Chapter 5

The most generally popular of his successors at the piano in this country was undoubtedly Gottschalk, who was here quite as early as Thalberg, whose fame eclipsed all others. Upon his arrival Gottschalk played privately at a small party. He was a foreign-looking youth, with a peculiarly dull eye, and taciturn, but he was familiar with every kind of music. When he was asked he played Chopin, and with great skill. But his chief successes were his West Indian melodies, which were full of picturesque suggestion. His execution was rapid, brilliant, and forcible, but a great deal of his playing was too evidently _tours de force_. It was always interesting to watch his audience, when, upon being recalled, he began one of the West Indian strains. There was a minor monotonous theme in them which fascinated the listeners. They heard the beat of the tambourine, and saw the movement of the dance, and with them all the characteristic scenery and association of the tropics filled their imaginations. The languid grace, the rich indolence, the gay profusion of the lands where the banana grows, they felt and saw.

How many admirable players and singers have come among us! And when, as now, one drops through the bridge of Mirza, a host of Easy Chairs pause for a moment to remember how many there were, and to delight in thinking how many more there will be. Once it was the sailor who crossed the sea to find El Dorado and Cathay, now it is the artist who follows in the fascinating quest. But sailor and artist seeking gold in far countries, like the pollen-powdered bee sucking honey in the flowers, bring as rare a treasure as they find.

URBS AND RUS.

Mr. Tibs, who has an observing eye for many aspects of life, lately informed the Easy Chair of his conclusion that there are some serious objections to a suburban residence. This is a subject in which so many intelligent and judicious readers of these pages are interested, that the Easy Chair could not be indifferent to Mr. Tibs's conclusions. The population which "sleeps out of town," which goes and comes daily to and from the neighborhood of every great city in every part of the country, is immense and increasing, and it has always rather an air of lofty sympathy and pity for those who still cling to the "sweet seclusion of streets." This is the more observable and amusing because the denizens of town upon their part assume that their fellow-creatures who resort to the country as a residence are mainly impelled by motives of economy. For who would live out of town if he could live comfortably in it?

"You must find it very annoying to be tied to exact hours of trains and boats," says Urbs to Rus, "and it is not the pleasantest thing in the world to be obliged to pick your way through the river streets to the ferry, or wait at stations. However, you probably calculated the waste of time and the trouble before you decided to live in Frogtown."

"Every choice has its inconveniences, undoubtedly," responds Rus, "but I concluded that I preferred fresh air for my children to the atmosphere of sewers and gas factories, and I have a prejudice for breakfasting by sunlight rather than by gas. Then my wife enjoys the singing of birds in the morning more than the cry of the milkman, and the silence at night secures a sweeter sleep than the rattle of the horse-cars. It is true that we have no brick block opposite, and no windows of houses behind commanding our own. But to set off such deprivations there are pleasant hills and wooded slopes and gardens. They are not sidewalks, to be sure, but they satisfy us."

"Yes, yes; I see," says Urbs. "We are more to be pitied than I thought. If we must go out in the evening, we don't have the advantage of stumbling over hummocks and sinking in the mud or dust in the dark; we can only go dry-shod upon clean flagging abundantly lighted. Then we have nothing but Thomas's orchestra and the opera and the bright little theatre to console us for the loss of the frog and tree-toad concert and the tent-circus. Instead of plodding everywhere upon our own feet, which is so pleasant after running round upon them all day in town, we have nothing but cars and stages at hand to carry us to our own doors. I see clearly there are great disadvantages in city life. If a friend and his wife drop in suddenly in the evening or to dine, it is monstrously inconvenient to have an oyster-shop round the corner whence to improvise a supper or a dinner. It would be so much better to have nothing but the village grocery a mile or two away. The advantages are conspicuous. I wonder the entire population of the city doesn't go out to live in Frogtown."

Rus always feels in secret that he is at a disadvantage so long as he must go to town every day to attend to his business. He reasons plausibly that the train or the boat is no more than the horse-car, and he proves conclusively that he can be at his office within half an hour of his friend who lives in Fiftieth Street. But his friend irritatingly replies that on pleasant mornings he prefers not to take the car. He walks down in the bright air and through the busy street. With twinkling and triumphant eyes he invites Rus to do the same.

Rus gayly replies that the sun is quite as bright upon green fields as upon brick blocks or stone flagging, and the shifting panorama from the car window is a lovely picture. Urbs assents, and adds that the dust and cinders also give great zest to the enjoyment, and that dragging through tunnels is full of delight and beauty.

But the real sorrow that Rus feels has not yet been touched. It is the grief which Mr. Tibs has observed and confided to the Easy Chair. It haunts his happy hours with sad foreboding. He cannot look from his window but he sees it. He cannot celebrate the charms of country and suburban life but it seems to mock him. It turns his joy to ashes. He looks upon the wife of his bosom with anguish as he thinks of it. He gazes ruefully into his children's eyes; pretty innocents, they know naught of the impending blow. It is a Shadow, as Thackeray would have solemnly said, with Bulwerian impressiveness, which Pursues Him at Mid Day. It Awakens Him at Mid Night, and Says to Him, Sleep No More! What is it, do you ask? inquires Mr. Tibs, in his most startling manner. Brethren, 'tis the fell hand of improvement. That is it. It is that which harrows the suburban soul and destroys suburban peace. No man who lives in the neighborhood of the city, or in any little settlement, community, hamlet, thorp, village, or town which is occupied with people doing business in the city, but is exposed in his rural retirement, in his suburban home, to the ravages of improvement.

There are suburban neighborhoods of New York which are said to be subject to malaria, to fever and ague. It is false, as every denizen of Bay Ridge and Flushing knows. There are others which are alleged to be a prey to mosquitoes and chills. 'Tis a base fabrication, as every Staten Islander and dweller by the Newark marshes is ready to swear. It is notorious, and is established upon the very best authority, namely, that of the inhabitants of the districts themselves, that no shores are so salubrious as those of the bay of New York. Strict justice, indeed, demands--and to nothing so much as strict justice and truthfulness in these matters are the peaceful people of those shores devoted--strict justice and truth demand that it should not be denied that single, exceptional, but upon the whole sufficiently well attested cases of malarial trouble have been known. But they were always brought from abroad, probably from that losel Yankee-land from which most of the woe of New York has proceeded. While, therefore, it is a wanton calumny--and the corroboration of all suburban property-holders is invited to the statement--to assert that any portion of the neighborhood of New York, or of any other great city, let it be Philadelphia, Chicago, or St. Louis, Boston, Baltimore, or Savannah, is subject to malaria, or is otherwise than the true sanitarium of the continent, yet it must be owned with sorrow that every suburban region is infested with the spirit of improvement.

Edwin and Angelina were married yesterday, and will devote their honey-moon to the quest of a place in which to build their permanent nest. They find it at last in the most delightful of suburban neighborhoods. They build the pretty cottage. They spread out smooth green lawns, and plant trees and shrubs, and hide themselves in flowers. They have made a sweet sylvan seclusion, in which they sit and smile at the eloquence of Urbs, who pities their exile and depicts the charm of streets. Streets are charming, respond Edwin and Angelina in connubial chorus, but we will have none of them. Fond, foolish pair! For even at that moment the desolating spirit of improvement is staking out a street across their most emerald lawn and through their most sacred grove; their trees and flowers and turf are doomed, and their seclusion is to be turned into a dusty highway.

Suburban improvement is the ruthless devastator of home. There is no remedy. To oppose the ruin of the place which you have carefully made, which has grown around you in increasing beauty with the growth and development of your family, which is associated with all that is happiest in your life, and which is in some sort the flowering and expression of yourself, is to be derided as withstanding the public benefit and the advantage of those less fortunate than yourself. The instinct of protecting the home that you have made is denounced as sentimental selfishness, and the law steps forward, cuts down your trees, plows up your lawn, lays a gutter under your window, destroys your home, and hands you some dollars for what it calls compensation, or demands them for what it styles improvement.

I am of opinion, therefore, says Mr. Tibs, and the Easy Chair commends the reflection to those intending matrimony and thinking of a country home, that there are some serious objections to a suburban residence.

RIP VAN WINKLE.

Going the other evening to see "Rip Van Winkle," the old question of its moral naturally came up, and Portia warmly asserted that it was shameful to bring young children to see a play in which the exquisite skill of Jefferson threw a glamour upon the sorriest vice.

"See," she said, "the earnest, tearful interest with which these boys and girls near us hang upon the story. The charm to them of the scene and of the acting is indescribable. Do you suppose they can escape the effect? All their sympathy is kindled for the good-natured and good-for-nothing reprobate, and when Gretchen turns him out into the night and the storm, they cannot help feeling that it is she, not he, who has ruined the home, and that the drunken vagabond, who has just made his endearments the cover of deception, is really the victim of a virago. And when he returns, old and decrepit, and, we might hope, purged of that fatal appetite which has worked all the woe, it is his old victim, the woman whose youth his evil habits ruined, and who, in consequence of those habits was driven into the power of the tormentor, Derrick von Beekman, who hands him 'the cup that shall be death in tasting,' as if it were she, and not he, who had been properly chastened and converted from the fatal error of supposing that drunkenness is not a good thing.

"No, no," said Portia, indignantly and eloquently, raising her voice to that degree that the Easy Chair feared to hear the appalling "'sh! 'sh!" of the disturbed neighbors; "it is a grossly immoral spectacle, and the subtler and more fascinating the genius of Mr. Jefferson in the representation, the more deadly is the effect."

The drop had just fallen, and the scene on the mountains was about to open. The house had been darkened, and as the clear, quiet, unforced tone of Rip, yielding, not remonstrating, to the doom that we all knew and he did not, fell upon the hushed audience, the eyes of men and women were full of tears; while the orchestra murmured, _mezzo voce_, during the storm within and without the house, the tenderly pathetic melody of the "Lorelei:"

"I know not what it presages, This heart with sadness fraught; 'Tis a tale of the olden ages That will not from my thought."

It was not easy to find in the emotion of that moment a response to Portia's accusation of gross immorality. There was but a poetic figure in the mind--the sweet-natured, weak-willed, simple-hearted vagabond of the village and the mountain--touching the heart with pity, and, in the drunken scene, with sorrow. This figure excludes all the rest. Its symmetry and charm are the triumph of the play as acted. Now the immorality can not lie in the kindly feeling for the tippling vagabond, for that is natural and universal. Indeed, the same kind of weakness that leads to a habit of tippling belongs often to the most charming and attractive natures, and the representation of the fact upon the stage is not in itself immoral. The immorality must be found, if anywhere, as Portia insisted, in the charm with which vice is invested.

But is it so invested in this play? It used to be urged against Bulwer's early novels that they made scoundrels fascinating, and that boys after reading them would prefer rascals to honest men. If that had been the fact, the novels would have been justly open to that censure. But, tried by this standard, Rip Van Winkle, as Mr. Jefferson plays it, is far from an immoral play. The picture as he paints it is moral in the same sense that nature is moral. No man, shiftless, idle, and drunken, afraid to go home, ashamed before his children, without self-respect or the regard of others, however gentle and sweet, and however much a favorite with the boys and girls and animals he may be, is a man whose courses those boys will wish to imitate or who will make vice more tasteful to them. The pathos of the second part of the play, in which the change of age mingled with mystery is marvellously portrayed, is largely due to the consciousness that this melancholy end is all due to that woful beginning. The expulsion of Derrick and his nephew is nothing, the happiness of Meenie and her lover is nothing, the release of Gretchen is nothing, there is only a wasted old man, without companions, the long prime of whose life has been lost in unconsciousness, and who, suddenly awaking, looks at us pitifully from the edge of the grave.

By the most prosaic standards this should not seem to adorn vice with attraction. It is true that the spectator is more interested in Rip than in his wife, and that she is made a virago. But it is not his drunkenness that charms, and her virtue is at least severe. Indeed, if this performance is to be tried by this standard, the play must be regarded as a temperance mission. For temperance is to be inculcated upon the youthful spectators who sit near us not so much by stories and pictures of the furious brute who drives wife and children from a home made desolate by him, and who fly from him as from a demon, as by this simple, faithful showing of the kind-hearted loiterer who makes wretched a wife who yet loves him, and who denounces himself to the child that he loves. This is the fair view of it as a picture of ordinary human life.

But, as we look, the low wail of the sad music is in our ears, the scene changes to a weird world of faery, the story merges in a dream, and Rip Van Winkle smiles at us from a realm beyond the diocese of conscience. If conscience, indeed, will obtrude, conscience shall be satisfied. It is a sermon if you will, but if you will, also, it is a poem.

A CHINESE CRITIC.

The Easy Chair was agreeably surprised the other day by a call from a yellowish-visaged gentleman in a queue, who announced himself as of the family of Lien Chi Altangi, a name which the reader will recall as that of the Chinese philosopher and citizen of the world whose letters of observation in England were edited by Dr. Goldsmith. After the natural courtesies of such a meeting, and the Easy Chair's compliments upon the shrewdness and charm of his distinguished ancestor's observations, the Chinese gentleman fell into easy conversation, and was congratulated upon his singular familiarity with our language. He remarked that it was always an advantage to a traveller to know the language of the country, and he had no doubt that so travelling a people as the American were of the same opinion. "And as you travel over the world more generally than any other people," he said, "I presume that you are generally familiar with many languages." The Easy Chair bowed, and cleared its throat, and smiled, and said, "Oh yes--probably--undoubtedly."

"Yours is a very great country," the visitor politely returned, "and this city is indeed magnificent. It promises one day to rival Pekin, at least in extent and population. The pleasure of seeing your great men--the great men of so great a city, I mean--must be very unusual, and I should be infinitely your debtor if you would accompany me to your temple of civic greatness--your City Hall, as I understand you call it. Your popular institutions, as we are told in China, are intended to secure worthy governors of the people by the votes of the people themselves. It is exceedingly interesting, and I am very anxious to study the working of your institutions in your chief city."

The Easy Chair bowed and cleared its throat again, and answered that the study of the city was certainly very interesting, but without proffering to escort the travelling philosopher to the City Hall, it contented itself with remarking that ours is a very great country, and that its institutions are unequalled in the world.

"I have met no American who is not of that opinion," courteously returned the Chinese gentleman, "and I was pleased to see upon a visit to your Washington and Fulton markets a noble illustration of the generous and becoming manner in which such important parts of your municipal institutions are managed."

The Easy Chair answered that it was not that kind of institution which it had intended by its remark.

"Possibly you allude to another great institution which I have visited," returned the traveller, with exquisite courtesy. "You justly pride yourself upon your advances in sanitary science, and I am a devout pilgrim seeking enlightenment. Judge, then, with what pleasure I saw your chief temple of the customs. What convenience and economy of arrangement! How singularly fitted for its purpose! You are indeed a great people. I passed into the main circular hall, and what purity of atmosphere, what admirable ventilation, what refreshing coolness and sweetness; it is, indeed, a sanitarium; nor can I wonder that you are proud of your progress and achievements in this science. But when I learned that the officers engaged in the public service in this temple, in the business of various accounts, and in determining the value of the products of the whole world, were appointed to the duty because of their zeal in providing candidates for offices and procuring votes for them, I was lost in admiration of institutions under which zealous shouting and running are evidence of skill to embroider muslin and to calculate interest. Truly you are a great people, and your institutions overflow with wisdom."

The Easy Chair bowed and smiled, but the precise terms of an appropriate reply did not suggest themselves, until, remembering what was due to its native land, it began: "There can, however, illustrious son of Lien Chi Altangi, be no doubt that we are a very great and superior people, and that we have a very just pity and contempt for all the unhappy victims of the effete despotisms and hoary empires of the older world--not that we believe the other continents to be actually older, for our own favored continent doubtless emerged first from chaos, but it is an expression which, with the generosity of our institutions, we are willing to tolerate."

"I cannot deny your greatness," politely said the yellowish-visaged gentleman, "and far be it from me to question your superiority. It was but yesterday evening that I attended a social assembly which was described to me as a full-undress party, and as I entered and beheld many of the other sex, I was struck by the accuracy of the description. As I promenaded through the brilliant throng with one of the loveliest of your young persons of that sex, she said to me, with a bewitching smile, 'Dear Mr. Altangi, is it true that Chinese women squeeze their feet for beauty? How very funny!'

"She panted as she spoke, and I saw that her body was evidently incased in some kind of rigid and unyielding garment, and that her waist was surely not the waist of nature. I gazed as intently as decorum would permit--for I am but a student of cities and of men--and I was sure that my lovely companion's body was more cruelly compressed than the feet of my adorable countrywomen, and her panting breath was but evidence of the justice of my observation. I asked her with sympathy if I could not call some companion to relieve her, or, if the case were urgent, whether I could not myself offer succor. But she gazed at me as if I spoke a strange language, and smilingly asked my meaning.

"'Dear miss,' I said, 'are you not in great suffering?' 'Not at all,' she replied, and I paid homage to her heroism. 'I know not, dear miss, whether to admire more the greatness of your heroism or the generosity of your sympathy. While you are in torment yourself, your tender interest goes forth to my countrywomen in what you believe to be torture. Be comforted, dear miss; the anguish of a squeezed foot is not comparable to that of a waist so cruelly confined as yours, and the consequences, also, are not to be compared.' If human bodies in your great and happy country are made like ours in China, certainly, Mr. Easy Chair, I must acknowledge that in heroic endurance of the cruelty of fashion your country is indeed pre-eminent."