Читать книгу: «Chambers's Edinburgh Journal, No. 455», страница 5

"What does make you so bad, Topsy? Why won't you try and be good? Don't you love anybody, Topsy?"

"Donno nothing 'bout love. I loves candy and sich—that's all," said Topsy.

"But you love your father and mother?"

"Never had none, ye know. I telled ye that, Miss Eva."

"Oh, I know," said Eva sadly; "but hadn't you any brother, or sister, or aunt, or"–

"No, none on 'm—never had nothing nor nobody."

"But, Topsy, if you'd only try to be good, you might"–

"Couldn't never be nothin' but a nigger, if I was ever so good," said Topsy. "If I could be skinned, and come white, I'd try then."

"But people can love you, if you are black, Topsy. Miss Ophelia would love you if you were good."

'Topsy gave the short, blunt laugh that was her common mode of expressing incredulity.

"Don't you think so?" said Eva.

"No; she can't bar me, 'cause I'm a nigger!—she'd's soon have a toad touch her. There can't nobody love niggers, and niggers can't do nothin'. I don't care," said Topsy, beginning to whistle.

"O Topsy, poor child, I love you," said Eva, with a sudden burst of feeling, and laying her little thin white hand on Topsy's shoulder—"I love you because you haven't had any father, or mother, or friends—because you've been a poor, abused child! I love you, and I want you to be good. I am very unwell, Topsy, and I think I shan't live a great while; and it really grieves me to have you be so naughty. I wish you would try to be good, for my sake; it's only a little while I shall be with you."

'The round, keen eyes of the black child were overcast with tears; large bright drops rolled heavily down, one by one, and fell on the little white hand. Yes, in that moment a ray of real belief, a ray of heavenly love, had penetrated the darkness of her heathen soul. She laid her head down between her knees, and wept and sobbed; while the beautiful child, bending over her, looked like the picture of some bright angel stooping to reclaim a sinner.

"Poor Topsy!" said Eva, "don't you know that Jesus loves all alike? He is just as willing to love you as me. He loves you just as I do, only more, because he is better. He will help you to be good, and you can go to heaven at last, and be an angel for ever, just as much as if you were white. Only think of it, Topsy; you can be one of those spirits bright Uncle Tom sings about."

"O dear Miss Eva!—dear Miss Eva!" said the child, "I will try—I will try! I never did care nothin' about it before."'

By such persuasions, Eva had the happiness to see the beginning of improvement in Topsy, who finally assumed an entirely new character, and attained a respectable position in society.

Eva, after this, declined rapidly. Uncle Tom was much in her room. 'The child suffered much from nervous restlessness, and it was a relief to her to be carried; and it was Tom's greatest delight to carry her little frail form in his arms, resting on a pillow, now up and down her room, now out into the veranda; and when the fresh sea-breezes blew from the lake, and the child felt freshest in the morning, he would sometimes walk with her under the orange-trees in the garden, or, sitting down in some of their old seats, sing to her their favourite old hymns. The desire to do something was not confined to Tom. Every servant in the establishment shewed the same feeling, and in their way did what they could.' At length, the moment of departure of this highly-prized being arrives. 'It is midnight—strange, mystic hour, when the veil between the frail present and the eternal future grows thin—then came the messenger!' St Clare was called, and was up in her room in an instant. 'What was it he saw that made his heart stand still? Why was no word spoken between the two? Thou canst say, who hast seen that same expression on the face dearest to thee—that look, indescribable, hopeless, unmistakable, that says to thee that thy beloved is no longer thine.

'On the face of the child, however, there was no ghastly imprint—only a high and almost sublime expression—the overshadowing presence of spiritual natures, the dawning of immortal life in that childish soul.

'They stood there so still, gazing upon her, that even the ticking of the watch seemed too loud.' Tom arrived with the doctor. The house was aroused—'lights were seen, footsteps heard, anxious faces thronged the veranda, and looked tearfully through the glass doors; but St Clare heard and said nothing; he saw only that look on the face of the little sleeper.

"Oh, if she would only wake, and speak once more!" he said; and, stooping over her, lie spoke in her ear: "Eva, darling!"

'The large blue eyes unclosed—a smile passed over her face; she tried to raise her head, and to speak.

"Do you know me, Eva?"

"Dear papa," said the child with a last effort, throwing her arms about his neck. In a moment, they dropped again; and as St Clare raised his head, he saw a spasm of mortal agony pass over the face: she struggled for breath, and threw up her little hands.

"O God, this is dreadful!" he said, turning away in agony, and wringing Tom's hand, scarce conscious what he was doing. "O Tom, my boy, it is killing me!"

'The child lay panting on her pillows, as one exhausted; the large clear eyes rolled up and fixed. Ah, what said those eyes that spoke so much of heaven? Earth was passed, and earthly pain; but so solemn, so mysterious, was the triumphant brightness of that face, that it checked even the sobs of sorrow. They pressed around her in breathless stillness.

"Eva!" said St Clare gently. She did not hear.

"O Eva, tell us what you see! What is it?" said her father.

'A bright, a glorious smile passed over her face, and she said, brokenly: "O love—joy—peace!" gave one sigh, and passed from death unto life!'

Previous to the death of the dear Eva, she had induced her father to promise to emancipate Tom, and he was taking steps to give this faithful servant his liberty, when a terrible catastrophe occurred. St Clare was suddenly killed in attempting to appease a quarrel in one of the coffee-rooms of New Orleans. His family were plunged into grief and consternation; and by his trustees the whole of the servants in the establishment, Uncle Tom included, were brought to sale in the open market.

'Beneath a splendid dome were men of all nations, moving to and fro over the marble pavé. On every side of the circular area were little tribunes, or stations, for the use of speakers and auctioneers. Two of these, on opposite sides of the area, were now occupied by brilliant and talented gentlemen, enthusiastically forcing up, in English and French commingled, the bids of connoisseurs in their various wares. A third one, on the other side, still unoccupied, was surrounded by a group waiting the moment of sale to begin. And here we may recognise the St Clare servants, awaiting their turn with anxious and dejected faces.

'Tom had been standing wistfully examining the multitude of faces thronging around him for one whom he would wish to call master; and, if you should ever be under the necessity, sir, of selecting out of two hundred men one who was to become your absolute owner and disposer, you would perhaps realise, just as Tom did, how few there were that you would feel at all comfortable in being made over to. Tom saw abundance of men, great, burly, gruff men; little, chirping, dried men; long-favoured, lank, hard men; and every variety of stubbed-looking, common-place men, who pick up their fellow-men as one picks up chips, putting them into the fire or a basket with equal unconcern, according to their convenience; but he saw no St Clare.

'A little before the sale commenced, a short, broad, muscular man, in a checked shirt, considerably open at the bosom, and pantaloons much the worse for dirt and wear, elbowed his way through the crowd, like one who is going actively into a business; and, coming up to the group, began to examine them systematically. From the moment that Tom saw him approaching, he felt an immediate and revolting horror at him, that increased as he came near. He was evidently, though short, of gigantic strength. His round, bullet head, large, light-gray eyes, with their shaggy, sandy eyebrows, and stiff, wiry, sun-burned hair, were rather unprepossessing items, it is to be confessed; his large, coarse mouth was distended with tobacco, the juice of which, from time to time, he ejected from him with great decision and explosive force; his hands were immensely large, hairy, sun-burned, freckled, and very dirty, and garnished with long nails, in a very foul condition. This man proceeded to a very free personal examination of the lot. He seized Tom by the jaw, and pulled open his mouth to inspect his teeth; made him strip up his sleeve to shew his muscle; turned him round, made him jump and spring, to shew his paces.' Almost immediately, Tom was ordered to mount the block. 'Tom stepped upon the block, gave a few anxious looks round; all seemed mingled in a common, indistinct noise—the clatter of the salesman crying off his qualifications in French and English, the quick fire of French and English bids; and almost in a moment came the final thump of the hammer, and the clear ring on the last syllable of the word "dollars," as the auctioneer announced his price, and Tom was made over.—He had a master!

'He was pushed from the block; the short, bullet-headed man, seizing him roughly by the shoulder, pushed him to one side, saying, in a harsh voice: "Stand there, you!"'

By his new and rude master, Tom was forthwith marched off; put on board a vessel for a distant cotton-plantation on Red River; stripped of his decent apparel by his savage owner, and dressed in the meanest habiliments. The treatment of the poor negro was now most revolting. He was wrought hard under a burning sun; half-starved; scourged; loaded with the grossest abuse. All this ends in a rapid decline of health; and his story terminates with an account of his death, his last moments being dignified by a strong sentiment of piety, and of forgiveness towards his inhuman taskmaster.

We have now presented a sufficiently ample abstract of Uncle Tom's Cabin, a work which will undoubtedly be perused at length by all who feel deeply on the subject of negro slavery. Of the authoress, Mrs H. B. Stowe, it may be said, that her chief merit consists in close observation of character, with a forcible and truth-like power of delineation. In plot, supposing her to aim at such a thing, she decidedly fails, and the winding-up of her dramatis personæ is hurried and imperfect. Notwithstanding these defects, however, she has succeeded in rivetting universal attention, while her aims are in the highest degree praiseworthy.

HANDEL IN DUBLIN

If biographers will occasionally make assertions at random, and pass lightly over important events, because their records are not at hand, while they give ample development to others, just because the materials for doing so are more abundant, it is well that there is to be found here and there an industrious littérateur, who will leave no leaf unturned, and no corner unexplored, if he suspects that any error has been committed, or any passage of interest slighted, in the memoirs of a favourite author.

Mr Mainwaring, the earliest biographer of Handel, and, on his authority, a host of subsequent writers, took upon them to assert, without any apparent foundation, that the oratorio of the Messiah was performed in London in the year 1741, previously to Handel's visit to Ireland; but that it met with a cold reception, and this was one cause of his leaving England. Dr Burney, when composing his History of Music, examined all the London newspapers where public amusements were advertised during 1741 and for several previous years, but found no mention whatever of this oratorio. He remembered, too, being a school-boy at Chester when Handel spent a week there, waiting for fair winds to carry him across the Channel, and taking advantage of the delay 'to prove some books that had been hastily transcribed, by trying the choruses which he intended to perform in Ireland.' An amateur band was mustered for him, and the manuscript choruses thus verified were those of the Messiah. In the absence, therefore, of stronger evidence to the contrary, Dr Burney believed that Dublin had the honour of its first performance. An Irish barrister has now proved this, we think, beyond dispute.¹ His evidence has been drawn from the newspaper tomes of 1741, preserved in the public libraries of Dublin, confirmed by the records of the cathedrals and some of the charitable institutions, and yet more emphatically from some original letters of this date. He has thus succeeded in doing 'justice to Ireland,' by securing for it, in all time to come, the distinguished place which it is entitled to occupy in the history of this great man. Perhaps we should rather say, he has done justice to England, by clearing it of the imputation of having 'coldly received' a musical production to which immortal fame has since been decreed. While the musical world will thank our author for several new facts particularly interesting to them, the main attraction for general readers will probably be found in the glimpses which this volume affords of a beau monde which has passed away.

In 1720, a royal academy for the promotion of Italian operas was founded in London by some of the nobility and gentry under royal auspices. Handel, Bononcini, and Areosti, were engaged as a triumvirate of composers; and to Handel was committed the charge of engaging the singers. But the rivalry between him and Bononcini rose to strife; the aristocratic patrons took nearly equal sides; and a furious controversy on their respective merits was carried on for years. Hence the epigram of Dean Swift—

 
Some say that Signor Bononcini,
Compared to Handel, is a ninny;
Others aver that to him Handel
Is scarcely fit to hold the candle.
Strange that such difference should be
'Twixt tweedledum and tweedledee!
 

When the withdrawal of both his rivals left Handel in sole possession of the field, he quarrelled with some of his principal performers, and thereupon ensued new scenes of discord. Ladies of the highest rank entered with enthusiasm into the strife; and while some flourished their fans aloft on the side of Faustina, whom Handel had introduced in order to supersede Cuzzoni, another party, headed by the Countess of Pembroke, espoused the cause of the depressed songstress, and made her take an oath on the Holy Gospels, that she would never submit to accept a lower salary than her rival. The humorous poets of the day took up the theme, Pope introduced it into his Dunciad, and Arbuthnot published two witty brochures, entitled Harmony in an Uproar, and The Devil to Pay at St James's. The result of these and other contests, in which Handel gradually lost ground, was the establishment of a rival Opera at Lincoln's Inn Fields. It was patronised by the Prince of Wales and most of the nobles; and not even the presence of the king and queen, who continued the steady friends of Handel, could attract for him an audience at the Haymarket. It became quite fashionable to decry his compositions as beneath the notice of musical connoisseurs. Politics, it is said, came to mingle in the controversy; and those who held by the king's Opera were as certainly Tories, as those who went to the nobility's were Whigs. Of course all this was very foolish, and very wrong; yet in our days of stately conventionality, when perfect impassibility is deemed the highest style of breeding, there is something refreshing in reading of such animated scenes in high life. The crowning act of hostility to Handel, was when the Earl of Middlesex himself assumed the profession of manager of Italian operas, and engaged the king's theatre, with a new composer, and a new company.

Handel had, for some time, been meditating a withdrawal from the Opera, in order to devote himself exclusively to the composition of sacred music, of which he had already produced several fine specimens. He was wont to say, that this was an occupation 'better suited to the circumstances of a man advancing in years, than that of adapting music to such vain and trivial words as the musical drama generally consists of.' The truth was, he had discovered his forte. But the tide of fashionable feeling ran so strongly against him, that even the performance of the oratorios of Saul and Israel in Egypt scarcely paid expenses. Unwilling to submit his forthcoming Messiah also to the caprices of fashion, and the malignity of party, he wisely embraced an opportunity which was opened to him of bringing out this great work in Dublin, under singularly favourable auspices, and crossed the Channel in November 1741.

Those who are acquainted with the Irish metropolis—not merely with the handsome streets and squares eastward, which are now the abodes of gentility, but with the dirty thoroughfares about the cathedrals—have observed the large houses which some of them contain, now let in single rooms to a wretched population, and need scarcely be told that they were once the abodes of wealth and luxury. Fishamble Street, in this quarter of the town, is one of the oldest streets in Dublin. 'Under the eastern gable of the ancient cathedral of Christ's Church, separated and hidden from it by a row of houses, it winds its crooked course down the hill from Castle Street to the Liffey, as forlorn and neglected as other old streets in its vicinity. A number of trunkmakers' shops give it an aspect somewhat peculiar; miserable alleys open from it on the right and left; a barber's pole or two overhang the footway; and huxters' shops are frequent, with their wonted array of articles more useful than ornamental. One would never guess, looking at this old street, that it was once the festive resort of the wealthy and refined. It needs an effort of imagination to conceive of it as having witnessed the gay throng of fashion and aristocracy; the vice-regal cortège; ladies, in hoops and feathers; and "white-gloved beaux," in bag, and sword, and chapeau; with scores of liveried footmen and pages; and the press of coaches, and chariots, and sedan-chairs. Yet such was the scene often presented here in the eighteenth century.' For see, in an oblique angle of the street, and somewhat retired from the other houses, is a mean, neglected old building, with a wooden porch, still known by name as the Fishamble Street Theatre. This is the remaining part of what was originally 'the great music-hall,' built by a charitable musical society, 'finished in the most elegant manner, under the direction of Captain Castell,' and opened to the public on the 2d October 1741. It was within these walls that the notes of the Messiah first sounded in the ears of an enraptured audience, and here that its author entered on a new career of fame.

To prepare for the reception of this, his master-work, Handel first gave a series of musical entertainments, consisting of some of his earlier oratorios, and other kindred compositions. They commanded a most distinguished auditory, including the Lord-Lieutenant and his family, and were crowned with success in a pecuniary point of view, answering, and indeed exceeding, the composer's highest expectations. In a letter written at this time to Mr C. Jennens, who had selected the words of the Messiah, and composed those of a cantata which had been much admired, he describes, in glowing colours, his happy position, and informs him that he had set the Messiah to music before he left England—thus inferentially affording additional evidence that it had not been performed there. Moreover, the advertisements call it Handel's new oratorio, and boast that it was composed expressly for the charitable purpose to which the proceeds of its first performance were consecrated. This is confirmed by reference to the minutes of one at least of these institutions, in which it appears that Handel was in correspondence with them before he had completed his composition.

The people of Dublin are passionately fond of music, and charitable musical societies form a peculiar and interesting feature of its society during the last century. These were academies or clubs, each of which was attached in the way of patronage to some particular charity, to which its revenues were consecrated. Whitelaw, in his History of Dublin (1758), mentions a very aristocratic musical academy, which held its meetings in the Fishamble Street Hall, under the presidency of the Earl of Mornington—the Duke of Wellington's father. His lordship was himself the leader of the band; among the violoncellos were Lord Bellamont, Sir John Dillon, and Dean Burke; among the flutes, Lord Lucan; at the harpsichord, Lady Freke; and so on. Their meetings, we are told, were private, except once a year, when they performed in public for a charitable purpose, and admitted all who chose to buy tickets. It does not appear, however, that this academy was identical with the association that built the hall, and whose concerts seem to have been much more frequent, as well as its benevolent designs more extensive. It was called, par eminence, The Charitable Musical Society; the others having distinctive designations besides. The objects of its benevolence were the prisoners of the Marshalseas, who were in circumstances similar to those which, many years afterwards, elicited the benevolent labours of John Howard: confined often for trifling debts, pining in hopeless misery, and without food, save that received from the casual hand of charity. This society made a daily distribution of bread among some of these, while others were released through their humane exertions. On the 17th of March 1741, they report, that 'the Committee of the Charitable Musical Society appointed for this year to visit the Marshalseas in this city, and release the prisoners confined therein for debt, have already released 188 miserable persons of both sexes. They offered a reasonable composition to the creditors, and many of the creditors being in circumstances almost equally miserable with their debtors, due regard was paid by the committee to this circumstance.' Their funds must have improved considerably after the erection of their Music Hall, which seems to have been the largest room of the kind in Dublin, and in frequent requisition for public concerts, balls, and other reunions where it was desirable to assemble a numerous company, or employ a large orchestra. The hire of the hall on such occasions would form a handsome addition to the proceeds of their own concerts.