Читать книгу: «Chambers's Edinburgh Journal, No. 430», страница 2

THE CHURCH OF THE CUP OF COLD WATER

One beautiful evening, in the year 1815, the parish priest of San Pietro, a village a few miles distant from Sevilla, returned much fatigued to his little cottage, where he found his aged housekeeper, the Señora Margarita, watching for him. Notwithstanding that one is well accustomed to the sight of poverty in Spain, it was impossible to help being struck by the utter destitution which appeared in the house of the good priest; the more so, as every imaginable contrivance had been resorted to, to hide the nakedness of the walls, and the shabbiness of the furniture. Margarita had prepared for her master's supper a rather small dish of olla-podriga, which consisted, to say the truth, of the remains of the dinner, seasoned and disguised with great skill, and with the addition of some sauce, and a name. As she placed the savoury dish upon the table, the priest said: 'We should thank God for this good supper, Margarita; this olla-podriga makes one's mouth water. My friend, you ought to be grateful for finding so good a supper at the house of your host!' At the word host, Margarita raised her eyes, and saw a stranger, who had followed her master. Her countenance changed, and she looked annoyed. She glanced indignantly first at the unknown, and then at the priest, who, looking down, said in a low voice, and with the timidity of a child: 'What is enough for two, is always enough for three; and surely you would not wish that I should allow a Christian to die of hunger? He has not tasted food for two days.'

'A Christian! He is more like a brigand!' and Margarita left the room murmuring loudly enough to be heard.

Meanwhile, the unwelcome guest had remained standing at the door. He was a man of great height, half-dressed in rags, and covered with mud; while his black hair, piercing eyes, and carbine, gave him an appearance which, though hardly prepossessing, was certainly interesting. 'Must I go?' said he.

The priest replied with an emphatic gesture: 'Those whom I bring under my roof are never driven forth, and are never unwelcome. Put down your carbine. Let us say grace, and go to table.'

'I never leave my carbine, for, as the Castilian proverb says, "Two friends are one." My carbine is my best friend; and I always keep it beside me. Although you allow me to come into your house, and do not oblige me to leave it until I wish to do so, there are others who would think nothing of hauling me out, and, perhaps, with my feet foremost. Come—to your good health, mine host, and let us to supper.'

The priest possessed an extremely good appetite, but the voracity of the stranger soon obliged him to give up, for, not contented with eating, or rather devouring, nearly the whole of the olla-podriga, the guest finished a large loaf of bread, without leaving a crumb. While he ate, he kept continually looking round with an expression of inquietude: he started at the slightest sound; and once, when a violent gust of wind made the door bang, he sprang to his feet, and seized his carbine, with an air which shewed that, if necessary, he would sell his life dearly. Discovering the cause of the alarm, he reseated himself at table, and finished his repast.

'Now,' said he, 'I have one thing more to ask. I have been wounded, and for eight days my wound has not been dressed. Give me a few old rags, and you shall be no longer burdened with my presence.'

'I am in no haste for you to go,' replied the priest, whose guest, notwithstanding his constant watchfulness, had conversed very entertainingly. 'I know something of surgery, and will dress your wound.'

So saying, he took from a cupboard a case containing everything necessary, and proceeded to do as he had said. The stranger had bled profusely, a ball having passed through his thigh; and to have travelled in this condition, and while suffering, too, from want of food, shewed a strength which seemed hardly human.

'You cannot possibly continue your journey to-day,' said the host. 'You must pass the night here. A little rest will get up your strength, diminish the inflammation of your wound, and'–

'I must go to-day, and immediately,' interrupted the stranger. 'There are some who wait for me,' he added with a sigh—'and there are some, too, who follow me.' And the momentary look of softness passed from his features between the clauses of the sentence, and gave place to an expression almost of ferocity. 'Now, is it finished? That is well. See, I can walk as firmly as though I had never been wounded. Give me some bread; pay yourself for your hospitality with this piece of gold, and adieu.'

The priest put back the gold with displeasure. 'I am not an innkeeper,' said he; 'and I do not sell my hospitality.'

'As you will, but pardon me; and now, farewell, my kind host.'

So saying, he took the bread, which Margarita, at her master's command, very unwillingly gave him, and soon his tall figure disappeared among the thick foliage of a wood which surrounded the house, or rather the cabin. An hour had scarcely passed, when musket-shots were heard close by, and the unknown reappeared, deadly pale, and bleeding from a deep wound near the heart.

'Take these,' said he, giving some pieces of gold to his late host; 'they are for my children—near the stream—in the valley.'

He fell, and the next moment several police-officers rushed into the house. They hastily secured the unfortunate man, who attempted no resistance. The priest entreated to be allowed to dress his wound, which they permitted; but when this was done, they insisted on carrying him away immediately. They would not even procure a carriage; and when they were told of the danger of removing a man so severely wounded, they merely said: 'What does it matter? If he recovers, it will only be to receive sentence of death. He is the famous brigand, José!'

José thanked the intercessor with a look. He then asked for a little water, and when the priest brought it to him, he said in a faint voice: 'Remember!' The reply was merely a sign of intelligence. When they were gone, notwithstanding all Margarita could say as to the danger of going out at night, the priest crossed the wood, descended into the valley, and soon found, beside the body of a woman, who had doubtless been killed by a stray ball of the police, an infant, and a little boy of about four years old, who was trying in vain to awaken his mother. Imagine Margarita's amazement when the priest returned with two children in his arms.

'May all good saints defend us! What have you done, señor? We have barely enough to live upon, and you bring two children! I suppose I must beg from door to door, for you and for them. And, for mercy's sake, who are these children? The sons of that brigand, gipsy, thief, murderer, perhaps! I am sure they have never been baptised!' At this moment the infant began to cry. 'And pray, Señor Clérigo, how do you mean to feed that child? You know very well that we have no means of paying a nurse. We must spoon-feed it, and nice nights that will give me! It cannot be more than six months old, poor little creature,' she added, as her master placed it in her arms. 'Fortunately, I have a little milk here;' and forgetting her anger, she busied herself in putting some milk on the fire, and then sat down beside it to warm the infant, who seemed half-frozen. Her master watched her in silence, and when at last he saw her kiss its little cheek, he turned away with a quiet smile.

When at length the little one had been hushed into a gentle slumber, and when Margarita, with the assistance of her master's cloak, and some of her own clothes, had made a bed for the elder boy, and placed him in it, the good man told her how the children had been committed to his care, and the promise he had made, though not in words, to protect them.

'That is very right and good, no doubt,' said Margarita; 'I only want to know how we are all to live?' The priest opened his Bible, and read aloud:

'Whosoever shall give to drink unto one of these little ones a cup of cold water only in the name of a disciple, verily I say unto you, he shall in no wise lose his reward.'

'Amen!' said Margarita.

Twelve years passed by. The parish priest of San Pietro, who was now more than seventy years old, was sitting in the sunshine at his door. Near him, a boy of about twelve years old was reading aloud from the Bible, looking occasionally towards a tall, fine-looking young man, who was hard at work in a garden close by. Margarita, who was now become blind, sat and listened. Suddenly, the sound of wheels was heard, and the boy exclaimed: 'Oh! the beautiful carriage!' A splendid carriage approached rapidly, and stopped before the door. A richly-dressed servant approached, and asked for a cup of water for his master.

'Carlos,' said the priest to the younger boy, 'go, bring water to the gentleman; and add some wine, if he will accept it. Go quickly!' At this moment, the carriage-door opened, and a gentleman, apparently about fifty years old, alighted.

'Are these your nephews?' said he to the priest.

'They are more than that, señor; they are my children—the children of my adoption.'

'How is that?'

'I will tell you, señor; for I am old and poor, and know but little of the world, and am in much need of advice; for I know not what to do with these two children.' He related the story we have just told. 'And now, señor, what do you advise me to do?'

'Apply to one of the nobles of the court, who must assign you a pension of four thousand ducats.'

'I asked you for advice, señor, and not for jest.'

'And then, your church must be rebuilt. We will call it the Church of the Cup of Cold Water. Here is the plan. See, this is to be the vicarage; and here, divided by this paling'–

'What does this mean? What would you say? And, surely, I remember that voice, that face'–

'I am Don José della Ribeira; and twelve years ago, I was the brigand José. I escaped from prison; and—for the revolution made great changes—am now powerful. My children'–

He clasped them in his arms. And when at length he had embraced them a hundred times, with tears, and smiles, and broken sentences; and when all had in some degree recovered their composure, he took the hand of the priest and said: 'Well, father, will you not accept the Church of the Cup of Cold Water?' The old man, deeply affected, turned to Margarita, and repeated:

'Whosoever shall give to drink unto one of these little ones a cup of cold water only in the name of a disciple, verily I say unto you, he shall in no wise lose his reward.'

'Amen!' replied the aged woman, her voice tremulous from emotion.

A short time afterwards, Don José della Ribeira and his two sons were present at the consecration of the church of San-Pietro-del-Vaso-di-Aqua-Fria, one of the prettiest churches in the neighbourhood of Sevilla.

MUSIC-GRINDERS OF THE METROPOLIS

Perhaps the pleasantest of all the out-door accessories of a London life are the strains of fugitive music which one hears in the quiet by-streets or suburban highways—strains born of the skill of some of our wandering artists, who, with flute, violin, harp, or brazen tube of various shape and designation, make the brick-walls of the busy city responsive with the echoes of harmony. Many a time and oft have we lingered entranced by the witchery of some street Orpheus, forgetful, not merely of all the troubles of existence, but of existence itself, until the strain had ceased, and silence aroused us to the matter-of-fact world of business. One blind fiddler, we know him well, with face upturned towards the sky, has stood a public benefactor any day these twenty years, and we know not how much longer, to receive the substantial homage of the music-loving million. But that he is scarcely old enough, he might have been the identical Oxford-Street Orpheus of Wordsworth:—

 
'His station is there; and he works on the crowd,
He sways them with harmony merry and loud;
He fills with his power all their hearts to the brim—
Was aught ever heard like his fiddle and him?'
 

Decidedly not—there is nothing to match it; and so thinks 'the one-pennied boy' who spares him his one penny, and deems it well bestowed. Then there are the harpers, with their smooth French-horn-breathing and piccola-piping comrades, who at the soothing hour of twilight affect the tranquil and retired paved courts or snug enclosures far from the roar and rumble of chariot-wheels, where, clustered round with lads and lasses released from the toils of the day, they dispense romance and sentiment, and harmonious cadences, in exchange for copper compliments and the well-merited applause of fit audiences, though few. Again, there are the valorous brass-bands of the young Germans, who blow such spirit-stirring appeals from their travel-worn and battered tubes—to say nothing of the thousand performers of solos and duets, who, wherever there is the chance of a moment's hearing, are ready to attempt their seductions upon our ears to the prejudice of our pockets. All these we must pass over with this brief mention upon the present occasion; our business being with their numerous antitheses and would-be rivals—the incarnate nuisances who fill the air with discordant and fragmentary mutilations and distortions of heaven-born melody, to the distraction of educated ears and the perversion of the popular taste.

'Music by handle,' as it has been facetiously termed, forms our present subject. This kind of harmony, which is not too often deserving of the name, still constitutes, notwithstanding the large amount of indisputable talent which derives its support from the gratuitous contributions of the public, by far the larger portion of the peripatetic minstrelsy of the metropolis. It would appear that these grinders of music, with some few exceptions which we shall notice as we proceed, are distinguished from their praiseworthy exemplars, the musicians, by one remarkable, and to them perhaps very comfortable characteristic. Like the exquisite Charles Lamb—if his curious confession was not a literary myth—they have ears, but no ear, though they would hardly be brought to acknowledge the fact so candidly as he did. They may be divided, so far as our observation goes, into the following classes:—1. Hand-organists; 2. Monkey-organists; 3. Handbarrow-organists; 4. Handcart-organists; 5. Horse-and-cart-organists; 6. Blindbird-organists; 7. Piano-grinders; 8. Flageolet-organists and pianists; 9. Hurdy-gurdy players.

1. The hand-organist is most frequently a Frenchman of the departments, nearly always a foreigner. If his instrument be good for anything, and he have a talent for forming a connection, he will be found to have his regular rounds, and may be met with any hour in the week at the same spot he occupied at that hour on the week previous. But a man so circumstanced is at the head of the vagabond profession, the major part of whom wander at their own sweet will wherever chance may guide. The hand-organ which they lug about varies in value from L.10 to L.150—at least, this last-named sum was the cost of a first-rate instrument thirty years ago, such as were borne about by the street-organists of Bath, Cheltenham, and the fashionable watering-places, and the grinders of the West End of London at that period, when musical talent was much less common than it is now. We have seen a contract for repairs to one of these instruments, including a new stop and new barrels, amounting to the liberal sum of L.75: it belonged to a man who had grown so impudent in prosperity, as to incur the penalty of seven years' banishment from the town in which he turned his handle, for the offence of thrashing a young nobleman, who stood between him and his auditors too near for his sense of dignity. Since the invention of the metal reed, however, which, under various modifications and combinations, supplies the sole utterance of the harmonicon, celestina, seraphina, colophon, accordian, concertina, &c. &c. and which does away with the necessity for pipes, the street hand-organ has assumed a different and infinitely worse character. Some of them yet remain what the old Puritans called 'boxes of whistles'—that is, they are all pipes; but many of them might with equal propriety be called 'boxes of Jews-harps,' being all reeds, or rather vibrating metal tongues—and more still are of a mixed character, having pipes for the upper notes, and metal reeds for the bass. The effect is a succession of sudden hoarse brays as an accompaniment to a soft melody, suggesting the idea of a duet between Titania and Bottom. But this is far from the worst of it. The profession of hand-organist having of late years miserably declined, being in fact at present the next grade above mendicancy, the element of cheapness has, per force, been studied in the manufacture of the instrument. The barrels of some are so villainously pricked that the time is altogether broken, the ear is assailed with a minim in the place of a quaver, and vice versâ—and occasionally, as a matter of convenience, a bar is left out, or even one is repeated, in utter disregard of suffering humanity. But what is worse still, these metal reeds, which are the most untunable things in the whole range of sound-producing material, are constantly, from contact with fog and moisture, getting out of order; and howl dolorously as they will in token of their ailments, their half-starved guardian, who will grind half an hour for a penny, cannot afford to medicate their pains, even if he is aware of them, which, judging from his placid composure during the most infamous combination of discords, is very much to be questioned.¹

2. The monkey-organist is generally a native of Switzerland or the Tyrol. He carries a worn-out, doctored, and flannel-swathed instrument, under the weight of which, being but a youth, or very rarely an adult, he staggers slowly along, with outstretched back and bended knees. On the top of his old organ sits a monkey, or sometimes a marmoset, to whose queer face and queerer tricks, he trusts for compensating the defective quality of his music. He dresses his shivering brute in a red jacket and a cloth cap; and, when he can, he teaches him to grind the organ, to the music of which he will himself dance wearily. He wears an everlasting smile upon his countenance, indicative of humour, natural and not assumed for the occasion: and though he invariably unites the profession of a beggar with that of monkey-master and musician, he has evidently no faith in a melancholy face, and does not think it absolutely necessary to make you thoroughly miserable in order to excite your charity. He will leave his monkey grinding away on a door-step, and follow you with a grinning face for a hundred yards or more, singing in a kind of recitative: 'Date qualche cosa, signer! per amor di Dio, eccellenza, date qualche cosa!' If you comply with his request, his voluble thanks are too rapid for your comprehension; and if you refuse, he laughs merrily in your face as he turns away to rejoin his friend and coadjutor. He is a favourite subject with the young artists about town, especially if he is very good-looking, or, better still, excessively ugly; and he picks up many a shilling for sitting, standing, or sprawling on the ground, as a model in the studio. It sometimes happens that he has no organ—his monkey being his only stock in trade. When the monkey dies—and one sees by their melancholy comicalities, and cautious and painful grimaces, that the poor brutes are destined to a short time of it—he takes up with white mice, or, lacking these, constructs a dancing-doll, which, with the aid of a short plank with an upright at one end, to which is attached a cord passing through the body of the doll, and fastened to his right leg, he keeps constantly on the jig, to the music of a tuneless tin-whistle, bought for a penny, and a very primitive parchment tabor, manufactured by himself. These shifts he resorts to in the hope of retaining his independence and personal freedom—failing to succeed in which, he is driven, as a last resource, to the comfortless drudgery of piano-grinding, which we shall have to notice in its turn.

3. The handbarrow-organist is not uncommonly some lazy Irishman, if he be not a sickly Savoyard, who has mounted his organ upon a handbarrow of light and somewhat peculiar construction, for the sake of facilitating the task of locomotion. From the nature of his equipage, he is not given to grinding so perpetually as his heavily-burdened brethren. He cannot of course grind, as they occasionally do, as he travels along, so he pursues a different system of tactics. He walks leisurely along the quiet ways, turning his eyes constantly to the right and left, on the look-out for a promising opening. The sight of a group of children at a parlour-window brings him into your front garden, where he establishes his instrument with all the deliberation of a proprietor of the premises. He is pretty sure to begin his performance in the middle of a tune, with a hiccoughing kind of sound, as though the pipes were gasping for breath. He puts a sudden period to his questionable harmony the very instant he gets his penny, having a notion, which is tolerably correct, that you pay him for his silence and not for his sounds. In spite of his discordant gurglings and squealings, he is welcomed by the nursery-maids and their infant tribes of little sturdy rogues in petticoats, who flock eagerly round him, and purchase the luxury of a half-penny grind, which they perform con amore, seated on the top of his machine. If, when your front garden is thus invaded, you insist upon his decamping without a fee, he shews his estimate of the peace and quietness you desiderate by his unwillingness to retire, which, however, he at length consents to do, though not without a muttered remonstrance, delivered with the air of an injured man. He generally contrives to house himself as night draws on in some dingy taproom, appertaining to the lowest class of Tom-and-Jerry shops, where, for a few coppers and 'a few beer,' he will ring all the changes on his instrument twenty times over, until he and his admiring auditors are ejected at midnight by the police-fearing landlord.