Part 20 (1/2)

A most n.o.ble meaning is couched in the history of Albert, and though the writer breaks down under such great attempts, and the religion and philosophy of the book are clumsily embodied compared with its poesy and rhetoric, yet great and still growing thoughts are expressed with sufficient force to make the book a companion of rare value to one in the same phase of mind.

Albert is the aristocratic democrat, such as Alfieri was; one who, in his keen perception of beauty, shares the good of that culture which ages have bestowed on the more fortunate cla.s.ses, but in his large heart loves and longs for the good of all men, as if he had himself suffered in the lowest pits of human misery. He is all this and more in his transmigration, real or fancied, of soul, through many forms of heroic effort and b.l.o.o.d.y error; in his incompetency to act at the present time, his need of long silences, of the company of the dead and of fools, and eventually of a separation from all habitual ties, is expressed a great idea, which is still only in the throes of birth, yet the nature of whose life we begin to prognosticate with some clearness.

Consuelo's escape from the castle, and even from Albert, her admiration of him, and her incapacity to love him till her own character be more advanced, are told with great naturalness. Her travels with Joseph Haydn, are again as charmingly told as the Venetian life. Here the author speaks from her habitual existence, and far more masterly than of those deep places of thought where she is less at home. She has lived much, discerned much, felt great need of great thoughts, but not been able to think a great way for herself.

She fearlessly accompanies the spirit of the age, but she never surpa.s.ses it; _that_ is the office of the great thinker.

At Vienna Consuelo is brought fully into connection with the great world as an artist. She finds that its realities, so far from being less, are even more harsh and sordid for the artist than for any other; and that with avarice, envy and falsehood, she must prepare for the fearful combat which awaits n.o.ble souls in any kind of arena, with the pain of disgust when they cannot raise themselves to patience--with the almost equal pain, when they can, of pity for those who know not what they do.

Albert is on the verge of the grave; and Consuelo, who, not being able to feel for him sufficient love to find in it compensation for the loss of that artist-life to which she feels Nature has destined her, had hitherto resisted the entreaties of his aged father, and the pleadings of her own reverential and tender sympathy with the wants of his soul, becomes his wife just before he dies.

The sequel, therefore, of this history is given under the t.i.tle of Countess of Rudolstadt. Consuelo is still on the stage; she is at the Prussian court. The well-known features of this society, as given in the memoirs of the time, are put together with much grace and wit. The sketch of Frederic is excellent.

The rest of the book is devoted to expression of the author's ideas on the subject of reform, and especially of a.s.sociation as a means thereto. As her thoughts are yet in a very crude state, the execution of this part is equally bungling and clumsy. Worse: she falsifies the characters of both Consuelo and Albert,--who is revived again by subterfuge of trance,--and stains her best arrangements by the mixture of falsehood and intrigue.

Yet she proceeds towards, if she walks not by, the light of a great idea; and sincere democracy, universal religion, scatter from afar many seeds upon the page for a future time. The book should be, and will be, universally read. Those especially who have witnessed all Sand's doubts and sorrows on the subject of marriage, will rejoice in the clearer, purer ray which dawns upon her now. The most natural and deep part of the book, though not her main object, is what relates to the struggle between the claims of art and life, as to whether it be better for the world and one's self to develop to perfection a talent which Heaven seemed to have a.s.signed as a special gift and vocation, or sacrifice it whenever the character seems to require this for its general development. The character of Consuelo is, throughout the first part, strong, delicate, simple, bold, and pure. The fair lines of this picture are a good deal broken in the second part; but we must remain true to the impression originally made upon us by this charming and n.o.ble creation of the soul of Sand.

It is in reference to _our_ Consuelo that a correspondent [Footnote: We do not know how accurate is this correspondent's statement of facts. The narrative is certainly interesting.--_Ed_.]

writes, as to Jenny Lind; and we are rejoiced to find that so many hints were, or might have been, furnished for the picture from real life. If Jenny Lind did not suggest it, yet she must also be, in her own sphere, a Consuelo.

”Jenny Lind must have been born about 1822 or 1828. When a young child, she was observed, playing about and singing in the streets of Stockholm, by Mr. Berg, master of singing for the royal opera. Pleased and astonished at the purity and suavity of her voice, he inquired instantly for her family, and found her father, a poor innkeeper, willing and glad to give up his daughter to his care, on the promise to protect her and give her an excellent musical education. He was always very careful of her, never permitting her to sing except in his presence, and never letting her appear on the stage, unless as a mute figure in some ballet, such, for instance, as Cupid and the Graces, till she was sixteen, when she at once executed her part in 'Der Freyschutz,' to the full satisfaction and surprise of the public of Stockholm. From that time she gradually became the favorite of every one. Without beauty, she seems, from her innocent and gracious manners, beautiful on the stage and charming in society. She is one of the few actresses whom no evil tongue can ever injure, and is respected and welcomed in any and all societies.

”The circ.u.mstances that reminded me of Consuelo were these: that she was a poor child, taken up by this singing-master, and educated thoroughly and severely by him; that she loved his son, who was a good-for-nothing fellow, like Anzoleto, and at last discarded him; that she refused the son of an English earl, and, when he fell sick, his father condescended to entreat for him, just as the Count of Rudolstadt did for his son; that, though plain and low in stature, when singing her best parts she appears beautiful, and awakens enthusiastic admiration; that she is rigidly correct in her demeanor towards her numerous admirers, having even returned a present sent her by the crown-prince, Oscar, in a manner that she deemed equivocal.

This last circ.u.mstance being noised abroad, the next time she appeared on the stage she was greeted with more enthusiastic plaudits than ever, and thicker showers of flowers fell upon her from the hands of her true friends, the public. She was more fortunate than Consuelo in not being compelled to sing to a public of Prussian corporals.”

Indeed, the picture of Frederic's opera-audience, with the pit full of his tall grenadiers with their wives on their shoulders, never daring to applaud except when he gave the order, as if by tap of drum, opposed to the tender and expansive nature of the artist, is one of the best tragicomedies extant. In Russia, too, all is military; as soon as a new musician arrives, he is invested with a rank in the army. Even in the church Nicholas has lately done the same. It seems as if he could not believe a man to be alive, except in the army; could not believe the human heart could beat, except by beat of drum.

But we believe in Russia there is at least a mask of gayety thrown over the chilling truth. The great Frederic wished no disguise; everywhere he was chief corporal, and trampled with his everlasting boots the fair flowers of poesy into the dust.

The North has been generous to us of late; she has sent us _Ole Bull_. She is about to send _Frederika Bremer_. May she add JENNY LIND!

CAROLINE.

The other evening I heard a gentle voice reading aloud the story of Maurice, a boy who, deprived of the use of his limbs by paralysis, was sustained in comfort, and almost in cheerfulness, by the exertions of his twin sister. Left with him in orphanage, her affections were centred upon him, and, amid the difficulties his misfortunes brought upon them, grew to a fire intense and pure enough to animate her with angelic impulses and powers. As he could not move about, she drew him everywhere in a little cart; and when at last they heard that sea-bathing might accomplish his cure, conveyed him, in this way, hundreds of miles to the sea-sh.o.r.e. Her pious devotion and faith were rewarded by his cure, and (a French story would be entirely incomplete otherwise) with money, plaudits and garlands, from the by-standers.

Though the story ends in this vulgar manner, it is, in its conduct, extremely sweet and touching, not only as to the beautiful qualities developed by these trials in the brother and sister, but in the purifying and softening influence exerted, by the sight of his helplessness and her goodness, on all around them.

Those who are the victims of some natural blight often fulfil this important office, and bless those within their sphere more, by awakening feelings of holy tenderness and compa.s.sion, than a man healthy and strong can do by the utmost exertion of his good-will and energies. Thus, in the East, men hold sacred those in whom they find a distortion or alienation of mind which makes them unable to provide for themselves. The well and sane feel themselves the ministers of Providence to carry out a mysterious purpose, while taking care of those who are thus left incapable of taking care of themselves; and, while fulfilling this ministry, find themselves refined and made better.

The Swiss have similar feelings as to those of their families whom cretinism has reduced to idiocy. They are attended to, fed, dressed clean, and provided with a pleasant place for the day, before doing anything else, even by very busy and poor people.

We have seen a similar instance, in this country, of voluntary care of an idiot, and the mental benefits that ensued. This idiot, like most that are called so, was not without a glimmer of mind.

His teacher was able to give him some notions, both of spiritual and mental facts; at least she thought she had given him the idea of G.o.d, and though it appeared by his gestures that to him the moon was the representative of that idea, yet he certainly did conceive of something above him, and which inspired him with reverence and delight. He knew the names of two or three persons who had done him kindness, and when they were mentioned, would point upward, as he did to the moon, showing himself susceptible, in his degree, of Mr.

Carlyle's grand method of education, hero-wors.h.i.+p. She had awakened in him a love of music, so that he could be soothed in his most violent moods by her gentle singing. It was a most touching sight to see him sitting opposite to her at such tunes, his wondering and lack-l.u.s.tre eyes filled with childish pleasure, while in hers gleamed the same pure joy that we may suppose to animate the looks of an angel appointed by Heaven to restore a ruined world.

We know another instance, in which a young girl became to her village a far more valuable influence than any patron saint who looks down from his stone niche, while his votaries recall the legend of his goodness in days long past.

Caroline lived in a little, quiet country village--quiet as no village can now remain, since the railroad strikes its spear through the peace of country life. She lived alone with a widowed mother, for whom, as well as for herself, her needle won bread, while the mother's strength, and skill sufficed to the simple duties of their household.