Читать книгу Edelweiss: A Story - Auerbach Berthold - Страница 14

Now it is ready, said Lenz to himself, casting a last look upon his work before taking it to pieces; God bless you! The various parts were carried down separately into the valley; the great carved case in a barrow, there being no carriage-road to Lenz's house.

The two enemies, Petrovitsch and Pilgrim, met at the wagon on which Lenz was standing, packing together the detached pieces, each of which, in its turn, was carefully wrapped in a stout covering.

On one side stood Petrovitsch. "I know the man and the house," he said, "that your work is going to. One of my best friends lives in Odessa. Your clock will be in capital hands. Why don't you go with it and set it up yourself in Odessa? You would get half a dozen more orders."

"I have a new order already," answered Lenz.

"Lenz," said Pilgrim on the other side of the wagon; "let us go a little way with The Magic Flute; we can be back in good season this evening."

"I am willing. I could not work to-day, at any rate."

As the wagon, followed by the two friends, was passing the Lion inn, Annele looked out of the window and cried, "Good luck to you!"

The young men thanked her.

A still pleasanter greeting awaited them at the doctor's. The servant-maid ran out and laid a wreath of flowers on the wagon.

"Who sends it?" asked Pilgrim, for Lenz was mute with astonishment.

"My young mistress," answered the girl, and disappeared into the house.

The two friends looked up at the window and saluted, but saw no one. A few minutes afterwards they heard The Magic Flute played from the doctor's parlor.

"It is a grand family, that of the doctor's," said Pilgrim. "I never know my own mind so little as when I ask myself which one of them all is the best. My favorite is the old mayoress. The neighborhood ought to sign a petition to God that she might live forever. Now that your mother is gone, she is the last one left of that generation of dignified, motherly old ladies. But the granddaughters are fine women too. Amanda will make just such a grandmother as the old mayoress, one of these days."

Lenz was silent, and remained so during the whole walk to the city. But there, when the wagon had gone on, and the friends were sitting over their wine, he recovered his spirits, and felt, as he said, that he was beginning life anew.

"Now you must marry," was again Pilgrim's verdict. "There are two choices open to you; one is to marry a woman of thorough education, – one of the doctor's daughters, for instance. You can have one, if you will, and I advise you to take Amanda. It is a pity she cannot sing, like Bertha, but she is good and true. She will honor you, if you honor her, and will appreciate your art." Lenz looked down into his glass, and Pilgrim continued: "Or you will make your home comfortable by marrying an honest peasant, the bailiff's daughter Katharine. As Franzl says, the girl would jump to get you, and she would make a good, economical housewife. You would have half a dozen stout children tearing down the landlord's pine-trees behind your house, and you would grow a rich man. But, in that case, you must expect no sympathy from your wife in your art or in any of your great plans. You can have which you like, but you must decide. If your mind is made up, send me to which you will. I rejoice already in my dignity as suitor. I will even put on a white neckcloth, if necessary. Can the power of friendship go further?"

Lenz still looked down into his glass. Pilgrim's alternative excluded Annele. After a long pause, he said: "I should like to be for once in a great city, that I might hear such a piece of music as The Magic Flute played by a full orchestra over and over again. I am sure my pieces could be made to sound much better than they do. I am haunted by the idea of a tone I cannot produce. People may praise me as much as they like, but I know my pieces have not the right sound. I am sure of it, and yet I cannot make them better. There is something squeaking, dry, harsh about them, like the sounds made by a deaf and dumb person, which are like words, but yet are not words. If I could only bring out the right tone! I know it, I hear it, but I cannot produce it."

"I understand; I feel just so myself. I am conscious of a color, a picture which I ought to be able to paint. I seem on the point of seizing and fixing it, but I shall die without succeeding. That is our fate, yours and mine. You will never produce your ideal. It cannot be otherwise. Bellows and wheels cannot take the place of human breath and human hands; they bring tones from a flute and a violin which your machinery never can. It must be so. Come, let us empty our glasses and be off."

They finished their wine, and went merrily homeward through the autumn night, singing all sorts of songs, and, when they were tired of singing, varying their music by whistling. At Pilgrim's house they parted. Lenz's way led him past the Lion inn; and, as he saw it was still lighted, and heard a sound of voices within, he entered.

"I am glad you are come," said Annele, giving him her hand; "I was thinking you must be as lonely at home, now that your clock is gone, as you were when your mother died."

"Not quite that, but something like it. Ah! Annele, people may praise my work as much as they like, I know it is not what it should be. But one thing I may say of myself without conceit, – I do know how to hear music, and to hear music aright is something."

Annele stared at him. Know how to hear music! Indeed, what art is there in that? Any one can hear music who has ears, and does not plug them up! Still, she fancied that Lenz must have some hidden meaning. Experience had taught her, that, when a man wants to bring out an idea of which his mind is full, his first utterances are apt to be rather disconnected; so she threw another wondering glance at Lenz, and said, "To be sure, that is something."

"You know what I mean," cried Lenz, delighted.

"Yes, but I cannot express it."

"That is just it; neither can I. When I come to that I am a wretched bungler. I never regularly learned music; I cannot play the violin or piano; but when I see the notes, I hear exactly what the composer meant to say. I cannot interpret music, but I can hear it."

"That is well said," chimed in Annele. "I shall remember that as long as I live. To interpret music and to hear it are two different things. You show me so clearly what I have always felt, and yet never could express."

Lenz drank in the good wine, the kind words, and the kind looks of Annele, and went on: "Especially with Mozart; I hear him, and I think I hear him right. If I could but once in my life have shaken hands with him! If he had lived in my day, it seems to me I should have died of grief at his death; but, now that he is in heaven, I should like to do him some service. At other times, I think it is fortunate I cannot play any instrument, for I never could have learned to render music as I hear it. The hearing is a natural gift, for which I have to thank God. My grandfather is said to have had a wonderful understanding of music. If my playing were necessarily below my hearing and my conception, I should want to tear my ears out."

"That is the way with me," said Annele. "I like to hear music, but am too unskilful a performer. When one has to be busy about the house, and cannot devote much time to practising, there is no use in trying to play. I have given up the piano altogether, much to my father's vexation, for he spared no pains to have all his children taught; but I think what cannot be done thoroughly had better not be done at all. Your musical clocks are meant for people like me, who like to hear music, but cannot make it. If I were master here, I should never allow your greatest work to go to Russia, but should buy it myself. It ought to stand in the public room to entertain the guests. It would bring you in ever so many orders there. Since I was up at your house, I have had constantly running in my head that beautiful melody, 'Das klinget so herrlich, das klinget so schön!'"

Beautiful and brave were the melodies playing in Lenz's heart. He tried to explain to Annele how the notes might be followed exactly, all the pins be put in the right places, and even the time in certain passages changed, and yet, unless the man himself felt the music, he would make nothing but a hurdy-gurdy, after all. The piano passages must be taken slower, the forte faster. A performer would naturally render them so; he could hardly help being more subdued at the piano passages and more animated at the forte. The same effect must be wrought by the pins; but the hurrying and slackening needs to be very slight. In the forte passages especial care is needed; for in them the works necessarily labor and are retarded, so that they have to be, in some way, favored. "I cannot tell you, Annele," he concluded, "how happy my art, my work, makes me. As Pilgrim says, I sit there in my room, and set up pieces lively or solemn, which play themselves, and make happy hundreds and hundreds of people that I never saw."