Part 6 (2/2)

Mr. Lincoln said, ”I think I might become a musician if I heard you often; but so far I only know two tunes.”

”'Hail, Columbia'?” I asked. ”You know that, I am sure!”

”Oh yes, I know that, for I have to stand up and take off my hat.”

”And the other one?”

”The other one! Oh, the other one is the other when I don't stand up!” I am sorry not to have seen Mr. Lincoln again. There was something about him that was perfectly fascinating, but I think I have said this before.

NIAGARA, _August, 1864._

DEAR AUNTY,--My last letter, written from Philadelphia, told you of my having made Mr. Lincoln's acquaintance. A few days after we left for Niagara, taking Rochester on our way. I had not seen Rochester since I was eleven years old, and mama and I both wanted to go there again.

We slept in Rochester that night. The next morning a deputation headed by the director of the penitentiary, flanked by a committee of benevolent ladies, called upon us to beg me to sing for the penitents at the penitentiary the next day, it being Sunday. They all said, in chorus, that it would be a great and n.o.ble act.

I did not (and I do not now) see why pickpockets and burglars should be entertained, and I could not grasp the greatness of the act, unless it was in the asking. However, mama urged me (she can never bear me to say no), and I accepted.

At the appointed time the director called for us in a landau, and we drove out to the penitentiary. As we entered the double courtyard, and drove through the much belocked gates, I felt very depressed, and not at all like bursting forth in song. Mama and I were led up, like lambs to the slaughter, on to a platform, pa.s.sing the guilty ones seated in the pews, the men on one side, the women on the other, of the aisles, all dressed in stripes of some sort; they looked sleepy and stupid. They had just sat through the usual Sunday exhortation.

The ladies of the committee ranged themselves so as to make a background of solemn benevolence on the platform, in the middle of which stood a primeval melodion with two octaves and four stops. One stop would have been enough for me, and I needed it later, as you will see.

Here I was! What should I sing? I was utterly at a loss. Why had I not thought this out before coming?

French love-songs; out of the question.

Italian prayers and German lullabies were plentiful in the _repertoire_, but seemed sadly out of place for this occasion.

I thought of Lucrezia Borgia's ”Brindisi”; but that instantly went out of my mind. A drinking song urging people to drink seemed absurdly inappropriate, as probably most of my audience had done their misdeeds under the influence of drink.

I knew the words of ”Home, Sweet Home,” and decided on that. Nothing could have been worse. I attacked the squeaky melodion, pushed down a pedal, pulled out the ”vox humana” stop--the most harmless one of the melodion, but which gave out a supernaturally hoa.r.s.e sound--I struck the chord, and standing up I began. These poor, homeless creatures must have thought my one purpose was to hara.s.s them to the last limit, and I only realized what I was singing about when I saw them with bowed heads and faces hidden in their hands; some even sobbing.

The director, perceiving the doleful effect I had produced, suggested, ”Perhaps something in a lighter vein.” I tried to think of ”something in a lighter vein,” and inquired, ”How would 'Swanee River' be?”

”First-rate,” said the kind director; ”just the thing--_good_” emphasizing the word _good_ by slapping his hands together. Thus encouraged, I started off again in the melancholy wake of the melodion. Alas! this fared no better than ”Home, Sweet Home.” When I sang ”Oh; darkies! how my heart grows weary!” the word _weary_ had a disastrous effect, and there was a regular breakdown (I don't mean in the darky sense of the word, the penitents did _not_ get up and perform a breakdown--I wish they had!); but there was a regular collapse of penitents. I thought that they would have to be carried out on stretchers.

The poor warden, now at his wits' end, but wis.h.i.+ng to finish this lugubrious performance with a flourish, proposed (unhappy thought) that I should address a few words to the now miserable, broken-hearted crowd. I will give you a thousand guesses, dear aunty, and still you will never guess the idiotic words that issued from your niece's lips. I said, looking at them with a triumphant smile (I have no doubt that, at that moment, I thought I was in my own drawing-room, bidding guests good night)--I said (I really hate to write it): ”I hope the next time I come to Rochester I shall meet you all here again.”

This was the first speech I ever made in public--I confess that it was not a success.

PARIS, _1865._

The Princess Mathilde receives every Sunday evening. Her salons are always crowded, and are what one might call cosmopolitan. In fact, it is the only salon in Paris where one can meet all nationalities. There are diplomats, royalists, imperialists, strangers of importance pa.s.sing through Paris, and especially all the celebrated artists.

She has great taste, and has arranged her palace most charmingly. She has converted a small portion of the park behind it into a winter garden, which is filled with beautiful palms and flowering plants. In this attractive place she holds her receptions, and I sang there the other evening.

Rossini was, as a great exception, present. I fancy that he and his wife had dined with the Princess; therefore, when the Princess asked him to accompany me, saying that she desired so much to hear me sing, he could not well refuse to be amiable, and sat down to the piano with a good enough grace. I sang ”Bel Raggio,” from ”Semiramide,” as I knew it by heart (I had sung it often enough with Garcia). Rossini was kind enough not to condemn the cadenzas with which Garcia had interlarded it. I was afraid he would not like them, remembering what he had said to Patti about hers.

I was amused at his gala dress for royalty: a much-too-big redingote, a white tie tied a good deal to one side, and only one wig.

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