Eclectic School Readings: Stories from Life Part 2

"Still, through our paltry stir and strife, Glows down the wished ideal, And longing molds in clay what life Carves in the marble real;

"To let the new life in, we know, Desire must ope the portal,-- Perhaps the longing to be so Helps make the soul immortal."

THE EVOLUTION OF A VIOLINIST

He was a famous artist whom kings and queens and emperors delighted to honor. The emperor of all the Russias had sent him an affectionate letter, written by his own hand; the empress, a magnificent emerald ring set with diamonds; the king of his own beloved Norway, who had listened reverently, standing with uncovered head, while he, the king of violinists, played before him, had bestowed upon him the Order of Vasa; the king of Copenhagen presented him with a gold snuffbox, encrusted with diamonds; while, at a public dinner given him by the students of Christiana, he was crowned with a laurel wreath. Not all the thousands who thronged to hear him in London could gain entrance to the concert hall, and in Liverpool he received four thousand dollars for one evening's performance.

Yet the homage of the great ones of the earth, the princely gifts bestowed upon him, the admiration of the thousands who hung entranced on every note breathed by his magic violin, gave less delight than the boy of fourteen experienced when he received from an old man, whose heart his playing had gladdened, the present of four pairs of doves, with a card suspended by a blue ribbon round the neck of one, bearing his own name, "Ole Bull."

The soul of little Ole Bull had always been attuned to melody, from the time when, a toddling boy of four, he had kissed with pa.s.sionate delight the little yellow violin given him by his uncle. How happy he was, as he wandered alone through the meadows, listening with the inner ear of heaven-born genius to the great song of nature. The bluebells, the b.u.t.tercups, and the blades of gra.s.s sang to him in low, sweet tones, unheard by duller ears. How he thrilled with delight when he touched the strings of the little red violin, purchased for him when he was eight years old. His father destined him for the church, and, feeling that music should form part of the education of a clergyman, he consented to the mother's proposition that the boy should take lessons on the violin.

Ole could not sleep for joy, that first night of owners.h.i.+p; and, when the house was wrapped in slumber, he got up and stole on tiptoe to the room where his treasure lay. The bow seemed to beckon to him, the pretty pearl screws to smile at him out of their red setting. "I pinched the strings just a little," he said. "It smiled at me ever more and more. I took up the bow and looked at it. It said to me it would be pleasant to try it across the strings. So I did try it just a very, very little, and it did sing to me so sweetly. At first I did play very soft. But presently I did begin a capriccio, which I like very much, and it did go ever louder and louder; and I forgot that it was midnight and that everybody was asleep. Presently I hear something crack; and the next minute I feel my father's whip across my shoulders. My little red violin dropped on the floor, and was broken. I weep much for it, but it did no good. They did have a doctor to it next day, but it never recovered its health."

He was given another violin, however, and, when only ten, he would wander into the fields and woods, and spend hours playing his own improvisations, echoing the song of the birds, the murmur of the brook, the thunder of the waterfall, the soughing of the wind among the trees, the roar of the storm.

But childhood's days are short. The years fly by. The little Ole is eighteen, a student in the University of Christiana, preparing for the ministry. His brother students beg him to play for a charitable a.s.sociation. He remembers his father's request that he yield not to his pa.s.sion for music, but being urged for "sweet charity's sake," he consents.

The youth's struggle between the soul's imperative demand and the equally imperative parental dictate was pathetic. Meanwhile the position of musical director of the Philharmonic and Dramatic Societies becoming vacant, Ole was appointed to the office; and, seeing that it was useless to contend longer against the genius of his son, the disappointed father allowed him to accept the directors.h.i.+p.

When fairly launched on a musical career, his trials and disappointments began. Wis.h.i.+ng to a.s.sure himself whether he had genius or not, he traveled five hundred miles to see and hear the celebrated Louis Spohr, who received the tremulous youth coldly, and gave him no encouragement. No matter, he would go to the city of art. In Paris he heard Berlioz and other great musicians. Entranced he listened, in his high seat at the top of the house, to the exquisite notes of Malibran.

His soul feasted on music, but his money was fast dwindling away, and the body could not be sustained by sweet sounds. But the poor unknown violinist, who was only another atom in the surging life of the great city, could earn nothing. He was on the verge of starvation, but he would not go back to Christiana. He must still struggle and study. He became ill of brain fever, and was tenderly nursed back to life by the granddaughter of his kind landlady, pretty little Felicie Villeminot, who afterward became his wife. He had drained the cup of poverty and disappointment to the dregs, but the tide was about to turn.

He was invited to play at a concert presided over by the Duke of Montebello, and this led to other profitable engagements. But the great opportunity of his life came to him in Bologna. The people had thronged to the opera house to hear Malibran. She had disappointed them, and they were in no mood to be lenient to the unknown violinist who had the temerity to try to fill her place.

He came on the stage. He bowed. He grew pale under the cold gaze of the thousands of unsympathetic eyes turned upon him. But the touch of his beloved violin gave him confidence. Lovingly, tenderly, he drew the bow across the strings. The coldly critical eyes no longer gazed at him.

The unsympathetic audience melted away. He and his violin were one and alone. In the hands of the great magician the instrument was more than human. It talked; it laughed; it wept; it controlled the moods of men as the wind controls the sea.

The audience scarcely breathed. Criticism was disarmed. Malibran was forgotten. The people were under the spell of the enchanter. Orpheus had come again. But suddenly the music ceased. The spell was broken.

With a shock the audience returned to earth, and Ole Bull, restored to consciousness of his whereabouts by the storm of applause which shook the house, found himself famous forever.

His triumph was complete, but his work was not over, for the price of fame is ceaseless endeavor. But the turning point had been pa.s.sed. He had seized the great opportunity for which his life had been a preparation, and it had placed him on the roll of the immortals.

THE LESSON OF THE TEAKETTLE

The teakettle was singing merrily over the fire; the good aunt was bustling round, on housewifely cares intent, and her little nephew sat dreamily gazing into the glowing blaze on the kitchen hearth.

Presently the teakettle ceased singing, and a column of steam came rus.h.i.+ng from its pipe. The boy started to his feet, raised the lid from the kettle, and peered in at the bubbling, boiling water, with a look of intense interest. Then he rushed off for a teacup, and, holding it over the steam, eagerly watched the latter as it condensed and formed into tiny drops of water on the inside of the cup.

Returning from an upper room, whither her duties had called her, the thrifty aunt was shocked to find her nephew engaged in so profitless an occupation, and soundly scolded him for what she called his trifling.

The good lady little dreamed that James Watt was even then unconsciously studying the germ of the science by which he "transformed the steam engine from a mere toy into the most wonderful instrument which human industry has ever had at its command."

This studious little Scottish lad, who, because too frail to go to school, had been taught at home, was very different from other boys.

When only six or seven years old, he would lie for hours on the hearth, in the little cottage at Greenock, near Glasgow, where he was born in 1736, drawing geometrical figures with pieces of colored chalk. He loved, too, to gaze at the stars, and longed to solve their mysteries.

But his favorite pastime was to burrow among the ropes and sails and tackles in his father's store, trying to find out how they were made and what purposes they served.

In spite of his limited advantages and frail health, at fifteen he was the wonder of the public school, which he had attended for two years.

His favorite studies were mathematics and natural philosophy. He had also made good progress in chemistry, physiology, mineralogy, and botany, and, at the same time, had learned carpentry and acquired some skill as a worker in metals.

So studious and ambitious a youth scarcely needed the spur of poverty to induce him to make the most of his talents. The spur was there, however, and, at the age of eighteen, though delicate in health, he was obliged to go out and battle with the world.

Having first spent some time in Glasgow, learning how to make mathematical instruments, he determined to go to London, there to perfect himself in his trade.

Working early and late, and suffering frequently from cold and hunger, he broke down under the unequal strain, and was obliged to return to his parents for a time until health was regained.

Always struggling against great odds, he returned to Glasgow when his trade was mastered, and began to make mathematical instruments, for which, however, he found little sale. Then, to help eke out a living, he began to make and mend other instruments,--fiddles, guitars, and flutes,--and finally built an organ,--a very superior one, too,--with several additions of his own invention.

A commonplace incident enough it seemed, in the routine of his daily occupation, when, one morning, a model of Newcomen's engine was brought to him for repair, yet it marked the turning point in his career, which ultimately led from poverty and struggle to fame and affluence.

Watt's practiced eye at once perceived the defects in the Newcomen engine, which, although the best then in existence could not do much better or quicker work than horses. Filled with enthusiasm over the plans which he had conceived for the construction of a really powerful engine, he immediately set to work, and spent two months in an old cellar, working on a model. "My whole thoughts are bent on this machine," he wrote to a friend. "I can think of nothing else."

So absorbed had he become in his new work that the old business of making and mending instruments had declined. This was all the more unfortunate as he was no longer struggling for himself alone. He had fallen in love with, and married, his cousin, Margaret Miller, who brought him the greatest happiness of his life. The neglect of the only practical means of support he had reduced Watt and his family to the direst poverty. More than once his health failed, and often the brave spirit was almost broken, as when he exclaimed in heaviness of heart, "Of all the things in the world, there is nothing so foolish as inventing."

Five years had pa.s.sed since the model of the Newcomen engine had been sent to him for repair before he succeeded in securing a patent on his own invention. Yet five more long years of bitter drudgery, clutched in the grip of poverty, debt, and sickness, did the brave inventor, sustained by the love and help of his n.o.ble wife, toil through. On his thirty-fifth birthday he said, "To-day I enter the thirty-fifth year of my life, and I think I have hardly yet done thirty-five pence worth of good in the world; but I cannot help it."

Poor Watt! He had traveled with bleeding feet along the same th.o.r.n.y path trod by the great inventors and benefactors of all ages. But, in spite of all obstacles, he persevered; and, after ten years of inconceivable labor and hards.h.i.+p, during which his beautiful wife died, he had a glorious triumph. His perfected steam engine was the wonder of the age. Sir James Mackintosh placed him "at the head of all inventors in all ages and nations." "I look upon him," said the poet Wordsworth, "considering both the magnitude and the universality of his genius, as, perhaps, the most extraordinary man that this country ever produced."

Wealthy beyond his desires,--for he cared not for wealth,--crowned with the laurel wreath of fame, honored by the civilized world as one of its greatest benefactors, the struggle over, the triumph achieved, on August 19, 1819, he lay down to rest.

HOW THE ART OF PRINTING WAS DISCOVERED

"Look, Grandfather; see what the letters have done!" exclaimed a delighted boy, as he picked up the piece of parchment in which Grandfather Coster had carried the bark letters cut from the trees in the grove, for the instruction and amus.e.m.e.nt of his little grandsons.

"See what the letters have done!" echoed the old man. "Bless me, what does the child mean?" and his eyes twinkled with pleasure, as he noted the astonishment and pleasure visible on the little face. "Let me see what it is that pleases thee so, Laurence," and he eagerly took the parchment from the boy's hand.

"Bless my soul!" cried the old man, after gazing spellbound upon it for some seconds. The track of the mysterious footprint in the sand excited no more surprise in the mind of Robinson Crusoe than Grandfather Coster felt at the sight which met his eyes. There, distinctly impressed upon the parchment, was a clear imprint of the bark letters; though, of course, they were reversed or turned about.

But you twentieth-century young folks who have your fill of story books, picture books, and reading matter of all kinds, are wondering, perhaps, what all this talk about bark letters and parchment and imprint of letters means.

To understand it, you must carry your imagination away back more than five centuries--quite a long journey of the mind, even for "grown-ups"--to a time when there were no printed books, and when very, very few of the rich and n.o.ble, and scarcely any of the so-called common people, could read. In those far-off days there were no public libraries, and no books except rare and expensive volumes, written by hand, mainly by monks in their quiet monasteries, on parchment or vellum.

In the quaint, drowsy, picturesque town of Haarlem, in Holland, with its narrow, irregular, gra.s.s-grown streets and many-gabled houses, the projecting upper stories of which almost meet, one particular house, which seems even older than any of the others, is pointed out to visitors as one of the most interesting sights of the ancient place. It was in this house that Laurence Coster, the father of the art of printing, the man--at least so runs the legend--who made it possible for the poorest and humblest to enjoy the inestimable luxury of books and reading, lived and loved and dreamed more than five hundred years ago.

Coster was warden of the little church which stood near his home, and his days flowed peacefully on, in a quiet, uneventful way, occupied with the duties of his office, and reading and study, for he was one of those who had mastered the art of reading. A diligent student, he had conned over and over, until he knew them by heart, the few ma.n.u.script volumes owned by the little church of which he was warden.

A lover of solitude, as well as student and dreamer, the church warden's favorite resort, when his duties left him at leisure, was a dense grove not far from the town. Thither he went when he wished to be free from all distraction, to think and dream over many things which would appear nonsensical to his sober, practical-minded neighbors.