The Mask of the Red Death - Graham's Magazine, May 1842 — reading text

to contradict the deep melancholy earnest- counsellors, professors, milliners, dancers, officers, ness which rested upon the brow; a few gray locks &c. walking among the lindens inthe Park. All the of hair lay behind the ears, which were large and seats in Klaus & Weber’s coffee-house are soon prominent ; over the tall, slender figure was wrap- occupied; the coffee throws off its steam. The ped a large modern over-coat. As soon as I looked fashionables light their cigars ;everywhere persons at the man he cast down his eyes and gave his whole are talking ;here an argument is going on about war attention to the occupation from which my outcry and peace, there about Madame Bethman’s shoes, had probably aroused him. He was shaking, with whether the last ones she wore were green or gray, apparent delight, some snuff from several little paper or about the state of the market and the bad money, horns into a large box which stood before him, and &c., until all is hushed by an Aria from “ Tanchon,”’ moistening it with red wine from a quarter-flask. with which an untuned harp, a pair of ill-tuned The music had ceased and I felt an irresistible desire violins, a wheezing flute, and a spasmodic bassoon to address him. torment themselves and their audience. Upon the ‘*T am glad that the music is over,” said I, “‘ it was balustrade which separates Weber’s place from the really intolerable.” highway, several little round tables and garden The old man threw a hasty glance at me and shook chairs are placed; here one can breathe in the free out the contents from the last paper horn. air and observe the comers and goers, at a distance ‘‘It would be better not to play at all,” I began from the monotonous noises of the accursed orches- again, ‘‘ Don’t you think so?” tra. There I sat down, and, abandoning myself to **T don’t think at all about it,” said he, ‘‘ you area wia> Gi te .ah \a. the light play of my fancy, conversed with the ima- musician and conngisseur by profession’— ginary forms of friends who came around me, upon ‘You are wrong, I am neither. I once took les- science and art, and all that is dearest to man. The sons upon the harpsichord and in thorough-bass, be- mass of promenaders passing by me grows more cause I considered it something which was neces- and more motley, but nothing disturbs me, nothing sary to a good education, and among other things can drive away my imaginary company. Now the I was told that nothing produced a more disagree- execrable Trio of an intolerable waltz draws me out able effect than when the bass follows the upper of my world of dreams. The high, squeaking tones notes in octaves. At first I took this upon authority, of the violins and flutes, and the growling ground and have ever since found it to be a fact.” bass of the bassoon are all that [ can hear; they ‘‘ Really?” interrupted he, andstood up and strode follow each other up and down in octaves, which thoughtfully towards the musicians, often casting his tear the ear, until, at last, like one who is seized with eyes upwards and striking upon his brow with the a burning pain, I cry out involuntarily, palm of his hand, as if he wished to awaken some ‘‘ What mad music! Those detestable octaves”— particular remembrance. I saw him speak to the Near me some one mutters. musicians whom he treated with a dignified air of oO = = a * Cursed Fate! Here is another octave-hunter !” command—He returned and scarcely had he re- I look up and perceive now for the first time that gained his seat, before they began to play the over- e imperceptibly to me a man has taken a place at the ture to ‘Iphigenia in Aulis.”’ a same table, who is looking intently at me, and from With his eyes half-closed and his folded arms a Vv whom I cannot take my eyes away again. Never resting on the table he listened to the Andante; all did I see any head or figure which made so sudden the while slightly moving his foot to indicate the Vv and powerful an impression upon me. A slightly falling in of the different parts; now he reversed his crooked nose was joined to a broad open brow, with head—threw a swift glance about him—the left hand, remarkable prominences over the bushy, half-gray with fingers apart, resting upon the table, as though  THE CHEVALIER GLUCK. 271 = he were striking a chord upon the Piano Forte, and “* Because in such a case it would be necessary for the right raised in the air; he was certainly the me to leave you.” conducter who was indicating to the orchestra the ** That sounds like a riddle.” entrance of the various Tempos—The right hand ** Not in the least, when I tell you that I—that Iam falls and the Allegro begins—a burning blush flew a composer.” over his pale cheeks; his eyebrows were raised and **] have no idea of your meaning.” drawn together; upon his wrinkled brow an inward ‘Well then excuse me for my exclamation just rage flashed through his bold eyes, with a fire, which now. I see that you understand yourself thoroughly by degrees changed into a smile that gathered about and nothing of Berlin and Berliners.” his half-open mouth. Now he leaned back again, He rose and walked once hastily up and down; his eyebrows were drawn up, the play of muscles then went to the window, and in a scarcely audible again swept over his face, his eyes glanced, the voice hummed the chorus of Priestesses from the deep internal pain was dissolved in a delight which Iphigenia in Tauris, while at intervals he struck seized and vehemently agitated every fibre of his upon the window at the entrance of the Tutti. To frame—he heaved a deep sigh, and drops stood upon my great astonishment I observed that he made his brow. He now indicated the entrance of the several modifications of the melody, which struck Tutti and the other principal parts; his right hand me with their power and originality. I let him go on never ceased beating the time, and with his left he without interruption. He finished and returned to drew a handkerchief from his pocket, and wiped his his seat. Surprised by.the extraordinary bearing of face—Thus he animated with flesh and color the the man, and by this fantastic expression of his skeleton of the Overture, formed by the two violins. singular musical talent—I remained silent. After I heard the soft plaintive lament breathed out by the some time he began— flutes, after the storm of the violins and basses died “ Have you never composed?” away, and the thunder of the kettle drums had ** Yes, I have made some attempts in the art; ceased; I heard the lightly touched tones of the only I found that all which seemed to me to have violoncello and the bassoon, which fill the heart been written at inspired moments, became after- with irrepressible yearning—again the Tutti enters wards flat and tedious; so that I let it alone.” treading along the unison like a towering huge giant ‘You have done wrong: for the mere fact of your and the hollow lamenting expires beneath his crush- having made the attempt is no small proof of your ing footsteps. talent. We learn music when we are children, be- ; The overture was finished ;the man suffered both cause papa and mamma will have it so; now you his arms to drop, and sat with closed eyes, like one go to work jingling and fiddling, but imperceptibly i who was exhausted by excessive exertion. This the mind becomes susceptible to music. Perhaps the i bottle was empty; I filled his glass with the Bur- half-forgotten theme of the little song, which you i] | gundy, which in the meantime I had procured. He formerly sang, was the first original thought, and : heaved a deep sigh, and seemed to awaken out of from this embryo, nourished laboriously by foreign 7 his dream. I motioned him to drink ; he did so with- powers, grows a giant, who consumes all within : / out hesitation, and swallowing the contents of the his reach, and changes all into his own flesh and glass at one draught, exclaimed, blood! Ah, how is it possible to point out the innu- “T am well pleased with the performance! The merable influences which lead a man to compose. orchestra did bravely !” There is a broad high-way, where all are hurrying ** And yet,” added I, ‘‘ yet it was only a feeble out- round and shouting and screaming; we are the line of a master-piece finished in living colors.” initiated! we are at the goal! Only through the “Am T right? You are not a Berliner.” ivory door is there entrance to the land of dreams; ** Perfectly