171. + +Marx, Karl, xii, 256; xiii, 362. + +Mary, Queen of Scots, i, 261; + John Knox and, ix, 210. + +Masaccio, frescos of, vi, 28. + +Mason and Dixon's Line, iv, 124. + +Massachusetts, delegates of, to Philadelphia Convention, iii, 90. + +Massachusetts Institute of Technology, x, 204. + +"Massachusetts Jemmy," i, 251. + +Massachusetts Metaphysical College, x, 334. + +Massillon on preachers and preaching, viii, 168. + +Masterpiece of God, the, vi, 58. + +Mathematics, limits of, viii, 173. + +Mather, Cotton, i, 112, 237; iii, 101; viii, 23. + +Mather, Increase, ix, 338. + +Mathews, Charles, the actor, i, 231. + +Mayas, the, vi, 15. + +_Mayflower_, sailing of the, iv, 189. + +_May Queen, The_, Tennyson, v, 78. + +Mazzini, i, 56; + Emerson compared with, ix, 94; + Garibaldi and, ix, 94, 101; + friend of the Rossettis, ii, 122. + +Mecklenburg Declaration of Independence, ix, 287. + +Medici, Catherine de, iv, 31. + +Medici family, expulsion of, from Florence, iv, 32. + +Medici, Giuliano, Michelangelo's statue of, iv, 32. + +Medici, Lorenzo de, Michelangelo's statue of, iv, 31. + +Medici, Marie de, iv, 97; + Rubens' pictures of, iv, 176. + +Medicine, profession of, iii, 99; + the science of, xii, 265. + +_Meditations_, Descartes, viii, 226. + +_Meditations_, Marcus Aurelius, i, 248; viii, 140. + +Mediums, spiritual, viii, 174. + +Meissonier, Jean Louis Ernest, French painter, iv, 124; + mother of, iv, 125; + his passion for collecting, iv, 126; + love for his mother, iv, 127; vii, 350; + early efforts in painting, iv, 129; + marriage of, iv, 131; + his artistic conscience, iv, 133; + domestic affairs of, iv, 135; + his experience with Mrs. J. W. Mackay, iv, 136; + his "vindication," iv, 139; + his extravagance, iv, 139; + _Conversations_ of, iv, 140; + his masterpiece, iv, 142; + death of, iv, 141; + Fortuny compared with, iv, 218; + friend of Millet, iv, 282; + genius of, iv, 329; + other self of, v, 106; + pictures by, owned in America, iv, 142; + quoted, iv, 218, 330. + +Melancholy, v, 268; + humor and, v, 156. + +Melania, the Nun of Tagaste, vi, 62. + +Melchizedek, the order of, ix, 70. + +Memoirs of Benvenuto Cellini, vi, 273. + +_Memories_, Max Muller, vi, 40. + +Mendelssohn, Felix, ix, 285; + boyhood of, xiv, 164; + Mozart compared with, ix, 163; + Queen Victoria and, xiv, 181; + Thorwaldsen and, vi, 116. + +Mendelssohn, Moses, on the Ghetto, viii, 223. + +Men, grown-up children, vii, 350. + +Mengs, Raphael, on Velasquez, vi, 158. + +Mennonite, the, ii, 189. + +Mennonites, the, Napoleon and, viii, 212; + Spinoza and, viii, 211. + +Men of genius, i, 75. + +Mentation, art of, viii, 355. + +Mephisto, iii, 233; + Disraeli compared with, v, 320. + +Mephistopheles, referred to, v, 132. + +Merchandising, old-time methods of, ix, 131. + +Merchant, age of the, xi, 306. + +_Merchant of Venice, The_, Shakespeare, i, 317. + +Meredith, George, ii, 127. + +_Merlin_, Tennyson, v, 68. + +_Message to Garcia_, how written, i, p xxix. + +Messalina, Valeria, wife of Claudius, viii, 62. + +_Messiah_, Handel, xiv, 269. + +Messianic instinct, the, v, 109. + +Metaphysics, x, 344; + Kant on, viii, 148. + +_Metaphysics of Love_, Schopenhauer, viii, 382. + +Metaphysics, science and theology distinguished from, viii, 267. + +Methodism, ix, 279; + Lecky on, ix, 49; + Moravianism and, ix, 32. + +Methodists, ii, 227; + origin of name, ix, 25. + +Michallon, Achille, companion of Corot, vi, 198. + +Michelangelo, i, 131; iv, 90; xii, 84; + age of, iv, 6; ix, 94; + birth of, iv, 7; + influence of, upon Leonardo, iv, 7; + appearance of, iv, 7; + manner of living, iv, 7; + compared with Leonardo, iv, 8; + his figures of women, iv, 9; + beginning of his artistic work, iv, 9; + his parents, iv, 10; + his apprenticeship, iv, 13; + his patron, Lorenzo, iv, 13; + life of, in Florence, iv, 15; + arrival in Bologna, iv, 16; + life of, in Rome, iv, 18; + his work in Florence, iv, 22; + the Sistine Chapel, iv, 28; + the Church of San Lorenzo, iv, 31; + chief architect of Saint Peter's, iv, 34; + death of, iv, 35; + sonnets of, iv, 36; + America's tribute to, iv, 35; + Sebastian Bach compared with, xiv, 137; + Cellini and, vi, 281; + Landseer compared with, iv, 326; + Leonardo and, vi, 28; + other self of, v, 106; + rivalry between Raphael and, iv, 31; + on Raphael, vi, 36; + compared with Titian, iv, 146; + compared with Walt Whitman, i, 170. + +Michel, Emile, on Rembrandt, iv, 40. + +Microscopic portrayal, vi, 203. + +Middendorf, William, and Froebel, x, 258. + +Middle Ages, the, x, 127; + art and life in the, v, 18; + monks of the, ii, 189. + +Middle class, the, x, 225. + +_Midsummer Night's Dream_, Shakespeare, i, 304. + +_Mignon_, Ary Scheffer's painting, iv, 246. + +Milan Academy of Art, founding of, vi, 55. + +Milburn, the blind preacher, iii, 40; v, 85. + +Millais' friendship for Thackeray, i, 236. + +Miller, Hugh, geologist, xii, 265. + +Miller, Joaquin, referred to, i, 195; xiii, 22. + +Millet, Francois, his influence on art, iv, 269; + nature of, iv, 261; + ancestry of, iv, 263; + Parisian experience of, iv, 267; + poverty of, iv, 272; + marriage of, iv, 273; + student in the atelier of Delaroche, iv, 274; + second marriage of, iv, 275; + devotion of, to wife and children, iv, 276; + home of, in Barbizon, iv, 278; + friends of, iv, 279; + recognition of, iv, 280; + vogue of, iv, 282; + _The Angelus_, vi, 215; + Corot and, vi, 213; + Dore compared with, iv, 346; + influence of, viii, 205; + style of, vi, 214; + Wagner compared with, iv, 259; + Whitman compared with, iv, 259. + +Millionaires, v, 311; xi, 389; + limitations of, xi, 226; + machine-made, v, 81. + +Mill, John Stuart, i, 95; xiii, 85; + _Autobiography_, xiii, 153; + Bradlaugh and, xiii, 171; + Robert Browning compared with, xiii, 170; + Thomas Carlyle on, xiii, 151; + on Coleridge, v, 289; + as a member of the House of Commons, xiii, 171; + Auguste Comte and, viii, 257; + Henry George and, ix, 74; + Huxley compared with, xii, 311; + _Logic_, xiii, 160; + Justin McCarthy on, xiii, 160; + Macaulay on, v, 185; + John Morley on, xiii, 160; + _On Liberty_, xiii, 142; + quoted, vii, 217; + Bishop Spalding on, xiii, 162. + +_Mill on the Floss, The_, Eliot, i, 53; v, 148. + +Mills, B. Fay, ix, 184, 283. + +Mills hotels, the, xi, 327. + +Milnes, Monckton, and Robert Browning, v, 55; + Alfred Tennyson and, v, 76. + +Milton, Sir Christopher, quoted, v, 120. + +Milton, John, ii, 76; + home of, in Bread Street, London, v, 119; + father of, v, 119; + youth of, v, 121; + education of, v, 122; + life of, at Cambridge, v, 123; + his ascetic nature, v, 124; + life of, at Horton, v, 126; + influence of mother on, v, 126; + his marital experiences, v, 128; + his tractate on divorce, v, 130; + travels of, v, 136; + his political pamphlets, v, 137; + his surpassing genius, v, 139; + Lord Byron compared with, v, 230; + influence of Dante on, xiii, 137; + Dore's illustrations of the works of, iv, 338; + Galileo and, xii, 82; + Heaven and, i, 179; + Macaulay on, v, 181; + referred to, v, 83; + Satan of, v, 320; + as a secretary, v, 26; + and ship-money, ix, 316. + +Mind, the supremacy of, viii, 161. + +Mineptah, the great Pharaoh, x, 17. + +Minerva, ii, 43. + +Ministers, sons of, iii, 102. + +Mintage of wisdom, i, p xii. + +Mirabeau, Marat and, vii, 223; + Thomas Paine and, ix, 178; + quoted, ix, 387; + Madame de Stael compared with, ii, 183. + +Mission furniture, i, p xxv. + +Missions of California, x, 163. + +Missouri River, referred to, i, 123. + +Mitford, Mary Russell, ii, 26; v, 59; + life of Dean Swift by, i, 143. + +Mobocrats, vii, 407. + +_Modern Painters_, Ruskin, i, 89; v, 246; vi, 329. + +Modesty, definition of, x, 16. + +Mohammedans, expulsion of, from Spain, viii, 207. + +Mohammed, the religion of, ix, 375. + +Mommsen, Theodor, historian, xi, 291. + +Monahan, Michael, iii, p xii. + +_Mona Lisa, The_, vi, 41; + Walter Pater on, vi, 58. + +Monasteries, age of the, xi, 306; + as mendicant institutions, vii, 113. + +Monastic impulse, the, vii, 87, 111; x, 166, 119, 304. + +Monasticism, x, 302; + forms of, vii, 111. + +Monastic life, vii, 86. + +_Money-changers_, Rembrandt, iv, 64. + +Mongoose, story of the imaginary, ix, 300. + +Monism, xii, 256. + +Monogamy, Ernst Haeckel on, x, 305. + +Monroe, James, and Thomas Paine, ix, 160. + +_Monstrous Regiment of Women, The_, John Knox, ix, 210. + +Montague, Charles, Lord Halifax, quoted, v, 244. + +Montaigne, quoted, v, 151; + referred to, iii, 35. + +Montebello, home of Empress Josephine in, ii, 275. + +Monte Cassino, Benedictine monastery, x, 315. + +Montesquieu on heaven, viii, 130. + +Monticello, home of Jefferson, iii, 69. + +_Moonlight Sonata_, Beethoven, xiv, 277. + +Moore, George, and Corot, vi, 205. + +Moore, Thomas, i, 155, 280; + birthplace of, i, 156; + Lord Byron and, v, 224; + Disraeli and, v, 333; + Dore's illustrations of the works of, iv, 338. + +Moqui Indians, the, viii, 46. + +Morality, v, 226; + defined, x, 318; + Schopenhauer on, viii, 377; + Herbert Spencer on, ix, 191. + +Moravians, John Wesley and the, ix, 31. + +More, Hannah, Edmund Burke and, vii, 161; + Macaulay and, v, 181; + friend of Reynolds, iv, 305. + +More, Sir Thomas, i, 124; x, 117. + +Morgan, J. Pierpont, vi, 72; vii, 193; + Patrick Sheedy and, vi, 145. + +Morley, John, xii, 412; + Charles Bradlaugh and, ix, 271; + on Lord Byron, v, 215; + on Richard Cobden, ix, 140, 153; + on J. S. Mill, xiii, 160; + quoted, vi, 275; + on Servetus, ix, 202. + +Mormon, the, ii, 189. + +_Morning_, Michelangelo, iv, 32. + +_Morning_, Thorwaldsen, vi, 123. + +Morris chair, the, v, 21. + +Morris, Gouverneur, iii, 239. + +Morris, Nelson, and Philip D. Armour, xi, 189. + +Morris, Robert, iii, 171; xi, 94. + +Morris, Roger, Colonel, iii, 19; + estate of, xi, 217. + +Morris, William, parents of, v, 11; + education of, v, 12; + early experience of, in architecture, v, 15; + marriage of, v, 16: + the Preraphaelite Brotherhood, v, 18; + socialism of, v, 23; + shops of, at Hammersmith, v, 27; + appearance of, v, 27; + meeting of Elbert Hubbard with, v, 29, 32; + associates of, v, 29; + influence of, v, 25, 33; viii, 205; + American art and literature and, v, 32; + criticisms of, v, 23; + F. S. Ellis and, v, 29; + on Emerson, v, 32; + executive ability of, v, 20; + on fellowship, vi, 332; + on the Icelandic sagas, vi, 97; + on the ideal life, vi, 16; + influence of Burne-Jones on, v, 15; + Moses compared with, x, 37; + James Oliver compared with, xi, 74; + Robert Owen compared with, xii, 343; + philosophy of, xiii, 252; + on Preraphaelitism, vi, 11; + quoted, v, 23; + referred to, i, pp xvii, xxi; ii, 123, 125; v, 97; x, 117; + Ruskin compared with, xiii, 253; + versatility of, v, 34; + Wagner compared with, xiv, 24; + Emery Walker and, v, 29; + on Walt Whitman, v, 32; + Professor Zueblin on, xi, 356. + +Morse, Samuel, inventor, xi, 68. + +_Morte d' Arthur_, Mallory, v, 14. + +Mosaic, art of, iv, 153. + +Mosaicist, art of the, iv 155. + +Moses, i, 306; + parentage of, x, 22; + life of, in the Egyptian court, x, 25; + Aristotle compared with, x, 13; + death of, x, 40; + Albrecht Durer compared with, x, 37; + the laws of, x, 11, 32; + William Morris compared with, x, 37; + wit and humor of, i, 238; + the world's first great teacher, x, 11. + +_Moses_, Michelangelo's statue of, iv, 27; + Rembrandt's, iv, 63. + +_Mother and Child_, Giotto, vi, 17. + +Motherhood, holiness of, vi, 249; + teaching and, vi, 249; + Whistler's tribute to, vi, 337. + +Mother-love, v, 127; + Darwin on, iv, 46. + +Mothers-in-law, xiv, 11. + +Motive power, vi, 250. + +Mountain-climbing, xii, 355. + +Mount Vernon, home of Washington, iii, 11. + +Moxon, Edward, publisher, ii, 233; + Robert Browning and, v, 46. + +Mozart, Wolfgang, Dudley Buck on, xiv, 295; + Marie Antoinette and, xiv, 305; + marriage of, xiv, 326; + Mendelssohn compared with, xiv, 163; + Rembrandt compared with, xiv, 316; + the Empress Maria Theresa and, xiv, 305. + +Muldoon, William, x, 249; + Pythagoras compared with, x, 72. + +Mullah Bah, Turkish wrestler, vii, 217. + +Muller, Johannes, zoologist, xii, 253. + +Muller, Max, _A Story of German Love_, viii, 192; + _Memories_, vi, 40. + +Mulready, artist, iv, 318; + grave of, i, 231; + Sydney Smith and, iv, 321. + +Munchausen, referred to, v, 221. + +Munich, galleries of, iv, 57. + +Munro, Doctor, patron of Turner, i, 127. + +Murano, glassworkers of, vi, 252. + +Murillo, Fortuny compared with, iv, 208; + pictures by, in England, iv, 189; + Velasquez and, vi, 183. + +Murray, Adirondack, ix, 358. + +Murray, Lindley, grammarian, iii, 238. + +Muscular Christianity, ii, 196. + +Museum of Fine Arts, Boston, iii, 103. + +Music, v, 236; xiv, 353; + Confucius on, x, 62; + Heine on, xiv, 332; + modern, xiv, 223; + power of, xiv, 119; + a secondary sex manifestation, xiv, 193. + +Musicians, a third sex, xiv, 165. + +_Music Study in Germany_, Amy Fay, xiv, 207. + +Musset, Alfred de, xiv, 94. + +Mutual Admiration Society, vi, 331; viii, 240; xii, 305. + +_My Private Life_, Voltaire, viii, 312. + +Mythology, gods of, iii, 5; + Thorwaldsen's love for, vi, 97. + + +_Nabucodonosor_, Verdi, xiv, 290. + +Napoleon Bonaparte, iv, 82, 128, 185, 193; v, 201; + Abbott's life of, vi, 129; + King Alfred compared with, x, 137; + Balzac and, xiii, 279; + visits Rosa Bonheur, ii, 159; + boyhood of, vi, 102; + Lord Byron and, v, 220; + Disraeli compared with, v, 321; + Edison compared with, i, 330; + Wolfgang Goethe and, i, 165; xi, 151; + at the grave of Rousseau, viii, 242; + Alexander Hamilton and, iii, 173; + the Jews and, xi, 152; + Pope Julius compared with, iv, 26; + Meissonier's admiration for, iv, 142; + the Mennonites and, viii, 212; + Marshal Ney and, viii, 242; + quoted, ii, 183; iv, 95; vii, 17; + on Rousseau, ix, 387; + Madame de Stael and, ii, 180. + +Napoleon II, son of Napoleon I, ii, 281. + +Napoleon III, emperor of France, ii, 279. + +_Natural History of Creation, The_, Haeckel, xii, 249. + +Natural religion, vi, 165. + +Natural selection, v, 47; + law of, v, 95. + +_Nature of Gothic, The_, Ruskin, v, 13. + +Nature, and man, ix, 394; + Michelangelo's fidelity to, iv, 24; + a symbol of spirit, xiv, 79; + Emerson on, x, 306. + +_Nearer My God to Thee_, Adams, v, 48. + +Negro, education of the, x, 200. + +Negroes, souls of, iii, 101. + +Nelson, Horatio, boyhood of, xiii, 401; + character of, xiii, 405; + death of, ii, 69; xiii, 426; + Carlyle on, xiii, 429; + story of, ii, 123. + +Neo-Platonism, Hypatia on, x, 270; + New Thought compared with, x, 283. + +Nepotism, vii, 102. + +Nero, Roman Emperor, viii, 49; xii, 39; + Alcibiades compared with, viii, 71. + +Nervous prostration, viii, 254. + +Network, Johnson's definition of, v, 146. + +Neville, Richard, kingmaker, i, 302. + +Nevis, island of, iii, 153. + +New England Lyceum, the, vii, 325. + +New Harmony, Indiana, ix, 226; xii, 347; + community life at, xi, 43. + +_New Heloise_, Rousseau, ix, 393. + +New Jersey, mosquitoes of, iii, 23. + +New Lanark, social betterment in, xi, 32. + +Newman, John Henry, Cardinal, x, 362; + Servetus compared with, ix, 202. + +New Orleans, battle of, iii, 221. + +_New Paths_, Schumann, xiv, 344. + +New Rochelle, Huguenot settlement, iii, 234. + +_News From Nowhere_, William Morris, v, 23. + +New Thought, viii, 17; + Neo-Platonism compared with, x, 283; + origin of, x, 280; + secondhand thought and, x, 284. + +Newton, Sir Isaac, the mathematician, i, 341; v, 134; xii, 84, 195, 409; + and the Bible, xii, 38; + boyhood of, xii, 12; + discovery of the law of gravitation, xii, 31; + fame of, xii, 40; + Galileo compared with, xii, 37; + insanity of, viii, 255; + inventor of the spectrum, xii, 34; + Laplace on, xii, 44; + Leonardo compared with, vi, 43; + Milton compared with, xii, 28; + Samuel Pepys and, xii, 42; + John Ray and, xii, 277; + Herbert Spencer on, x, 366; xii, 13; + Mary Story and, xii, 23; + on the transmutation of metals, xii, 36; + Turner and, i, 131; + Voltaire on, x, 366; + Voltaire's sketch of, xii, 30. + +New woman, the, ii, 53. + +New York compared with London, ii, 118. + +New Zealand, i, p xxv. + +Niagara Falls, i, p xxv; + Stratford compared with, i, 309; + referred to by Goldsmith, i, 296. + +Nicholas V, Pope, quoted, vi, 31. + +Nicolay and Hay, life of Lincoln, ii, 303. + +Nietzsche, Friedrich, and Wagner, xiv, 35. + +Niggerheads, i, p xxii. + +Nightingale, Florence, ii, 83. + +_Night_, Michelangelo, iv, 32. + +_Night_, Thorwaldsen, vi, 122. + +_Nightwatch_, Rembrandt, iv, 74. + +_Nocturne_, Whistler, vi, 345. + +_Non-conformist, The_, Spencer's contributions to, viii, 332. + +Non-resistance, ii, 191. + +Nordau, Max, i, 163; vi, 286. + +Norsemen, home of, x, 127. + +North, Christopher, v, 266; xi, 264. + +Northcote, artist, iv, 318. + +North Pole, ii, 65. + +North Temperate Zone, the, v, 282. + +Northumberland, Earl of, i, 297. + +Northwest Territory, cession of, iii, 75. + +Nostalgia, v, 86; vi, 301; xiv, 79. + +_Notes and Comments_, Spencer, viii, 336. + +_Not so Bad as We Seem_, Bulwer-Lytton, i, 250. + +Novalis on Spinoza, viii, 233. + +Novelist, art of the, i, 266; iii, 189. + +Noy, Attorney-General, domdaniel of attorneys, ix, 315. + +Noyes, John Humphrey, x, 117; xi, 167. + +Nunneries, vii, 112. + +Nurse, the trained, viii, 12. + + +O'Connell and Disraeli, v, 336. + +O'Connor, T. P., xiii, 177. + +Octavia, wife of Mark Antony, vii, 70. + +Octavius Caesar, vii, 61. + +_Oedipe_, Voltaire, viii, 287. + +Officialism in America, vi, 146. + +Oglethorpe, James, and the Wesleys, ix, 27. + +Oil-painting, introduction of, vi, 259. + +Old maids, Charles Lamb on, ii, 214. + +_Old Oaken Bucket, The_, i, 223. + +_Old Temeraire, The_, Turner's painting of, i, 137. + +Olivarez and Richelieu, vi, 167, 180. + +Oliver chilled plow, the, xi, 65. + +Oliver, James, boyhood of, xi, 53; + Rev. Robert Collyer and, xi, 79; + George H. Daniels and, xi, 82; + William Morris compared with, xi, 74; + religion of, xi, 66, 84; + Daniel Webster compared with, xi, 78; + wife of, xi, 61, 88. + +Olympian games, i, 279. + +Olympus, iv, 18. + +Omar Khayyam, v, 149; + quoted, xiii, 97. + +Oneida Community, the, ii, 189; x, 118; xi, 42, 167. + +One-price system, the, ix, 131. + +_On Liberty_, John Stuart Mill, i, 95; xiii, 142. + +_On the Sublime_, Burke, i, 229; vii, 172. + +_On the Wings of Song_, Mendelssohn, xiv, 183. + +_Open Boat, The_, Crane, xiv, 80. + +_Opium Eater, The_, De Quincey, i, 217. + +Optics, the law of, viii, 167. + +Orange, Prince of, iv, 82. + +Orang-utan, the, xii, 382. + +Orator, qualifications of the, vii, 21. + +Oratory, iii, 190, 204; v, 188; + Addison on, v, 253; + the child of democracy, vii, 92; + indiscretion set to music, vii, 345; + laws of, viii, 98; + politics and, vii, 209. + +Organ-music, xiv, 137. + +Orient, influence of, on Venetian art, iv, 167. + +Originality, xii, 242, 407; + insanity and, viii, 197. + +Orme, Gen., friend of Lincoln, iii, 288. + +Orr, Mrs. Sutherland, v, 40. + +Orthodoxy, decline of, x, 370. + +Osborne, Thomas, ix, 283. + +Osbourne, Lloyd, on R. L. Stevenson, xiii, 27. + +Oshkosh, Wis., i, 88. + +Ossian, iii, 69, 234; + Johnson on, v, 163. + +Ossoli, Margaret Fuller, ix, 115. + +Ostracism, social, vi, 172; xiv, 21. + +Oswego, mentioned by Goldsmith, i, 296. + +_Otello_, Verdi, xiv, 295. + +Othello, ii, 96. + +_Othello_, Shakespeare, i, 317. + +Other self, the, iv, 133; v, 107. + +Otis, Harrison Gray, iii, 122. + +Ouida, i, 75; + regarding Marcus Aurelius, viii, 130; + quoted, viii, 250. + +_Our Village_, Mitford, ii, 28. + +_Outlines of Cosmic Philosophy_, Fiske, xii, 406. + +_Overland Monthly_, Henry George's contributions to, ix, 69. + +Ovid, referred to, iv, 288. + +Owen, Robert, in America, xi, 41; + Jeremy Bentham and, xi, 34; + John Bright and, ix, 226; + democratic optimist, xi, 12; + Emerson and, xii, 349; + as a mill superintendent, xi, 16; + William Morris compared with, xii, 343; + George Peabody and, xi, 320; + Sir Robert Peel and, xi, 35; + times of, xi, 13; + John Tyndall and, ix, 225; xii, 344; + Josiah Wedgwood and, ix, 225; + work of, xii, 343. + +Oxford University, in the 18th century, ix, 21, 33; + founding of, x, 14. + + +Packer, Rev. J. G., and Charles Bradlaugh, ix, 248. + +Packing-house industry, the, xi, 178. + +Paderewski and the Czar of Russia, xii, 101. + +Paganini, Niccolo, as a violinist, xiv, 52; +described by Heinrich Heine, xiv, 54; + musical scores of, viii, 173. + +Paganism, vi, 13; + Christianity and, vi, 224; vii, 49; ix, 276. + +Pain, v, 238; + Tennyson's conquest of, v, 89. + +Paine, Thomas, Hosea Ballou compared with, ix, 184; + Benjamin Franklin and, ix, 157; + the genius of, ix, 163; + imprisonment of, ix, 179; + influence of, on Henry George, ix, 66; + Ingersoll and Bradlaugh compared with, ix, 243; + literary style of, ix, 169; + military service of, ix, 168; + Doctor Priestly and, ix, 174; + quoted, vii, 238; ix, 390; + referred to, xi, 94; xii, 179; xiii, 83; + spiritual children of, ix, 184; + George Washington on, xiii, 84. + Painting, Byron's knowledge of, i, 134; + a form of expression, iv, 159; + Scott's ignorance of, i, 132; + Scriptural, iv, 58. + +Pairing, the practise of, v, 95. + +Palissy, Bernard, French potter, v, 134. + +Palmerston and Macaulay compared, v, 197. + +Panoramic pictures, iv, 215. + +Pantheism, x, 342; + Unitarianism and, ix, 295. + +Pantheon, the, i, 202; + history of, i, 206. + +Pantisocracy, v, 280. + +Paolina Chapel, Michelangelo's decoration of, iv, 34. + +_Paracelsus_, Browning, v, 44, 55. + +_Paradise Lost_, Milton, v, 137; + copyright of, v, 246. + +Parasitism, ix, 88. + +Parents, children and, xii, 56; + the woes of, vi, 197. + +Paris, ii, 56; + society in, during Revolution, ii, 177; + prisons of, Elizabeth Fry on, ii, 188. + +Parker, Dr. Joseph, ii, 194, 237; ix, 281; + Dore and, iv, 344; + Huxley and, xii, 322; + as an orator, vii, 22. + +Parker, Theodore, vii, 251; + and the Brook Farm Community, ix, 293; + John Brown and, ix, 300; + Emerson compared with, ix, 279, 292; + William Lloyd Garrison and, ix, 299; + Colonel Higginson and, ix, 299; + Elbert Hubbard and, ix, 389; + lecture on Emerson, ix, 274; + on Thomas Paine, ix, 158; + Thomas Paine compared with, ix, 184; + as a preacher, ix, 281; + quoted, xi, 53; + on Starr King, vii, 320; + wife of, ix, 290. + +Parkhurst, Rev. Dr., v, 281. + +Parma, Italy, the market at, vi, 237. + +Parnell, Charles Stewart, James Bryce on, xiii, 204; + speech of, in Buffalo, xiii, 186; + Gladstone and, xiii, 184, 198; + Justin McCarthy on, xiii, 199; + mother of, xiii, 179. + +_Parsifal_, Wagner, xiv, 19. + +Parsons, Alfred, vi, 314. + +Partridge, the almanac-maker, i, 148. + +Passion, ii, 170; + the divine, ii, 36. + +Passiveness, v, 99. + +Pasteur, Louis, French chemist, i, 247. + +Paternity, Schopenhauer on, viii, 363. + +Pater, Walter, iv, 22; + on Botticelli, vi, 65; + on the _Mona Lisa_, vi, 58. + +Patience, v, 238. + +Patrick, St, ii, 95. + +Patriotism, ix, 313; + art and, vi, 321; + Samuel Johnson on, vii, 196. + +Patronymics, iv, 41. + +Patti, Adelina, quoted, iii, 197. + +_Pauline_, Browning, v, 50. + +Paul the Hermit, vii, 112. + +Paul III, Pope, iv, 33. + +Peabody, George, Joshua Bates and, xi, 328; + beneficences of, xi, 326; + boyhood of, xi, 308; + James Buchanan and, xi, 329; + in England, xi, 320; + W. E. Gladstone and, xi, 331; + the Maryland bond issue and, xi, 321; + military experience of, xi, 316; + Robert Owen and, xi, 320; + the world's first philanthropist, xi, 303; + Elisha Riggs and, xi, 316; + Queen Victoria and, xi, 330; + in Washington, xi, 312. + +Peary, Admiral, ii, 65. + +Pedagogics, science of, viii, 100. + +Peel, Sir Robert, ii, 83; xi, 35; + on John Bright, ix, 238; + Richard Cobden and, ix, 150; + Elizabeth Fry and, ii, 210; + Macaulay compared with, v, 197. + +Peg Woffington, ix, 359; + friend of Reynolds, iv, 305. + +Pennel, Joseph, vi, 314. + +Penni, Gianfrancesco, pupil of Raphael, vi, 33. + +Penn, William, ii, 197; + founder of Philadelphia, xi, 93; + the Quaker colonies and, ix, 219. + +Pentecost, Hugh, on the power of will, xiv, 56. + +Pepys, Samuel, iii, 7; iv, 8; + diary of, vi, 273; + Sir Isaac Newton and, xii, 42; +quoted, iv, 198; xiv, 260; + style of, v, 150; + Vasari compared with, vi, 19. + +Percherons, the, breed of horses, ii, 57. + +_Peregrine Pickle_, Smollett, iv, 302. + +Pericles, i, 306; + age of, i, 345; vii, 13, 15; + builder of Athens, i, 341; + Roscoe Conkling compared with, vii, 23; + contemporaries of, vii, 15, 18; + letter of, to Aspasia, vii, 10; + Lorenzo compared with, iv, 13; + Plutarch on, vii, 16; + power of, iii, 93; + quoted, vii, 38. + +Periodicity, v, 183. + +Peripatetic School, the, viii, 105. + +Perquisites, legitimate, v, 44. + +Persecution, ii, 194; + religious, Tolstoy on, ix, 181; + uses of, ix, 132. + +Personal charm, ix, 103. + +Personality, iv, 193; v, 183; vi, 61; vii, 314; + of the true artist, vi, 178. + +Perugino, iv, 28; vi, 21; + Raphael and, vi, 24. + +Pessimism, philosophy of, viii, 363. + +Pestalozzi, and Froebel, x, 252; + Jean Jacques Rousseau and, x, 252. + +_Peter Pan_, James Barrie, xiii, 11. + +Petrarch, Boccaccio and, xiii, 232; + James Colonna and, xiii, 220; + the founder of humanism, xiii, 241; + place in literature, xiii, 209. + +Petroleum, composition of, xi, 385. + +_Phaedo_, Plato, ii, 195. + +Phalanstery, the, iii, p xi; viii, 412. + +Pharaoh, ii, 56. + +Pharisee ism, ii, 196. + +Pharsalia, battle of, vii, 57. + +Phidias, sculptor, reference to, i, 122; vii, 26. + +Philadelphia lawyers, vi, 306. + +Philanthropic spirit, the, xi, 327. + +Philip II, King of Spain, policy of, iv, 81, 93; + Spain under the rule of, vi, 171. + +Philip III of Spain, court of, vi, 172. + +Philip IV, paintings of, by Velasquez, vi, 173. + +Philippe, King of France, ii, 83. + +Philippics of Cicero, the, vii, 56. + +_Philistine, The_, founding of, i, p xx. + +Philistinism, ii, 227, 237. + +Phillips, Wendell, abolitionist, character of, vii, 386; + Ben Butler and, vii, 388; + William Lloyd Garrison and, vii, 394; + Ann Terry Greene, vii, 398; + his Faneuil Hall speech, vii, 406; + advice to oratorical aspirants, ix, 257; + Emerson on, vii, 413; + on Emerson, xiii, 171; + Elbert Hubbard and, vii, 410; + _The Lost Arts_, vii, 328; + quoted, vi, 273; + referred to, iii, 271; vi, 41, 148; vii, 252, 287; xi, 258; + Charles Sumner and, vii, 399. + +_Philosophical Dictionary, The_, Voltaire, i, 205; viii, 274; xi, 106. + +Philosophy, definition of, viii, 201; + of the future, viii, 104; + marriage and, viii, 251; + of pessimism, viii, 363. + +Photography, ii, 130. + +Phrenology, i, 160. + +Physicians, liberality of, iii, 81. + +Piacenza, Donna Giovanni, abbess of San Paola Convent, Parma, vi, 230. + +Piccadilly, i, 57; + bus-drivers of, vi, 257. + +_Pieta_, Michelangelo, iv, 19. + +Pigot, John, and Byron, v, 214. + +"Pig Poetry," i, 71. + +_Pilgrims' Chorus_, Wagner, iv, 262; v, 267. + +Pilsen, the Prince of, xiii, 315. + +Pinkerton Guards, iii, 114. + +Pinturicchio, companion of Raphael, vi, 26. + +"Pious Wax-works," i, 135. + +_Pippa Passes_, Browning, v, 56; + quotation from, iii, 264. + +Pitti Gallery, the, iv, 101; vi, 27. + +Pitt, William, Earl of Chatham, vii, 185; ix, 164; + Burke on, vii, 186; + Disraeli and, v, 331; + extravagance of, vii, 204; + George III and, vii, 200; + Madame de Stael and, vii, 202; + Daniel Webster compared with, iii, 204; + Wilberforce and, vii, 204. + +Pity for the dead, v, 87. + +Pius IV, Pope, iv, 35. + +Pius V, Pope, iv, 35. + +Pius IX, Pope, ix, 93; + on Darwinism, xii, 228. + +Pivotal Points, law of, x, 308. + +Plagues of Egypt, x, 36. + +Plain living and high thinking, ii, 285. + +Plantins, of Antwerp, iv, 55. + +Plato, i, 343; ii, 195; v, 131; xii, 99; + appearance of, x, 103; + Aristotle and, viii, 88; x, 114; + Dionysius, Tyrant of Syracuse, and, x, 108; + Emerson on, viii, 31; + eugenics of, x, 118; + influence of, x, 120; + garden school of, viii, 87; + Kant compared with, viii, 154; + Franz Liszt compared with, viii, 87; + Lowell on, viii, 87; + philosophy of, x, 105; + pupils of, xii, 267; + Pythagoras and, x, 119; + quoted, viii, 33; + _The Republic_, x, 98, 117; viii, 221; + Shakespeare compared with, x, 116; + Socrates and, viii, 11, 29; x, 102; + on the soul, viii, 403; + Turner and, i, 131; + writings of, x, 116. + +Platonic love, v, 100. + +Pleasure, v, 238. + +Pliny, the naturalist, xii, 269; + quoted, xiii, 97. + +Plotinus, founder of Neo-Platonism, x, 281. + +Plutarch, i, p v; 114, 267; + Vasari compared with, vi, 19. + +_Plutarch's Lives_, referred to, iii, 34. + +Plymouth Rock, xi, 56. + +Poe, Edgar Allan, v, 97; ix, 285; xi, 94; xiv, 51; + _Annabel Lee_, xiii, 256. + +_Poems, Chiefly Lyrical_, Tennyson, v, 78. + +_Poems on the Life and Death of Laura_, Petrarch, xiii, 243. + +Poetry, the bill and coo of sex, v, 93; + science versus, x, 114; + Wordsworth's conception of, i, 223. + +Poets' Corner, Westminster Abbey, x, 43. + +Poets, potential, v, 93. + +Poise, v, 239. + +Poland, history of, xii, 101; xiv, 85. + +_Political Justice_, William Godwin, ii, 295; xiii, 85. + +Politics and oratory, vii, 209. + +Poliziano, poet and scholar, iv, 16. + +Pompeiian mosaic work, iv, 155. + +Pompey and Crassus, vii, 50. + +Pond, Major, i, p xxxvii; + John Brown and, vii, 360; + Henry Ward Beecher and, vii, 360; + personality of, vii, 360; + as manager for Elbert Hubbard, vii, 360; + on Matthew Arnold, x, 220. + +_Poor Richard's Almanac_, Franklin, i, 150; iii, 47. + +Pope, Alexander, iii, 60; xiv, 261; + on mankind, xi, 314; + characterization of Lord Halifax, v, 250; + Joshua Reynolds and, iv, 292; + Voltaire and, viii, 295. + +Pope Innocent III, referred to, i, 151. + +_Popular Science Monthly_, Youmans, viii, 347; xii, 231. + +Portland, Duke of, and Thomas Paine, ix, 175. + +Portrait-painting in England, iv, 188. + +Portsea, island of, i, 196. + +Pose, vi, 190, 335. + +Positive Philosophy, the, viii, 253; + essence of the, viii, 266. + +Positivism, ii, 86; + a religion, viii, 270. + +Postage-stamps, collecting, iv, 121. + +_Potiphar's Wife_, Rembrandt, iv, 69; + Van Leyden, vi, 78. + +"Poverty party," ii, 177. + +Powderly, Terence V., on labor, x, 27. + +Power, ix, 39; + immortality and, vi, 57; + source of, iv, 122. + +Powers, Levi M., ix, 283. + +Prayer, v, 174; xii, 95; + an emotional exercise, ii, 80. + +Preaching, Erasmus on, x, 150. + +Precedent, vi, 191. + +Precocity, v, 121. + +_Prelude, The_, Wordsworth, i, 214. + +Preraphaelite Brotherhood, the, v, 18; vi, 11; xiii, 251. + +Preraphaelites, the, ii, 125; + Whistler on the, v, 17. + +Pretense, v, 238. + +Pretyman, tutor of William Pitt, vii, 198. + +Priestly class, the, v, 203; xii, 221. + +Priestly, Dr., and Thomas Paine, ix, 174. + +Priest, position of, in society, iii, 99. + +Primitive Christianity, ii, 196; ix, 19; xi, 132. + +Primogeniture, law of, xiii, 88. + +_Primrose Sphinx, The_, Zangwill, v, 319. + +Princeton, Washington at, iii, 24. + +_Principia_, Newton, xii, 42; + Swedenborg, viii, 192. + +_Principles of Psychology_, Herbert Spencer, viii, 342. + +Printing, the art of, xiv, 225; + invention of, vi, 260. + +Printing-press, invention of the toggle-joint, iii, 47. + +Prisons and prisoners, vi, 170. + +Prizefighting, ix, 97. + +Probationary marriage, v, 131. + +Professions, the learned, iii, 99. + +_Progress and Poverty_, Henry George, ix, 73; + quotation from, xiii, 186. + +_Progress of Man_, Lincoln's lecture on, iii, 288. + +Prohibition, vii, 127. + +_Prometheus Bound_, E. B. Browning, ii, 28. + +Prometheus, Edison on, i, 338. + +Property, divine right of, ix, 87. + +Prophetic voice, the, i, 181. + +Proscription, advantages of, vii, 405. + +Protestantism, vii, 116; ix, 279. + +Providence, planning and luck, xii, 238. + +Psychic mixability, xi, 317. + +Ptolemaic theory, the, xii, 49. + +Ptolemy, the astronomer, xii, 99. + +Public-school system, American, vi, 251. + +Punishment, v, 235. + +Puritanism, v, 238; ix, 313. + +Puritans, compared with Huguenots, iii, 232; + in America, the, ix, 339; + of America, ii, 77; + persecution of, v, 139. + +Putnam, George H., i, p xx. + +"Putti" of Correggio, vi, 240. + +Pye, poet laureate, v, 276. + +Pygmalion, love of, iv, 182. + +Pyle, Howard, vi, 314. + +Pythagoras, Copernicus compared with, x, 92; + epigrams of, x, 90; + initiation of, x, 81; + the mother of, x, 79; + Muldoon compared with, x, 72; + Plato and, x, 119; + a teacher of teachers, x, 73; + teachings of, x, 87; + Thales and, xii, 98. + + +Quaker, the, ii, 189, 227. + +Quakerism, ii, 197. + +Quakers, in America, ii, 77; + origin of the word, ix, 219. + +Queen Anne touch, the, v, 153. + +_Queen Mab_, Shelley, ii, 303. + +Queenstown, Ireland, i, 274. + +Queensware, xii, 204. + +Queenswood, co-operative village, xi, 48. + +_Quest of the Golden Girl_, Le Gallienne, iii, 138; v, 218. + +"Quietism," philosophy of Madame Guyon, ii, 51; xiii, 349. + +Quincy Historical Society, iii, 134. + +Quinquennium Neronis, the, viii, 70. + +Quintilian on Roman marriages, viii, 136. + +Quintus Fabius, ix, 106. + +_Quo Vadis_, Sienkiewicz, iv, 108. + + +_Rab and His Friends_, John Brown, v, 266. + +_Rabbi Ben Ezra_, Browning, v, 38. + +Rabbit's foot, as an object of veneration, iv, 124. + +_Rabelais_, Dore's illustrations of, iv, 338. + +Rabelais, quoted, vi, 137. + +Radium, distinguishing feature of, viii, 359. + +Railroad management, xi, 421. + +Raleigh, Sir Walter, i, 261; iv, 81, 108, 190; + on English table-manners, xiii, 73; + James I and, viii, 58; + execution of, ix, 309. + +Ramee, Louise de la, on woman, vi, 74. + +Rameses II, iv, 26; x, 31. + +Raphael, iv, 90; + _Ansidei_ of, vi, 29; + Bartolomeo and, vi, 23; + birthplace of, vi, 19; + _Connestabile Madonna_, vi, 27; + favorite of Leo X, iv, 31; + genius of, vi, 12; + Henry VIII's offer to, iv, 188; + Leo X on, vi, 13; + love-tragedy of, vi, 34; + Michelangelo and, rivalry between, iv, 31; + Perugino and, vi, 24; + Pinturicchio and, vi, 26; + Reynolds compared with, iv, 303; + _Sposalizio_, vi, 27; + Titian compared with, iv, 146. + +Rapp, George, founder of the Harmonyites, xi, 42. + +_Rasselas_, Johnson, v, 162. + +Rational religion, x, 372. + +Ray, John, botanist, xii, 275; + Francis Willoughby and, xii, 276. + +Realist, the, definition of, i, 132. + +Recamier, Madame, ii, 167. + +Reciprocity, xi, 71. + +Reconciliation, the joy of, vi, 221. + +_Red Badge of Courage, The_, Crane, xiv, 80. + +Red Jacket, Indian, viii, 45. + +Red River Valley, the, xi, 419. + +Reed, Thomas Brackett, xii, 124, 199; + Seneca compared with, viii, 56; + quoted, v, 289; vii, 18. + +Reedy, William Marion, x, 344. + +_Reflections_, Madame de Stael, ii, 163. + +Reformation, the, ix, 187. + +Reformers, v, 311. + +Refrigerator-cars, manufacture of, xi, 192. + +Relatives, the tyranny of, ix, 137. + +Relaxation, vii, 287. + +Religion, defined, viii, 113; + economics and, ix, 192; + John Fiske on, xii, 413; + of humanity, x, 317; + irrigation and, ix, 278; + of Jesus, ii, 196; + the Jewish, viii, 220; + love and, xiv, 206; + of music, v, 124; + natural, vi, 165; + five phases of, ix, 188; + purity of, ii, 195; + Renan on, ii, 78; + the sex life and, ii, 201; + Shakespeare on, x, 350; + spirituality and, iv, 236; + Dean Swift and, i, 152; + Turner's views on, i, 139. + +Religious denominations, origin of, ix, 19. + +Rembrandt, iv, 123; v, 107; vi, 65; + Emile Michel on, iv, 40; + parents of, iv, 41; + home of, in Leyden, iv, 41; + early training of, iv, 44; + pupil of Jacob van Swanenburch, iv, 47; + his first picture, iv, 50; + influence of mother on, iv, 52; + pupil of Pieter Lastman, iv, 56; + friendship of, with Engelbrechtsz, iv, 58; + his pupil, Lucas van Leyden, iv, 58; + studio of, iv, 61; + his experiments in light and shade, iv, 61; + friendship for Jan Lievens, iv, 64; + friendship for Gerard Dou, iv, 65; + friendship for Joris van Vliet, iv, 65; + his work for the Elzevirs, iv, 65; + his portraiture of beggars, iv, 66; + classic instinct of, iv, 68; + marriage of, iv, 71; + death of wife of, iv, 73; + children of, iv, 74; + relations with Hendrickje Stoffels, iv, 76; + death of, iv, 78; + influence of, iv, 78; + the age of, iv, 78; + Botticelli compared with, vi, 69; + Robert Browning compared with, vi, 67; + dual character of, vi, 66; + extravagance of, iv, 73; + Mozart compared with, xiv, 316; + Van Dyck and, iv, 193. + +Rembrandtesque, definition of, iv, 51. + +Remington's horses, iv, 67. + +Remittance-men, i, p xxii. + +Remorse, v, 105; + +Renaissance, the great American, xi, 370; + the Italian, vi, 223. + +_Renaissance Masters_, G. B. Rose, vi, 39. + +Renan, v, 150; + on Marcus Aurelius, viii, 131; + on St. Benedict, x, 322; + on Christianity, x, 135; + on flowers, xiv, 193; + on the Israelitish exodus, x, 38; + quoted, iv, 165; + on religion, ii, 78; + on Seneca, viii, 80; + and his sister, ii, 115; + on Spinoza, viii, 229. + +Renter, the, ix, 82. + +Representative government, v, 185. + +Repression, v, 235. + +_Republic_ of Plato, viii, 33, 105, 221; x, 98, 117. + +Reserve, v, 335. + +Resiliency, x, 374. + +Responsibility, v, 176; vi, 174; xi, 407. + +_Resurrection, The_, Perugino, vi, 27. + +Revere, Paul, iii, 104, 116, 222. + +Reversion to type, law of, ii, 192. + +_Revolution of the Heavenly Bodies, The_, Copernicus, xii, 117. + +Reynolds, Sir Joshua, iv, 114; xii, 179; + birthplace of, iv, 287; + parents of, iv, 288; + early training of, iv, 290; + pupil of Hudson, iv, 291; + travels of, iv, 295; + popularity of, iv, 297; + vogue of, iv, 298; + his specialty, iv, 303; + American sympathies of, iv, 305; + president of the Royal Academy, iv, 305; + death of, iv, 307; + fortune of, iv, 307; + appearance of, iv, 293; + Edmund Burke and, vii, 160, 174; + Gainsborough compared with, iv, 287; + on Gainsborough, vi, 128; + genius of, iv, 329; + Samuel Johnson and, v, 169; vi, 28; + Raphael compared with, iv, 303; + on Titian, iv, 146; + Turner and, i, 140; + on Velasquez, vi, 158. + +Rhetoric, W. D. Howells on, vi, 187; + the study of, x, 143, 273. + +Rhode Island Historical Society, vi, 95. + +_Richard III_, Shakespeare, i, 317. + +Richardson, Samuel, English novelist, i, 291; + father of the English novel, vi, 148; + _Clarissa Harlowe_, iv, 302; + _Theory of Painting_, iv, 289. + +Richelieu, Cardinal, Chieppo compared with, iv, 98; + Archbishop Laud compared with, ix, 328; + Olivarez and, vi, 180. + +Riches and roguery, xi, 304. + +Richter, Gustav, German painter, iv, 52. + +Richter, Jean Paul, xiv, 111. + +Rickman, Thomas, friend of Thomas Paine, ix, 174. + +_Riddle of the Universe, The_, Haeckel, xii, 249. + +Righteousness, v, 315. + +Rights of the individual, v, 205. + +_Rights of Man, The_, Thomas Paine, ix, 157, 159, 174. + +_Rights of Woman, The_, Mary Wollstonecraft, xiii, 85. + +_Rigoletto_, Verdi, xiv, 292. + +Riley, James Whitcomb, childhood impressions of, iv, 341; vii, 13; + nomination of, for U. S. president, ix, 80. + +_Rinaldo_, Handel, xiv, 257. + +_Ring and the Book, The_, Browning, v, 65. + +Ripley, Rev. George, organizer of the Brook Farm Community, viii, 402. + +Roberts, John E., ix, 283. + +Robespierre, ii, 265; + Marat and, vii, 224; + Thomas Paine and, ix, 178. + +Robinson, Beverly, iii, 19. + +Robinson, Crabb, ii, 23. + +_Robinson Crusoe_, Heinrich Campe's translation of, xii, 130. + +Rob Roy and Byron compared, v, 221. + +Rochambeau, quoted, iii, 27. + +Rochester, poet, contemporary of Addison, v, 249. + +Rockefeller, John D., xi, 373; + Edison compared with, i, 330. + +Rodin, Auguste, ix, 198. + +Roentgen ray, ii, 169; viii, 359. + +Rogers, H. H., xi, 315; + appearance of, xi, 360; + beneficences of, xi, 390; + boyhood of, xi, 362; + Helen Keller and, xi, 389; + on success, xi, 358; + Ida Tarbell and, xi, 359; + Mark Twain and, x, 110; xi, 389; + Booker T. Washington and, xi, 389. + +Rogers, Hon. Sherman S., vii, 315. + +Romagna, the kingdom of, vi, 43. + +Romano Giulio, pupil of Raphael, vi, 33. + +Romanticism, French school of, iv, 230. + +Romantic love, xiii, 211. + +_Romantic Love and Personal Beauty_, Finck, xiii, 39. + +Rome, decline of, iii, 232. + +Rome, Greece and Judea compared with, x, 36; + in winter, iv, 296; + policy of the Church of, vii, 140; + wonders of, iv, 56. + +Romeike habit, the, iii, 113. + +_Romeo and Juliet_, Shakespeare, i, 317; v, 216. + +Romney, the artist, xii, 170; + Thomas Paine and, ix, 175; + Emma Lyon and, xiii, 410. + +_Romola_, George Eliot, vi, 90. + +Roosevelt, Theodore, ix, 393. + +Rose, George B., _Renaissance Masters_, vi, 39. + +Roseberry, Lord, quoted, vii, 186, 199. + +Ross, Admiral Sir John, Arctic explorer, grave of, i, 231. + +Rossetti, Christina, mother of, ii, 117; + London home of, ii, 125; + literary productions of, ii, 129. + +Rossetti, Dante Gabriel, ii, 115; iv, 51; + influence of, on William Morris, v, 16; + Walter Hamilton on, xiii, 272. + +Rossetti, William Michael, i, 170; ii, 115; iv, 143; + William Sharp on, xiii, 271; + on Herbert Spencer, viii, 344; + on Walt Whitman, xiii, 18. + +Rossini, G., musician, iv, 230; + friendship of, for Dore, iv, 340. + +Rothschild, Mayer Anselm, Goethe and, xi, 134, 145; + the Landgrave of Hesse-Cassel and, xi, 146; + parents of, xi, 138. + +Rothschild, Nathan, at the battle of Waterloo, xi, 161. + +Rothschilds, rise of the, xi, 157. + +Rousseau, Jean Jacques, boyhood of, ix, 374; + John Burroughs and, ix, 394; + on education, xii, 128; + _Emile_, ix, 371; + greatness of, ix, 370; + influence of, on American patriots, ix, 388; + Pestalozzi and, x, 252; + Madame de Stael compared with, ii, 183; + Madame De Warens and, ix, 375; + _New Heloise_, ix, 393; + quoted, ix, 390; + referred to, i, pp. xxxii, 306; iii, 261; vi, 273; x, 117; xii, 179; + Ernest Thompson Seton and, ix, 394; + criticized by Voltaire, ix, 384; + Voltaire compared with, vii, 207; ix, 373, 385. + +Rousseau, Theodore, artist, iv, 279. + +Roustabouts, artistic, vi, 300. + +Rowan, Andrew, i, p xxix. + +Royal Academy, charter members of, iv, 306. + +Royce, Josiah, the Boston street-car conductor and, viii, 166; + on Kant, viii, 154. + +Roycrofters, The, ii, p ix; + origin of name, i, p xix; + Ali Baba and, ii, p x. + +Roycroft Inn, ii, p xi. + +Roycroft, Samuel and Thomas, i, p xviii. + +Rubens, Peter Paul, iv, 47, 81; + parents of, iv, 81; + birthplace of, iv, 88; + early home of, iv, 88; + appearance of, iv, 89; + pupil of Tobias Verhaecht, iv, 91; + pupil of Adam van Noort, iv, 92; + pupil of Otto van Veen, iv, 92; + attache of the Duke of Mantua, iv, 98; + travels of, iv, 103; + literary style of, iv, 106; + influence of, iv, 108; + marriage of, iv, 111; + Ruskin's criticism of, iv, 113; + work of, in England, iv, 114; + Whistler's criticism of, iv, 116; + Hamerton's criticism of, iv, 116; + letter of, to Chieppo, secretary of the Duke of Mantua, iv, 80; + jealousy of, iv, 176; + Macaulay compared with, v, 176; + Millet's admiration for, iv, 268; + quoted, iv, 183; + Titian and, iv, 153; + Van Dyck and, iv, 173; + Velasquez and, vi, 181; + the blonde women of, vi, 164. + +Ruffner, Gen. Lewis, x, 190. + +Rugby Grammar School, x, 229. + +Rum, Romanism and Rebellion, ix, 63. + +Rush, Dr. Benjamin, patriot, xi, 94; + friend of Thomas Paine, ix, 157. + +Ruskiniana, i, 89. + +Ruskin, John, i, p xxvii; iv, 166; + home of, i, 90; + married life of, i, 96; + versatility of, i, 98; + eccentricities of, i, 87; viii, 255; + influence of, i, 89; + Augustine Birrell on, vi, 126; + Botticelli and, vi, 71; + criticism of Rubens, iv, 113; + on Correggio, vi, 222; + influence of, on William Morris, v, 13; + _Modern Painters_, vi, 329; + Morris compared with, xiii, 253; + quoted, i, 137; ii, p viii; iii, 94; iv, 51; vi, 16; + Turner and, vi, 58; + description of Turner's _Old Temeraire_, i, 137; + on Velasquez, vi, 158; + on Venetian art, vi, 255; + views on woman suffrage, i, 93; + Whistler and, vi, 330. + +Russell, Edmund, list of seven immortals in art, vi, 244. + +Russia, Czar of, quoted, ii, 83. + + +Sacrilege, vii, 26; + laws against, xii, 368. + +"Sailors' Latin," vi, 109. + +St. Anne, mother of Mary, vi, 61. + +St. Anthony, father of Christian monasticism, x, 303. + +St. Augustine, i, p xxxii; + _Confessions_ of, vi, 273. + +St. Basil, on astronomy, xii, 100. + +St. Benedict, vii, 114; + book of rules, x, 324; + captain of industry, x, 320; + physical strength of, x, 312; + teachings of, x, 302. + +St. Cassiodorus, patron saint of bookmakers, x, 320. + +St. Cecilia, mother of sacred music, vi, 62. + +St. Chrysostom, vi, 74. + +Sainte-Beuve, Charles, French critic, xii, 301. + +Sainte-Hilaire, August de, xii, 371. + +St. Gaudens, Augustus, Elbert Hubbard and, vi, 117. + +St. Genevieve, patron saint of Paris, i, 202. + +St. Gregory, on the death of St. Benedict, x, 322. + +St. Helena, island of, i, 233. + +St. Jerome, x, 303. + +St. Lorenzo, church of, Florence, vii, 90. + +St. Louis, as an art center, iv, 142. + +St. Luke, Brotherhood of, in Antwerp, iv, 173. + +St. Mark's monastery, Florence, vii, 88. + +_St. Martin Dividing His Cloak With Two Beggars_, Van Dyck, iv, 184. + +St. Patrick's Cathedral, Dublin, i, 144, 157. + +_St. Paul, Conversion of_, Michelangelo, iv, 34. + +_St. Paul in Prison_, Rembrandt, iv, 64. + +St. Paul, referred to, i, 306; iii, 41; + Gallio and, viii, 46; ix, 189; + Seneca and, viii, 47; + quoted, ii, 189; xi, 307; + compared with Walt Whitman, i, 170. + +_St. Peter, Crucifixion of_, Michelangelo, iv, 34. + +St. Peter's, church of, in Cologne, iv, 86. + +St. Peter's, Rome, iv, 19; + dome of, Michelangelo's finest monument, iv, 35. + +"Saints and Sinners" corner, the, v, 356. + +_Saints' Everlasting Rest, The_, Richard Baxter, iii, 34. + +Saintship, xiv, 176. + +Saint-Simon and Auguste Comte, viii, 247, 277. + +St. Thomas Aquinas, vii, 82. + +Sairy Gamp, the profession of, viii, 12. + +Salamanders, vi, 277. + +Salesmanship, xi, 27; + old school of, xi, 342. + +Salome and John the Baptist, vi, 76. + +Samson, i, 75. + +Sanborn, Kate, iii, 194. + +Sand, George, xiv, 76; + Frederic Chopin and, xiv, 96; + Franz Liszt and, xiv, 194; + on the influence of Rousseau, ix, 387. + +Sangamon county, referred to, by Lincoln, iii, 275. + +Sangamon river, the, iii, 281. + +Sanitarium bacillus, the, vi, 226. + +Santa Claus, belief in, viii, 269. + +Sapphira, i, 75. + +Sappho, writings of, x, 283. + +Sargent, John S., American painter, vi, 323. + +Satan, v, 320; + Milton's conception of, iv, 32. + +Satolli, Cardinal, referred to, i, 155; + on religious zeal, xii, 81. + +_Saul_, Handel, xiv, 269. + +Savage, Rev. Minot, ix, 283; + preaching of, vii, 309. + +Savagery and civilization, iv, 263. + +Savannah, experiences of John Wesley in, ix, 31. + +Saviors of mankind, ii, 197. + +Savonarola, Girolamo, iv, 23; vi, 50; vii, 81; + Pope Alexander and, vii, 101; + Garibaldi compared with, ix, 124; + Lorenzo de Medici and, vii, 97; + monastic life of, vii, 85. + +Scamping defined, x, 174. + +Scandal and rumor, xiii, 197. + +_Scenes From a Private Life_, Balzac, xiii, 290. + +Scheffer, Ary, artistic evolution of, iv, 225; + influence of women on, iv, 225; + mother of, iv, 225; + home of, in Paris, iv, 227; + appearance of, iv, 231; + friendship for Lafayette, iv, 236; + acquaintance of Augustin Thierry with, iv, 237; + member of the household of Duke of Orleans, iv, 238; + his love for Princess Marie, iv, 242; + captain in the National Guard, iv, 248; + marriage of, iv, 253; + death of, iv, 255. + +Schiller, ii, 184; + Lord Byron compared with, v, 230; + on love, vi, 241; + Thackeray's estimate of, i, 234. + +Schlatter, Francis, divine healer, v, 109. + +Schlegel, Friedrich, ii, 184. + +Schleiermacher, Friedrich, German philosopher, v, 306. + +Schliemann, Heinrich, archeologist, vii, 11. + +Scholastica, twin sister of St. Benedict, x, 322. + +_School for Scandal_, Sheridan, iii, 122. + +Schoolhouse, the little red, iii, 255. + +School mothers, x, 262. + +_School of Athens_, Raphael, vi, 32. + +Schoolteaching, x, 219. + +Schopenhauer, Arthur, education of, viii, 369; + Goethe and, viii, 371; + on humanity, viii, 362; + on Immanuel Kant, viii, 170; + literary style of, viii, 378; + on love, xiv, 313; + _Metaphysics of Love_, viii, 382; + on morality, viii, 377; + on paternity, viii, 363; + on pose, v, 123; + on republics, xii, 245; + on suicide, viii, 385; + on will, viii, 380. + +Schubert, Franz Peter, xiv, 126. + +Schumann, Robert, boyhood of, xiv, 111; + death of, xiv, 349; + Heinrich Heine and, xiv, 117; + as a piano-player, viii, 173; + personality of, xiv, 335; + Schubert and, xiv, 126; + Clara Wieck and, xiv, 121. + +Science, of living, x, 51; + distinguished from metaphysics and theology, viii, 267; + Dr. Nordau as the Barnum of, i, 163; + poetry and, x, 114; + theology and, xii, 155. + +Scientist, the true, iii, 59. + +Scissors age, the, iv, 315. + +Scotch, the, v, 94; + humor of, xiii, 11; + manners of, i, 72; + penuriousness of, xi, 264; + religion of, i, 72; + two kinds of, xi, 169. + +Scotch-Irish, the, xi, 196. + +Scotch whisky, i, 72. + +Scotland in literature, xi, 263. + +Scott, Clement, quoted, v, 69. + +Scott, Thomas A., and Andrew Carnegie, xi, 273. + +Scott, Sir Walter, i, 52; + Lord Byron compared with, v, 230; + his friendship for Turner, i, 132; + lameness of, v, 211; + Landseer and, iv, 321; + on monasticism, x, 320; + Thorwaldsen and, vi, 115; + the Wordsworths and, i, 215; + his life of Dean Swift, i, 143. + +Scriptorium, the, x, 321. + +_Seasons, The_, Thomson, v, 31; xiii, 58. + +Secondhand Thought and New Thought, x, 284. + +Sect, the limitations of, viii, 149. + +Sedley, poet, contemporary of Addison, v, 249. + +Seine river, the, ii, 56. + +Self-complacency, vi, 201. + +Self-confidence, vii, 251. + +Self-consciousness, ix, 356. + +Self-interest, enlightened, vi, 251. + +Self-preservation, xi, 13. + +Self-reliance, v, 175; vi, 332. + +_Self-Reliance_, Emerson's essay on, i, 278; ii, 286. + +Selfridge, Harry G., xi, 326. + +Seneca, Lucius Annaeus, stoic philosopher, viii, 49; + banishment of, viii, 60; + mother of, viii, 51; + Julius Caesar compared with, viii, 72; + Canon Farrar on, viii, 80; + St. Paul and, viii, 47; + Renan on, viii, 80; + Voltaire on, viii, 80. + +Sensationalism in religion, ix, 283. + +_Sense and Sensibility_, Jane Austen, ii, 236. + +Sensualist, the, v, 235. + +Sensuality, vii, 73; + asceticism and, vi, 91. + +Sentimentality, iv, 246. + +Servant-girl problem, the, viii, 259. + +Servetus and Calvin, ix, 201; + Cardinal Newman compared with, ix, 202. + +Service, vii, 319; + religion by, ix, 188, 191. + +_Sesame and Lilies_, Ruskin, i, 95; iv, 166. + +Seven ages of man, iii, 261. + +Seward, William H., father of, iii, 262; + birthplace of, in Florida, N. Y., iii, 262; + Governor of N. Y., iii, 265; + political work of, iii, 266; + attitude of, on slavery, iii, 267; + presidential candidacy of, iii, 271; + as senator, iii, 270; + sons of, iii, 273; + wife of, iii, 273; + secretary of State, iii, 273; + attempted assassination of, iii, 275; + death of, iii, 276; + Henry Clay compared with, iii, 222; + referred to, iv, 128; iv, 71. + +Sewing-machines, ii, 70. + +Sex, immanence of, ii, 202; + religion and, ii, 201; + in Nature, v, 103. + +Shadows, Rembrandt's use of, iv, 62. + +Shaftesbury, Earl of, referred to, iii, 37. + +Shakers, the, ii, 189. + +Shakespeare, William, father of, i, 304; + relations with Ann Hathaway, i, 306; + birthplace of, i, 309; + epitaph of, i, 311; + grave of, i, 311; + Addison and, v, 246; + Bacon and, vi, 47; + Byron compared with, v, 204, 230; + characters of, i, 270; + childhood impressions of, iv, 341; + Cromwell and, ix, 307; + on democracy, i, 179; + Dryden and, i, 124; + Victor Hugo on, i, 200; + Ingersoll on, xii, 319; + Milton and, v, 119; + Plato compared with, x, 116; + quoted, xi, 284; + referred to, i, p xxvii, 49, 134, 223, 248; iii, 28; iv, 81, 159; + v, 26, 83, 97, 149; xii, 57; + on religion, x, 350; + Swedenborg compared with, viii, 177; + Thackeray on, vi, 42; + the universal man, vi, 178; + vogue of, xiii, 209; + Voltaire's opinion of, i, 134. + +Shareholding, xi, 25. + +"Sharps and Flats" Corner, Field's, v, 256. + +Sharp, William, on Dante Gabriel Rosetti, xiii, 271. + +Shaw, George Bernard, xi, 283; + on absentee landlordism, xiii, 177; + his description of the disagreeable girl, xiii, 111; + on marriage, ix, 44; + on Voltaire, viii, 320; + on Whistler, vi, 341. + +Shawneetown, Ill., life of Ingersoll in, vii, 245. + +Sheedy, Colonel Patrick, vi, 72. + +Sheldon, Arthur F., and Cobden, ix, 138. + +Shelley, Mary W., birth of, ii, 293; + mother of, ii, 293; + meeting of, with Percy B. Shelley, 300; + elopement of, ii, 303; + literary work of, ii, 305; + children of, ii, 306; + death of, ii, 307; + quoted, ii, 284; + referred to, xiii, 106. + +Shelley, Percy Bysshe, influence of women on, ii, 287; + compared with Emerson, ii, 287; + apostle of the good, the true and the beautiful, ii, 288; + meeting of, with Mary Wollstonecraft Godwin, ii, 289; + marriage of, to Harriet Westbrook, ii, 297; + death of, ii, 307; + referred to, xii, 57; iv, 160; v, 50, 97; + Aubrey Beardsley compared with, vi, 73; + Lord Byron and, v, 229; + Coleridge and, v, 310; + Giorgione compared with, vi, 254; + Southey and, v, 283; + Spurgeon's estimate of, i, 135; + Thorwaldsen and, vi, 116; + Wordsworth compared with, i, 222. + +Sheridan, Richard Brinsley, xii, 179; + Gainsborough and, vi, 144; + _The School for Scandal_, iii, 122; + Daniel Webster compared with, iii, 204. + +Sherman, Gen. William Tecumseh, x, 159; + on war, xiv, 313. + +Ship-money, ix, 315. + +_Shirley_, Charlotte Bronte, ii, 112. + +_Shoeing_, Landseer, iv, 320. + +_Sidera Medicea_, Galileo, xii, 69. + +Sidney, Sir Philip, ii, 49; xi, 200; + Giordano Bruno and, xii, 51. + +_Silverado Squatters, The_, Stevenson, xiii, 35. + +Simeon Stylites, x, 295. + +Simmias, disciple of Socrates, viii, 29. + +Simonetta, Botticelli and, vi, 83; + Maurice Hewlett on the death of, vi, 87. + +Simons, Menno, contemporary of Luther, viii, 211. + +Simple life, the, x, 108. + +Sincerity, v, 169. + +Sinclair, Upton, x, 117; xi, 359; + on Packingtown, xi, 179. + +Singing, congregational, vii, 338. + +Single tax, the, ix, 86. + +Sinnekaas, the, viii, 45. + +_Sinners in the Hands of an Angry God_, Jonathan Edwards, iii, 176. + +Sin, perverted power, iii, 40. + +Sioux Indians, i, 99; ii, 75. + +Sisera, i, 75. + +Sistine chapel, the, iv, 28. + +Sixtus, Pope, iv, 101. + +Skibo Castle, xi, 283. + +Slaughter-houses, xi, 180. + +Slavery, in New York State, iii, 247, 267; + Emerson on, vii, 393; + General Gordon on, vii, 393; + petition for abolishment of, vii, 239; + John Wesley on, ix, 81. + +Slaves, freeing of the, x, 188. + +Sloane, Hans, collector of curiosities, i, 124. + +Slums, city, ix, 83. + +Smiles, Dr. Samuel, v, 173. + +Smith, Adam, Scotch economist, i, 73; v, 94; + on capital, xi, 323; + Samuel Johnson and, v, 163; + on university education, ix, 21; + quoted, ix, 83; xi, 268. + +Smith, Donald Alexander, xi, 422. + +Smith, F. Hopkinson, i, 242; vi, 65. + +Smith, John Raphael, the engraver, i, 126. + +Smith, Sydney, iv, 320; + grave of, i, 231; + on Macaulay, v, 178. + +Smollett, Tobias, iv, 302. + +Snobs, Thackeray on, vi, 66. + +Snuffboxes, iv, 120. + +Sobieski, John, xiv, 86. + +_Social Contract, The_, Rousseau, i, 205; vii, 207; ix, 389. + +Socialism, xii, 342; + William Morris and, v, 22. + +Socialists, Christian, v, 22; + classes of, xi, 42. + +Social ostracism, vi, 172. + +_Social Statics_, Spencer, viii, 336. + +Society, fashionable, vi, 170. + +Society of Friends, ix, 217. + +Society for the Prevention of Cruelty to Children, ii, 20; v, 123. + +Socrates, birth of, viii, 11; + appearance of, viii, 11; + parents of, viii, 11; + wife of, viii, 22; + death of, viii, 37; + referred to, ii, 195; + Aspasia and, vii, 32; viii, 20; + Bronson Alcott compared with, viii, 27; + on character, viii, 27; + Confucius compared with, x, 50, 60; + the first democrat, x, 112; + disciples of, viii, 29; + Emerson and, viii, 16; + influence of, viii, 204; x, 99; + Thomas Jefferson compared with, xi, 97; + Samuel Johnson compared with, v, 168; + Plato and, viii, 11, 29; x, 102; + the Sophists and, viii, 18; + Tolstoy and, viii, 22; + compared with Walt Whitman, i, 170; + his opinion of women, viii, 21; + Xenophon and, viii, 11, 29. + +Solitude, ii, 285; v, 175, 268. + +Solomon's ideal wife, ii, 69. + +Somers, Bishop Manners, and George III, vii, 200. + +_Song of the Open Road_, quotation from, i, 162. + +_Song Without Words_, Mendelssohn, vi, 117; xiv, 183. + +_Sonnets From the Portuguese_, E. B. Browning, ii, 36. + +Sonnets of Michelangelo, iv, 4. + +Sophistication, the art of, viii, 202. + +Sophists, Socrates and the, viii, 18; + the Stoics compared with, viii, 53. + +Sophocles, v, 230. + +_Sordello_, Browning, v, 39. + +Sorrow, vii, 84. + +_Sortie of the Civic Guard_, Rembrandt, vi, 66. + +Soul, Emerson on the, viii, 403; + growth of the, vi, 109; +Plato on the, viii, 403. + +Southey, Robert, ii, 225; + Greta Hall, home of, v, 279; + parents of, v, 279; + monument of, v, 281; + Lord Byron, v, 281; + Coleridge and, v, 301; + his sonnet to Robert Emmett, v, 264; + his estimate of Jane Austen, ii, 254; + Lovell and, v, 301; + on Lord Nelson, xiii, 398; + Shelley and, v, 283; + Mary Wollstonecraft and, xiii, 102; + the Wordsworths and, i, 214; v, 303. + +Spain, England and, in the 16th century, iv, 81; + senility of, iii, 232; + under the rule of Philip II, vi, 171; + dominion in the Netherlands, iv, 81. + +Spalding, Bishop, on Mill, xiii, 162. + +Spanish colonies in America, xii, 145. + +Spanish Inquisition, the, vi, 171. + +Sparrows, Grant Allen on, viii, 400. + +Spear, William G., custodian of the Quincy Historical Society, iii, 134; + vi, 315. + +Specialist, age of the, iv, 120. + +_Speech for Unlicensed Printing_, Milton, xiii, 85. + +Speed, Joshua, Lincoln's law partner, iii, 303. + +Spelling-bees, iii, 255. + +Spencer, Herbert, parents of, viii, 325; + personality of, viii, 352; + as a civil engineer, viii, 352; + as assistant editor _Westminster Review_, viii, 334; + _Principles of Psychology_, viii, 342; + _Manners and Fashion,_ viii, 342; + Poultney Bigelow and, viii, 189; + Charles Bradlaugh compared with, viii, 334; + the Carlyles and, xii, 340; + Comte and, viii, 261; + Madame Curie and, viii, 259; + Mrs. Eddy and, viii, 189; + on education, xi, 171; + Mary Ann Evans and, viii, 335; + on genius, vii, 316; + W. E. Gladstone and, xii, 230; + Haeckel compared with, xii, 257; + on the herding instinct, viii, 149; + Huxley and, viii, 345; + George Henry Lewes and, viii, 337; + on morality, ix, 191; + on Sir Isaac Newton, x, 366; + quoted ii, 75; v, 70, 109; + referred to, i, 56; ii, 290; v, 174, 289; xii, 207, 371; xiii, 85; + Michael Rossetti on, viii, 344; + on science, xi, 386; + _Social Statics,_ viii, 336; + on Swedenborg, viii, 190; + on John Tyndall, xii, 34, 356; + on the Unknowable, viii, 173; + Prof. E. L. Youmans and, viii, 344. + +Spencerian system of writing, vi, 134. + +Spenser, Edmund, iv, 197; v, 14. + +Spinoza, Benedict, xi, 129; + excommunication of, viii, 224; + Grotius compared with, viii, 228; + influence of, viii, 206; + on the Mennonites, viii, 211; + Novalis on, viii, 233; + parents of, viii, 210; + philosophy of, viii, 234; + Renan on, viii, 229, 233; + _Tractatus Theologico-Politicus_, viii, 232; + Van der Spijck and, viii, 228. + +Spirit, of the hive, vii, 245; + of mutual giving, vi, 237. + +Spiritism, Alfred Russel Wallace's views on, xii, 392. + +Spirits, disembodied, viii, 176. + +Spiritual companionship, v, 227; + gravity, v, 241; + relationship, vii, 385. + +Spiritualism, x, 342. + +Spirituality, religion and, iv, 236; + sex and, xiii, 346. + +Spirit-world, the, i, 298. + +_Spirit World_, Swedenborg, viii, 172. + +Spooner, Rev. Peleg, viii, 45. + +Spoons, collecting, iv, 120. + +Sport, the college type described, v, 152. + +Sporza, Francisco, equestrian statue of, vi, 54. + +_Sposalizio_, Raphael, vi, 27. + +Spring, beauties of, iii, 298; + the coming of, ix, 286. + +_Spring_, Botticelli, iv, 159; vi, 78. + +Springfield, Ill., home of Abraham Lincoln, iii, 287. + +Spurgeon, on Darwinism, xii, 228; + Gustave Dore and, iv, 343; + Talmage compared with, ix, 284; + his estimate of Shelley, i, 135. + +Stagecoach days, v, 275. + +Standard Oil Co., formation of the, xi, 379. + +Standish, Capt. Miles, iii, 128. + +Stanley, Dean, quoted, iii, 5. + +Stanton, Elizabeth Cady, quoted, xiii, 200. + +State and Church, separation of, xiv, 231. + +Statesman, definition of, vii, 18. + +Statistics, vital, v, 96. + +Stead, William T., on America, vi, 340. + +Steele, Richard, v, 254; + regarding women, viii, 130. + +Steinheil, friend of Meissonier, iv, 129. + +Stephen, George, xi, 423. + +Stephen, Leslie, i, p xx; + life of Dean Swift, i, 143. + +Stephenson, inventor of the steam-locomotive, xi, 246. + +Stepmothers, vi, 47; + ministrations of, vi, 23. + +Sterne, shallowness of, v, 162. + +Stevenson, Robert Louis, iv, 178; + Edmund Gosse on, xiii, 42; + experience of, on shipboard, xiii, 30; + experience of, in New York, xiii, 31; + on failure, vi, 169; + humor of, xiii, 11; + Fanny Osbourne and, xiii, 22; + quoted, iv, 314; xi, 73; xiii, 19; + on relaxation, xiv, 41; + on Velasquez, vi, 154; + Walt Whitman and, xiii, 18. + +Stewart, Alexander T., business methods of, xi, 344; + business palace of, xi, 351; + Peter Cooper and, xi, 352; + wealth of, xi, 352; + the apple-woman and, xi, 220; + President Grant and, xi, 334; + purchaser of Meissonier's _Eighteen Hundred Seven_, iv, 142; + John Wanamaker and, xi, 353. + +Stoddard, Charles Warren, iv, 263. + +Stoics and Sophists compared, viii, 53. + +Stone Age, the, x, 16. + +Stoner, Winifred Sackville, ix, 283. + +_Stones of Venice_, Ruskin, i, 89. + +Story, Judge, and Daniel Webster, iii, 197. + +_Story of a Country Town_, E. W. Howe, x, 247. + +_Story of France_, Thomas E. Watson, viii, 241; ix, 380. + +_Story of German Love_, Max Muller, viii, 192. + +_Story of My Life, The_, George Sand, xiv, 76. + +Story, W. W., sculptor, xi, 327. + +Stowe, Harriet Beecher, v, 207. + +Strabismus, v, 100. + +_Stratford_, Browning, v, 55. + +"Strap-oil," vii, 243. + +Stratford-on-Avon, i, 49. + +Strawberry Hill, home of Horace Walpole, iv, 302. + +Street preaching, ix, 38. + +Stupidity, Irish, xii, 336. + +Sublime Porte, the, viii, 82. + +Submission, religion by, ix, 188. + +_Substance and Show_, Starr King, vii, 328. + +Substitution, religion by, ix, 188. + +_Subterranean Vegetation_, Humboldt, xii, 139. + +Success in business, xi, 355. + +Suicide, Schopenhauer on, viii, 385. + +Sullivan, Sir Arthur, on Handel, xiv, 254. + +Sumner, Charles, iii, 271; + Wendell Phillips and, vii, 399. + +Sunday School books, old-time, iii, 7. + +Sunday, Rev. William, x, 331. + +Sunshine, definition of, i, 339. + +Superior class, the, v, 291; xiv, 320. + +Superstition, iv, 124; v, 153; vii, 17; ix, 182; x, 366; + Hypatia on, x, 275; + Voltaire on, viii, 293. + +Supreme Court, first chief justice of, iii, 246. + +Surveying, the business of, xii, 389. + +Swedenborg, Emanuel, the mystic, iii, 28; viii, 174; + parents of, viii, 181; + _The Animal Kingdom_, viii, 194; + his experiments in motive power, xii, 21; + _Conjugal Love_, viii, 191; + Darwin compared with, viii, 179; + _The Economy of the Universe_, viii, 194; + Mary Baker Eddy and, viii, 190; x, 355; + Emerson on, viii, 177; + inventive genius of, viii, 186; + love-affair of, viii, 183; + on marriage, viii, 191; + _Principia_, viii, 192; + quoted, xiv, 170; + Herbert Spencer on, viii, 190; + Shakespeare compared with, viii, 177; + _Spirit World_, viii, 172; + travels of, viii, 186. + +Swedenborgians, the, viii, 196. + +Sweden, Florida compared with, viii, 182; + literacy of, viii, 181. + +Swett, Leonard, friend of Lincoln, iii, 288. + +Swift, Jonathan, mother of, i, 143; + birthplace of, i, 144; + youth of, i, 145; + misanthropy of, i, 146; + ambition of, i, 148; + wit of, i, 149; + popularity of, i, 151; + personality of, i, 152; + religion of, i, 152; + love-affair of, i, 158; + grave of, i, 160; + referred to, iii, 60; v, 258; xiv, 262; + on the celibacy of the Catholic clergy, i, 153; + epitaph of, i, 158; + his characterization of Lord Halifax, v, 250; + Stella and, vi, 177; + Voltaire and, viii, 295. + +Swimming, the art of, viii, 328. + +Swinburne, Algernon Charles, ii, 127; + his description of Elizabeth Eleanor Siddal, xiii, 265. + +Swing, David, reformer, ix, 282; + Philip D. Armour and, xi, 186. + +Swinton, Prof., and Henry George, ix, 76. + +Switzerland, supremacy of, vi, 193. + +_Sybil_, Disraeli, v, 341. + +Symonds, John Addington, referred to, i, 170; iv, 27; + on Cellini, vi, 274. + +Sympathy, v, 169, 239. + +_Synthetic Philosophy_, Spencer, viii, 344. + + +Taine, M., on Lord Byron, v, 215; + on Carlyle, viii, 312; + on Dickens, i, 265; + _English Literature_, xiii, 171; + on educated Englishmen, vi, 274; viii, 328; + on Leonardo, vi, 38; + quoted, vii, 180; + on Thackeray, i, 240. + +_Taking of the Smalah of Abd-el-Kader_, Vernet, iv, 215. + +Talent, xiv, 302; + distinguished from genius, vi, 56. + +_Tale of a Tub_, Swift, i, 142. + +_Tale of the Hollow Land, The_, William Morris, v, 15. + +_Tales From Shakespeare_, Mary Lamb, ii, 233. + +Talleyrand, quoted, ii, 166, 173, 280; iv, 97. + +Talmage, Rev. T. De Witt, ix, 283; + compared with Beecher, vii, 359; + on Darwinism, xii, 228; + as an orator, vii, 22; + on regeneration, iii, 41; + Spurgeon compared with, ix, 284. + +Tamerlane, Tatar conqueror of Asia, xii, 38. + +_Tancred_, Disraeli, v, 341. + +_Tannhauser_, Wagner, iv, 259; xiv, 29. + +Tantrum, defined, viii, 70. + +Tarbell, Ida, xi, 359. + +Tarquin referred to, i, 306. + +Tasso and Cellini, vi, 282. + +Taylor, Bayard, on Mendelssohn, xiv, 178. + +Taylor, Gen. Zachary, iii, 269. + +Taylor, Jeremy, xii, 338. + +Teacher, the ideal, iv, 53. + +Teaching, by antithesis, v, 178; + profession of, iii, 99; + Thomas Arnold on, x, 237; + importance of, vi, 249; + object of, vi, 249; + John Wesley on, viii, 202. + +Telepathy, xiii, 223. + +Telescope, invention of the, xii, 64. + +Temperament, v, 237. + +Temperance fanatics, v, 105; xiii, 89. + +_Tempest, The_, Shakespeare, i, 317; + Dore's illustrations of, iv, 338. + +Temple, Richard Earl, vii, 197. + +Tennyson, Alfred, Lord, education of, v, 75; + early poems of, v, 77; + appearance of, v, 79; + literary position of, v, 81; + Poet Laureate, v, 82; + marriage of, v, 82; + Queen Victoria and, v, 84; + friendship with Arthur Hallam, v, 85; + referred to, i, 91; iv, 165; iv, 253; v, 13, 97, 294; vi, 199; xii, 57; + Brookfield and, v, 76; + insularism of, v, 83; + Kemble and, v, 76; + his love of solitude, v, 79; + Milnes and, v, 76; + Spedding and, v, 76; + Wordsworth compared with, i, 222. + +_Ten o'Clock_, Lecture, Whistler, vi, 351. + +Tenth Legion, Caesar's, vii, 44. + +_Ten Years of Exile_, Madame de Stael, ii, 181. + +Terence, Roman poet, quoted, vi, 46. + +Terminus, the god, x, 125. + +Terry, Ellen, i, 257; xiv, 177. + +Tetzel, John, and Martin Luther, vii, 128. + +Teufelsdrockh, i, 81. + +Thackeray, William Makepeace, birth of, i, 232; + death of, i, 232; + mother of, i, 232; + humor of, i, 239; + acquaintance with Charlotte Bronte, i, 240; + stepfather of, i, 242; + genius of, i, 242; + wife of, i, 234; + early hardships of, i, 234; + extravagance of, i, 236; + friends of, i, 236; + visit of, to America, i, 243; + Charlotte Bronte and, ii, 109; + Goldsmith and, i, 209; + on George Henry Lewes, viii, 337; + on the people of England, vi, 148; + quoted, i, 281; ii, 69; v, 128; + on Shakespeare, vi, 42; xiv, 307; + on snobs, vi, 66; + referred to, i, 249; iii, 227; v, 97; + on women, viii, 22. + +_Thalaber_, Southey, i, 214. + +Thales, of Miletus, Greek philosopher, xii, 98. + +Thames, river, i, 77. + +_Thanatopsis_, W. C. Bryant, ii, 123; iv, 51. + +Thanet, isle of, ii, 130. + +The Hague, iii, 242. + +Theism, ii, 79. + +Themistocles, i, 321; + Pericles and, vii, 28. + +Theological Quibblers' Club, ix, 189. + +Theology, distinguished from metaphysics and science, viii, 267; + Homer's conception of, i, 113; + as a profession, iii, 99; + as a science, viii, 162; + science and, xii, 155; + Dr. Talmage as the Barnum of, i, 163. + +Theophrastus and Aristotle, xii, 268. + +_Theory of Painting_, Richardson, iv, 289. + +Theosophy, x, 342. + +Thermometer, invention of, xii, 64. + +Thetis, mother of Achilles, vii, 14. + +Thicknesse, Philip, vii, 199; + _Life of Gainsborough_, vi, 129; + Brock-Arnold on, vi, 130. + +Thierry, Augustin, friend of Ary Scheffer, iv, 237, 247. + +Thomas, Hiram W., reformer, ix, 282. + +Thompson-Seton, Ernest, and Rousseau, ix, 394. + +Thompson, Vance, on Rubens, vi, 164. + +Thomson, James, iii, 60; + Voltaire and, viii, 296. + +Thoreau, Henry David, influence of, viii, 393; + parents of, viii, 395; + education of, viii, 396; + friends of, viii, 406; + life of, in Walden Woods, viii, 412; + imprisonment of, viii, 417; + Agassiz and, viii, 417; + Henry Ward Beecher on, viii, 424; + Harrison Blake and, viii, 424; + John Brown compared with, viii, 426; + John Burroughs on, viii, 423; + Ellery Channing and, viii, 397; + on the character of Jesus, vii, 316; + on college training, viii, 397; + Emerson and, viii, 397, 408; + influence of, viii, 206; + quoted, iii, 59, 219; iv, 322; v, 16, 204; vii, 29; xiii, 49; + referred to, i, 89, 195; ii, 285; + George Francis Train compared with, viii, 425; + Walt Whitman and, viii, 422; + on work, x, 318. + +Thorwaldsen, Bertel, birthplace of, vi, 98; + ancestry of, vi, 95; + father of, vi, 98; + early life of, vi, 98; + experience of, with statue of Charles XII, vi, 99; + Abildgaard and, vi, 105; + his admiration for Napoleon, vi, 118; + Hans Christian Andersen and, vi, 100; + Byron and, vi, 116; + Canova and, vi, 108; + Flaxman and, vi, 110; + indolence of, vi, 107; + the King of Bavaria and, vi, 114; + life of, in Rome, vi, 107; + _Lion of Lucerne_, vi, 123; + Anna Maria Magnani and, vi, 111; + Maria Louise, second wife of Napoleon, and, vi, 118; + his love for mythology, vi, 97; + Mendelssohn and, vi, 116; + Sir Walter Scott and, vi, 115; + Shelley and, vi, 116; + social qualities of, vi, 115. + +Thorwaldsen Museum at Copenhagen, vi, 120. + +_Through Nature to God_, Fiske, xii, 396. + +Thucydides, contemporary of Pericles, iii, 93; v, 185; vii, 15, 24. + +Thursday lecture, the, in Boston, ix, 294, 358. + +Tiberius, Roman emperor, viii, 49. + +Tieck, Ludwig, on Correggio, vi, 220. + +Tietjens, Madame, grave of, i, 321. + +Tilden, Dr., quoted, xi, 53. + +Tilghman, death of, Washington on, iii, 4. + +Tilton, Theodore, vii, 375; xi, 258. + +_Timbuctoo_, Tennyson, v, 77. + +Time, the great avenger, iii, 40. + +Tingley, Katharine, ix, 283. + +Tintoretto, iv, 99; + Paul Veronese compared with, iv, 148. + +Titian, Reynolds on, iv, 146; + birth of, iv, 153; + Rubens at grave of, iv, 153; + Cadore, birthplace of, iv, 153; + pupil of Gian Bellini, iv, 157; + acquaintance of, with Giorgione, iv, 158; + paintings of, iv, 166; + religion of, iv, 166; + pictures by, in England, iv, 189; + Raphael and, vi, 35; + Van Dyck and, iv, 193; + referred to, iv, 60, 99; v, 323; + +_Toilers, The_, Hugo, i, 200. + +_To Jeannie_, Robert Burns, v, 92. + +Toleration Act, the, ix, 220. + +Tolstoy, Leo, v, 237; + _Anna Karenina_, xiv, 351; + daughter of, ii, 192; + on religious persecution, ix, 181; + Socrates and, viii, 22; + story of, ii, p xi; + his story of a peasant, xi, 90; + Wanamaker and, viii, 205; + wife of, v, 133. + +Tomb, of Napoleon, i, 315; + of Wellington, i, 315. + +_Tom Peartree_, Gainsborough, vi, 133. + +_To My Wife_, Stevenson, xiii, 42. + +Tooke, Horne, and Thomas Paine, ix, 175. + +Torah, Jewish Book of the Law, x, 33. + +Torrigiano, Pietro, and Cellini, vi, 281. + +Total depravity as a doctrine, viii, 357. + +Touchstone and King Lear, vi, 334. + +Tower of Babel, iv, 115. + +Townshend and Joshua Reynolds, iv, 304. + +_Tractatus Theologico-Politicus_, Spinoza, viii, 232. + +Trafalgar, battle of, xiii, 424. + +Tragedy, v, 240. + +Train, George Francis, vii, 397; + on Emerson, vii, 325; + imprisonment of, viii, 178. + +Transcendentalism, viii, 403; + of Hypatia, x, 280; + the new, ii, 53; + Thoreau on, viii, 427. + +Transmutation of metals, xii, 36. + +Transplantation, vi, 234; xiii, 50. + +Trappists, the, v, 235; x, 318. + +Traubel, Horace L., and Whitman, i, 167. + +Travel as a means of education, i, 233; v, 221. + +_Traveler, The_, Goldsmith, i, 296. + +_Travel on the Amazon and Rio Negro_, Wallace, xii, 380. + +_Travels of Humboldt and Bonpland, in the Interior of America_, Humboldt's + great work, xii, 149. + +Treason and heresy, ix, 24. + +_Treasure Island_, Stevenson, xiii, 37. + +Tremont Temple, Boston, i, p xxxvii. + +Trevelyan, Lord, v, 192. + +_Tribune_, the Chicago, in war-time, iii, 296. + +Triggsology, xii, 243. + +Trigonometry, science of, xii, 103. + +_Trilby_, referred to, i, 257; iii, 138. + +Trinity Church, New York, xi, 327. + +_Tristram Shandy_, Sterne, v, 162. + +_Triumph of the Cross, The_, Savonarola, vii, 95. + +Trolley-car, invention of, i, 329. + +Trollope, Anthony, ii, 39; + his friendship for Thackeray, i, 236. + +Tropics, the, v, 282. + +Truth, xiv, 333; + Aristotle on, viii, 100; + a point of view, viii, 388. + +Tsonnundawaonas, Indian tribe, viii, 45. + +Tufts college, i, p xxxiv. + +Turgot, Anne Robert, viii, 241. + +Turner, Joseph Mallord William, youth of, i, 124; + apprenticeship of, i, 126; + influence of Claude Lorraine on, i, 126; + appearance of, i, 131; + friendship of, with Sir Walter Scott, i, 132; + gentleness of, i, 135; + character of, i, 136; + religion of, i, 139; + grave of, i, 140; iv, 198; + Corot compared with, vi, 189; + public estimate of, i, 129; + Hamerton on, i, 168; iv, 135; + quoted, vi, 137; + Ruskin and, v, 246; vi, 58; + referred to, iii, 28; + Ruskin's defense of, v, 13; + subtlety of, iv, 325. + +Tuskegee Institute, i, p xxiii; x, 202. + +Tussaud, Madame, iv, 344. + +_Twilight_, Michelangelo, iv, 32. + +_Two in a Gondola_, Browning, v, 56. + +Tyndale, William, martyr, xii, 335. + +Tyndall, John, influence of Carlyle on, xii, 349; + on education, xii, 346; + influence of Emerson on, xii, 349; + Michael Faraday and, xii, 352; + Alexander Humboldt and, xii, 351; + Professor James of Harvard on, xii, 358; + as a mountain-climber, xii, 355; + Robert Owen and, ix, 225; xi, 48; xii, 344; + on the efficacy of prayer, xii, 357; + Herbert Spencer on, xii, 340, 359; + the University of Toronto and, xii, 356; + Alfred Russel Wallace compared with, xii, 342. + +Tyranny, v, 186; ix, 57. + + +Uffizi gallery, the, iv, 101. + +Ugly, philosophy of the, vi, 73. + +Ulysses, iv, 303. + +Umbrian school, the, vi, 29. + +Uncle Billy Bushnell, i, p xxv. + +_Uncle Tom's Cabin_, Harriet Beecher Stowe, x, 28. + +Unitarianism, v, 299; ix, 279; + Pantheism and, ix, 295; + Universalism and, vii, 326. + +United States Steel Corporation, the, xi, 297. + +Universal coinage, xii, 114. + +Universal energy, v, 123. + +Universality of great souls, vi, 97. + +University, advantages of the, x, 166; + origin of, xiii, 123. + +University of Hard Knocks, i, p xxxiv; i, 249, 344; iii, 218. + +Unknowable, the, viii, 174. + +Upsala, university of, viii, 185. + +Uranus, discovery of, xii, 186. + +Utah, prisons in, ii, 191. + +Utopia, v, 238. + +_Utopia_, Sir Thomas More, x, 171. + + +Vaccination, Wallace on, xii, 393. + +_Vailima Prayers_, Stevenson, xiii, 10. + +Valedictorians, vi, 325. + +Value sense, the, v, 70. + +_Vampire, The_, Burne-Jones, vi, 75. + +Vanderbilt, Commodore, iii, 261; + his experience with his son William, viii, 289. + +Vanderbilts, the, and Meissonier, iv, 139. + +Van Dyck, Anthony, Cowley's elegy on, iv, 172; + the name Van Dyck in Holland, iv, 173; + parents of, iv, 173; + influence of Rubens on, iv, 112, 173; + Rubens' jealousy of, iv, 176; + love-affairs of, iv, 181, 195; + residence at Saventhem, iv, 183; + journeys of, in Italy, iv, 187; + residence in England, iv, 192; + appearance of, iv, 193; + his paintings of Charles I, iv, 195; + marriage of, iv, 196; + death of, iv, 197; + monument of, iv, 198; + grave of, iv, 198; + quoted, iv, 183. + +Vane, Sir Henry, and Anne Hutchinson, ix, 358. + +Van Horne, Sir William, xi, 425. + +Vanity, v, 238. + +_Vanity Fair_, Thackeray, i, 233. + +Vasari, Italian painter, iv, 8; vi, 19; + quoted, iv, 163; + on the Bellinis, vi, 253; + Cellini and, vi, 288. + +Vase, a, defined, xiii, 76. + +Vassar, Matthew, xi, 242. + +Vatican, the, iv, 101; + dampness of, iv, 296; + Michelangelo's home in the, iv, 18. + +Vegetarianism, viii, 53. + +Velasquez, Diego de Silva, birth of, vi, 158; + inspirer of artists, vi, 157, 167; + Herrera and, vi, 160; + Murillo and, vi, 183; + Olivarez and, vi, 167; + Pacheco and, vi, 161; + Rubens and, vi, 181; + the wife of, vi, 164; + pictures by, in England, iv, 189; + influence of, vi, 184; + Raphael Menges on, vi, 158; + Reynolds on, vi, 158; + Ruskin on, vi, 158; + Stevenson on, vi, 154; + Sir David Wilkie and, vi, 158; + Whistler on, vi, 177; + influence of, on Whistler, vi, 346; + Fortuny compared with, iv, 208. + +Venice, canals of, vi, 23, 257; + Antwerp compared with, xiv, 224; + wonders of, iv, 56; + glass-factories of, iv, 155; + +Venus, ii, 43. + +Verdi, Giuseppe, Bulwer-Lytton on, xiv, 274; + early hardships of, xiv, 282; + influence of Hugo on, xiv, 292. + +Verestchagin, Russian painter, xii, 89. + +Vergil, i, 179. + +Verne, Jules, i, 164; vi, 146. + +Vernon, Admiral, iii, 16. + +Veronese, Paul, iv, 60; + pictures by, in England, iv, 189; + his fondness for dogs, vi, 240; + Tintoretto compared with, iv, 148. + +Verrocchio, Andrea del, Italian painter, vi, 51. + +Vespasian, Emperor, iv, 102. + +Vesuvius, ii, 96. + +_Vicar of Wakefield_, Goldsmith, i, 294. + +Victoria, Queen of England, i, 72; iv, 324; vi, 139; + Alfred Tennyson and, v, 84. + +_Villette_, Charlotte Bronte, ii, 112. + +Vincent, Dr. George, psychologist, quoted, vi, 335. + +_Vindication of Natural Society, The_, Burke, vii, 168. + +_Vindication of the Rights of Woman, A_, Mary Wollstonecraft, ii, 290. + +Virginia controversy, the, iii, 267. + +_Virginians, The_, Thackeray, i, 236. + +Vital statistics, v, 96. + +Vivakenandi, H. Darmapala, viii, 27. + +_Vivian Gray_, Disraeli, v, 324. + +Voice, the inner, x, 31; + the prophetic, i, 181. + +Voltaire, ii, 183; xii, 57; 179; + at the English Court, viii, 296; + financial ability of, viii, 298; + home of, in Switzerland, viii, 314; + as a pamphleteer, viii, 317; + his contempt for the clergy, viii, 280; + imprisonment of, viii, 285; + death of, viii, 276; + influence of, viii, 275; + _Life of Charles XII_, viii, 297; + _My Private Life_, viii, 312; + _Henriade_, viii, 296; + _Oedipe_, viii, 287; + _Philosophical Dictionary_, xi, 106; + Frederick the Great and, viii, 309; + Thomson and, viii, 296; + the Abbe de Chateauneuf and, viii, 278; + the Chevalier de Rohan and, viii, 292; + Congreve and, viii, 295; + Horace Walpole and, viii, 296; + Pope and, viii, 295; + Catherine of Russia and, viii, 315; + Madame du Chatelet and, viii, 301; + Dean Swift and, viii, 295; + John Gay and, viii, 295; + Madame Dunoyer and, viii, 282; + Ninon de Lenclos and, viii, 277; + on marriage and divorce, viii, 290; + on Newton, x, 366; xii, 409; + on Shakespeare, i, 134; + on Seneca, viii, 80; + on superstition, viii, 293; + quoted, xiii, 162; + referred to, i, 306; + Charles Dickens compared with, viii, 283; + Rousseau's criticism of, ix, 384; + Disraeli compared with, viii, 295; + Rousseau compared with, vii, 207; ix, 373, 385. + +Von Humboldt, Alexander, i, 342; + education of, x, 257. + + +_Wagner at Bayreuth_, Nietzsche, xiv, 36. + +Wagner, Parson, ix, 393. + +Wagner, Richard, mother of, xiv, 14; + marriage of, xiv, 16; + composition of his music, xiv, 24; + exile of, xiv, 31; + character of, xiv, 42; + referred to, v, 267; + on art, xiv, 22; + on Beethoven, xiv, 222; + influence of, viii, 205; + Franz Liszt and, xiv, 30; + Millet compared with, iv, 259; + William Morris compared with, xiv, 24; + Friedrich Nietzsche and, xiv, 35; + Whitman compared with, xiv, 23. + +Walden Pond, Thoreau's home at, viii, 413. + +Waldorf-Astoria, i, p xxxvii. + +Walker, Emery, and William Morris v, 29. + +Wallace, Alfred Russel, referred to, v, 289; + Darwin and, xii, 223, 372; + Humboldt compared with, xii, 380; + on the orang-utan, xii, 382; + on spiritism, xii, 392; + spiritualistic tendencies of, x, 342; + travels of, in Brazil, xii, 378; + travels of, in the Malay Archipelago, xii, 381; + John Tyndall compared with, xii, 342. + +Wallace line, the, xii, 387. + +Wallflowers, v, 49. + +Walpole, Horace, iv, 302; vii, 191; ix, 164; xii, 179; + on William Herschel, xii, 183; + _Anecdotes of Painting_, iv, 101; + Reynolds and, iv, 299; + Voltaire and, viii, 296. + +Walpole, Sir Robert, vii, 191. + +Wanamaker, John, and A.T. Stewart, xi, 353; + Tolstoy and, viii, 205. + +War, v, 238; + Thomas Paine on, ix, 173; + poetry of, ii, 271. + +War of 1812, iii, 221. + +_Warfare of Science and Religion_, Andrew D. White, xii, 222. + +Warwickshire, i, 49, 304. + +Warner, Charles Dudley, quoted, xiv, 225. + +Washington, Booker T., parents of, x, 185; + Andrew Carnegie and, xi, 290; + Napoleon compared with, x, 211; + H. H. Rogers and, xi, 389; + Gen. Ruffner and, x, 190. + +Washington, George, character of, iii, 6; + Weems' life of, iii, 7; v, 41; vi, 129; + lineage of, iii, 8; + home of, at Mount Vernon, iii, 16; + Indian name of, iii, 17; + appearance of, iii, 17; + love-affairs of, iii, 18; + marriage of, iii, 20; + appointed commander of the army, iii, 23; + strategy of, iii, 24; + humor of, iii, 25; + detractors of, iii, 28; + statue of, iii, 5; + letter of John Jay to, iii, 230; + Lincoln and, iii, 29; + on Thomas Paine, xiii, 84; + Mary Philipse and, xi, 217; + quoted, iii, 245; + referred to, iii, 90; xii, 57, 179; + Ary Scheffer's admiration for, iv, 235. + +Waterloo, battle of, i, 233; iv, 82; xi, 161. + +Watson, Thomas, _Story of France_, viii, 241; ix, 380. + +Watson, Sir William, astronomer, xii, 182. + +Watterson, Henry, on Lincoln, vii, 393. + +Watt, James, xi, 68; xii, 179; + Humphrey Gainsborough and, vi, 133. + +Wax-works, Madame Tussaud's, iv, 344. + +_Wealth of Nations_, Adam Smith, i, 73; v, 94, 163; ix, 64. + +Wealth, the handicap of, vi, 169. + +Webb, Philip, architect, v, 20. + +Webster, Daniel, birthplace of, iii, 191; + education of, iii, 192; + association of, with his brother Ezekiel, iii, 195; + graduation of, iii, 196; + his greatest speech, iii, 196; + his favorite theme, iii, 197; + debate of, with Hayne, iii, 198; + son of, iii, 200; + influence of, iii, 201; + the Stephen Girard case, iii, 201; + the Dartmouth College case, iii, 202; + effectiveness of, iii, 203; + death of, iii, 204; + on liberty, vii, 337; + James Oliver compared with, xi, 78; + on the practise of law, xi, 274; + quoted, iv, 253. + +Wedgwood, Josiah, xii, 203; + S. T. Coleridge and, v, 305; + Gladstone on, xiii, 60; + Robert Owen and, ix, 225; + John Wesley and, xiii, 53. + +Wedgwood, Julia, biographer of John Wesley, ix, 15. + +Weems, Rev. Mason L., iii, 7; + _Life of Washington_, v, 41; vii, 199. + +Wehrgeld, vii, 125. + +Weimar, Germany, i, 58, 233. + +Weir, Robert, Professor, vi, 342. + +Wellesley, Arthur, Duke of Wellington, i, 280, 313; v, 253; xii, 179, 338; + mother of, viii, 57. + +_Werther_, Coleridge's translation of, v, 307. + +Wesley, Charles, hymn-writer, ix, 11, 41. + +Wesley, John, American experiences of, ix, 29; + education of, ix, 21; + influence of, ix, 11, 46; + marital experience of, ix, 44; + the Moravians and, ix, 31; + Governor Oglethorpe and, ix, 27; + on teaching, viii, 202; + Josiah Wedgwood and, xiii, 52. + +Wesley, Susanna, ix, 221; + children of, ix, 11. + +West, Benjamin, American artist, iv, 306; xi, 94; xii, 179; + Thomas Gainsborough and, vi, 150. + +West Indies, the, iii, 110. + +Whale-oil industry, decline of, xi, 369. + +Wheat-belt, the, xi, 433. + +Whigs, Johnson on, v, 164. + +Whim, xiv, 302. + +Whistler, James Abbott McNeil, vi, 339; + on art, viii, 363; + his criticism of Gustave Dove, iv, 329; + his dual character, vi, 333; + _Etching and Dry Points_, vi, 351; + Judge Gaynor on, vi, 333; + _The Gentle Art of Making Enemies_, vi, 330, 351; + life of, in Russia, vi, 341; + _Nocturne_, vi, 345; + quoted, iv, 116, 220; v, 16; xii, 155; + Ruskin and, vi, 330; + the _Ten o'Clock_ lecture, vi, 351; + Velasquez and, vi, 177, 346. + +White, Andrew D., _The Warfare of Science and Religion_, xii, 222. + +Whitefield, George, colleague of the Wesleys, ix, 27, 41. + +White Pigeon, v, 269; + description of, vi, 40. + +Whitlock, Brand, ix, 283. + +Whitman, Walt, Lincoln's opinion of, i, 164; + appearance of, i, 165; + Dr. Bucke's characterization of, i, 166; + Horace L. Traubel on, i, 167; + home of, in Camden i, 168; + Symonds' opinion of, i, 170; + Rossetti's opinion of, i, 170; + democracy of, i, 174; + the poet of humanity, i, 179; + Edward Carpenter and, x, 46; + as a clerk, v, 26; + Corot compared with, vi, 190; + on death, i, 175; + on the human voice, vii, 314; + influence of, viii, 205; + influence of, on R. L. Stevenson, xiii, 18; + kingliness of, x, 109; + compared with Millet, iv, 259; + William Morris' estimate of, v, 32; + opinions regarding, vi, 191; + quoted, iv, 161; vi, 66; xii, 88; + referred to, i, p xxvii, 90, 195; ii, 285; v, 83; xi, 94; + Thoreau and, viii, 422; + Wagner compared with, xiv, 23. + +Whitney, Eli, xi, 69. + +Widows, the lot of, xii, 14. + +Wife-beating, iv, 240. + +Wife, Solomon's ideal, ii, 69. + +Wight, isle of, i, 196. + +Wilberforce, Samuel, and Charles Darwin, xii, 202. + +Wilberforce, William, philanthropist, vii, 196. + +Wilcox, Ella Wheeler, xi, 284. + +Wilkie, Sir David, and Velasquez, vi, 158. + +Willard, Frances E., ii, 52. + +William the Conqueror, i, 252; ii, 198; x, 148; xiv, 40. + +William the Silent, Prince of Orange, iv, 81. + +Williams, Roger, and Anne Hutchinson, ix, 359, 361. + +Willis, N. P., on Disraeli, v, 329. + +Will, force of, ii, 162; + Pentecost on, xiv, 66; + power of, iv, 330; + Schopenhauer on the, viii, 380. + +Wilson, Francis, and Eugene Field, v, 256. + +Wilson, James, Judge, iii, 14. + +Windermere, lake, i, 87, 218. + +Windows, stained-glass, v, 22. + +_Wine of Cyprus_, E. B. Browning, ii, 21. + +_Winter's Tale, The_, Shakespeare, i, 317. + +Winter, William, i, 51; + on Shakespeare, i, 312. + +Winthrop, John, Governor of Massachusetts Colony, ix, 337. + +Wisdom, v, 240; + ignorance and, Starr King on, vii, 308; + knowledge and, vii, 217; + learning and, x, 74; + mintage of, i, p xii. + +Wishart, George, and John Knox, ix, 206. + +Witchcraft, iii, 101; x, 352. + +Wizard, definition of, xii, 67; + Edison on, vi, 42. + +Woffington, Peg, friend of Reynolds, iv, 305. + +Wollstonecraft, Mary, birth of, ii, 289; + literary achievements of, ii, 290; + views of, ii, 291; + meeting of, with Gilbert Imlay, ii, 292; + marriage of, to William Godwin, ii, 293; + death of, ii, 294; + Charlotte Perkins Gilman compared with, xiii, 92; + Coleridge and, xiii, 102; + Dr. Samuel Johnson and, xiii, 90; + Thomas Paine and, ix, 175; + Robert Southey and, xiii, 102; + _The Rights of Woman_, xiii, 85. + +Womanhood in Greece, vii, 32. + +Woman suffrage, i, 93. + +Women, Botticelli's, vi, 81; + capacity of, for intellectual endeavor, ix, 346; + characterization of, i, 159; + degradation and, vi, 74; + in relation to divorce, viii, 133; + emancipation of, ii, 70; + emotional, xiii, 315; + in France, ii, 173; + helpfulness of, i, 75; + influence of, i, 131; iv, 36, 225; + the inspirers of music, xiv, 120; + of Ireland, i, 275; + Dr. Johnson concerning, xiii, 91; + Kipling and, vi, 74; + Mahomet on the truthfulness of, iv, 86; + Michelangelo's figures of, iv, 9; + the new woman, ii, 53; + in politics, viii, 51; + Socrates' opinion of, viii, 21; + souls of, iii, 101; + Richard Steele regarding, viii, 130; + as teachers, x, 259; + Washington's regard for, iii, 18. + +_Wonders of the Invisible World_, Mather, i, 238. + +Woodhull, Victoria, xi, 258. + +Woodward Gardens, San Francisco, ix, 63. + +Wooing, the art of, viii, 328. + +Wordsworth, Dorothy, i, 212; ii, 228; + Coleridge and, vi, 304. + +Wordsworth, William, home of, i, 212; + life of, at Rydal Mount, i, 216; + grave of, i, 222; + rank as poet, i, 222; + influence of, i, 223; + Robert Browning and, v, 55; + as a government employee, v, 26; + quoted, ii, 233, 285; + referred to, i, 88; ii, 28; v, 270; + Southey and, v, 303. + +Work, v, 24; + Martin Luther on, vii, 110; + +_Works and Days_, R. W. Emerson, ii, 286. + +World poets, v, 83. + +World's Congress of Religions, i, 135. + +World-weariness, xiv, 78. + +Worms, Luther at the Diet of, vii, 143. + +Worry, iii, 260. + +Wren, Christopher, architect, iii, 61. + +Writing academies, American, vi, 134. + +Wu Ting Fang, on Ireland, xi, 335. + +Wythe, George, and Patrick Henry, iii, 62. + + +Xantippe, wife of Socrates, i, 75; viii, 22. + +Xenophon and Socrates, viii, 11, 29. + + +Yale university, art-gallery at, vi, 71. + +Yates, Dick, friend of Lincoln, iii, 288. + +_Yesterdays With Authors_, Fields, i, 235. + +Yorkshire folks, ii, 104. + +Youmans, Edward L., and Herbert Spencer, viii, 344; + Darwinism and, xii, 231. + +Young, Brigham, x, 117; xi, 72. + +Youth, characterized, v, 18. + + +Zangwill, Israel, i, 163; ii, 193; iv, 243; v, 319; viii, 217; + on genius, xiv, 309; + on Scotland, xi, 77; + on the Ghetto, xi, 128; + his stories of the Ghetto, viii, 219. + +Zola, Emile, iv, 139. + +_Zoonomia_, Erasmus Darwin, xii, 371. + +Zueblin, Charles, on William Morris, xi, 356. + + + + + +End of the Project Gutenberg EBook of Little Journeys to the Homes of the +Great - Volume 14, by Elbert Hubbard + +*** END OF THIS PROJECT GUTENBERG EBOOK GREAT MUSICIANS *** + +***** This file should be named 20318.txt or 20318.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/0/3/1/20318/ + +Produced by Janet Blenkinship and the Online Distributed +Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/20318.zip b/20318.zip Binary files differnew file mode 100644 index 0000000..1133b46 --- /dev/null +++ b/20318.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..ff20e08 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #20318 (https://www.gutenberg.org/ebooks/20318) |
