Volume 5 — Translated from the German. Three Leaves From an Old Journal.

I. Milan, May 4, 1811.

I arrived at Milan, at eight P.M., two days ago. I had never before seen the magnificent cathedral, and I had everything to set off the picture on which I came unexpectedly. The slender sickle of the new moon hung in the violet sky, crimsoned in the west with the lingering sunlight: the street-lamps, just lighted, threw before me a line of red glow; the bronze statue surmounting the lofty obelisk rose in the clear blue above; around it silence, with a tumult below of a crowd hurrying to the theatre. While I stood lost in admiration, I saw two men, dressed for travel like myself, emerge from the shadow of one of the pillars. Their voices as they approached told me who they were, though I had not seen them in five years.

"Hermann! Adolph!" I exclaimed; and they greeted me with joy.

In a few moments we were seated at a table near the door of the nearest cafe, flasks of the Lombard champagne, the foaming wine of Asti, before us, each telling his adventures since our separation. From the same Fatherland, we had travelled far in different directions. They had just come from the Tyrol; from beholding the holy strife waged against the overbearing power of France by those brave sons of the mountains. We talked of those events, of those true-hearted patriots, and of our trust in justice human and divine. Adolph had visited the noble hero, Hofer, and read us a poem he had composed in his dwelling. I took a copy of the verses.

We had little thought of our imprudence in thus discoursing, as we talked till midnight, when the people were returning from the theatre. With promises of another meeting, we then parted and I went to my lodgings. Before I had walked far, I heard heavy, jingling steps close behind me, and, turning, saw a French gendarme. I crossed toward a side street; he followed, and suddenly seized me by the arm. "Monsieur, votre portefeuille." he said; and, when I gave it up, bade me follow him.

He led me to a lofty old building, the large door of which was secured with heavy bolts. When it swung open, I saw French soldiers on guard. My captor spoke apart with an officer, who presently gave me in charge to two soldiers. A turnkey, bearing a lamp, preceded us, and, going up-stairs, we entered a gloomy gallery. An iron-barred door was opened, and I was thrust into a narrow cell, ventilated only by a small grated window, through which gleamed a ray of starlight. The gendarme then came in, searched me, and took away my papers, handing back my watch and purse. I was then asked if I wanted anything; to which I replied with a bitter laugh; and with a not uncourteous "au revoir," the soldiers departed.

I threw myself on the straw mattress, and ruminated in the darkness on my own imprudence and my probable fate. I was only twenty-one, and full of the hope of great deeds in my country's service. I had parents, sisters, and one dearer than all; yet, for my love to them and to my native land, I should, no doubt, on the morrow be forced to kneel and receive the fire of the soldiers. Thought was agony, but I could not help thinking. Suddenly the dead silence of night was broken by a tone of melody so soft, so exquisite, so melancholy, that it penetrated my soul. It was no song; it was simply a strain of melody—such as brought tears to my eyes—such as was never heard before. Orpheus might have drawn it forth! It was—yes, I was sure it was—the sound of a violin!

Only a violin and yet such music—in my cold despair, with the galleys or death before me—it raised me to the summit of rapture! With the profoundest feelings of solemnity, it blended all the joy of freedom! How it stole on the stillness of night, wafted through the bars of my window; clear, softly swelling, plaintive, imploring like a prayer of love—yielding like the timid bride—how did that wondrous harmony possess my soul! Various airs were apparently improvised; sometimes the tones glided like magic; then rising into power, they melted into the most enchanting melody; ever clear, as if the notes had been distinct pearl-drops. Then the rhapsodical strains passed, by a strange but charming transition, into deep and wonderful pathos. It was full of sadness sweet and tender, like a mourner's sigh; now it rose into silvery richness, now gradually faded away; the melancholy plaint of an imprisoned king! It filled me with calmness and trust in the midst of misfortunes.

The music continued at intervals. I knew not whether to wonder most at the composition or the execution of the player. Then he passed into strange combinations, into bolder and wilder flights; his music was full of fire; he seemed under the influence of inspiration. He seemed to create difficulties only to triumph over them, and surpassing harmony was in all. I had played the violin, (I have never attempted it since,) and could never have imagined the instrument capable of what I heard. When the music ceased, it lingered unforgotten in my soul.

At daylight I heard the beating of a drum, and I climbed to my window to see what was going on. It overlooked the court, and I saw a company of soldiers, with three prisoners standing in front of them. The officer gave a sign, and they marched away. Just then, my cell door was opened by the jailer, who, in reply to my questions, said: "Those prisoners are to die in an hour. They are suspected of treason; of having favored the insurrection among the Tyrolese."

These words were my death-warrant. I listened, shuddering, but with composure. The jailer then informed me that the prisoners were allowed to go into the court at that hour, and I could descend if I chose. I did so. I found myself in a crowd of rough men, collected out of Lombardy, as its scum, by the energy of the French government. At a distance from the others, leaning against a pillar, his eyes turned toward the rising sun, I saw a young man about twenty-five, apparently worn out with suffering. His form was emaciated, his face deadly pale; his eyes were sunken; his nose was aquiline; his forehead broad and high; and his tangled mass of black hair, with a long beard, gave him a wild aspect. But there was a touching interest in the sorrowful expression of his chiselled mouth and the lines of his blanched face. He noticed no one, and was quite unconscious of my long, earnest gaze.

Suddenly he went up to the guard who had charge of the cells, and spoke to him earnestly in Italian. I heard his voice in moving accents of entreaty.

"No, you cannot!" replied the old man, sternly. "And if you are not quiet of nights, I will even cut your last string for you."

"It is the musician!" I cried to myself, and I hastened to speak to him. But my steps were checked by hearing my own name pronounced behind me. The gendarme who had arrested me stood there, and sternly bade me follow him. I dared not hesitate. We went out of the door, and I saw a carriage in waiting. My conductor motioned me to get in, and followed me. After a short drive the carriage stopped before a handsome house. The French soldier alighted, held the door open for me, and led me up the steps and into the house. We stood in the hall some time; at length a door opened, and a voice cried, "Entrez!" I went in alone.

A gentleman in military dress stood in the room, and extended his hand to me. I recognized him at once. Four years before, in Berlin, General K. had been brought wounded to the house of my father. Though a political enemy, he had received tender care and nursing till restored to strength.

He grasped my hand cordially. "You have been imprudent, my young friend," he cried. "Had I not occupied this post, nothing could have saved your life. You are now at liberty."

"And Hermann—and Adolph," I questioned.

"They are free also."

I poured out thanks, which the general interrupted. "You must all be my guests to-day," he said. "To-morrow I leave Milan with my troops, and you must depart, or your adventure might still have serious consequences. I have had your passports made out—to Germany."

II. Paris, April 13, 1814.

A distinguished musical amateur—an intimate friend, to whom I had told the story of my imprisoned violinist, and who thought it a romance highly colored by imagination—sent me a note to say that I was to be treated to a violin concert, by way of curing my enthusiasm. Lafont had promised to give it; my friend took him at his word. It was to come off that evening, and Baillot, Kreuzer, and Rode were invited to take part in the music.

During the last four years I had heard the best violin players in the different cities where I had sojourned, but none even approached the unknown performer. Now, my ideal was to be tested by hearing the four most celebrated masters in the world!

The saloon was brilliantly lighted, and filled with a crowd of the artistic and fashionable. The splendor was distasteful to me; I thought of the dungeon in Milan, and the melody that seemed wafted from heaven.

After the overture, Lafont opened the concert. He displayed the most finished grace in andante as in allegro; the most exquisite polish and silvery clearness of tone; but his playing—compared to my prisoner's—was like a delicate miniature beside a grand historical painting.

Kreuzer played next. His tones were full and clear, and rose into rare boldness and strength; many passages were brilliant as a string of diamonds; but it was the brilliancy of polished metal or jewels, not the living beam that penetrates the soul.

Next we heard Baillot. His performance glowed with a noble fire. He drew forth a full, energetic harmony that thrilled me; it was glorious! He ruled the realm of sound like a monarch. But my prisoner ruled it like a god!

Rode appeared last. His form was impressive in grace and dignity; his features were expressive and full of magnetic attraction. I started when he began to play; for he stirred memory to its depths. He seemed to embody the picture that had been floating before my fantasy. His music breathed the same fire and fervor, restrained by kindred power. At one moment, he rose to a height that seemed to equal the stranger's; but he could not sustain it. I felt the difference. In Rode it was a wonderful, a masterly effort— that which my prisoner accomplished with perfect ease. His chainless spirit would have soared upward and onward, seeking prouder heights, more fathomless depths. He swept the empyrean till nearing the confines of purer worlds, and gave back to men in unrivalled melodies the music heard from other spheres.

After the concert was over, my friend M—— introduced me to the celebrated artists, to whom I was bound to praise their admirable performances. I said nothing of my adventure in Milan; but Lafont, who had heard of it from M——, questioned me, and then I related the occurrence. They all laughed except Rode. I tried to describe the mysterious music, mentioning peculiar difficulties overcome in a wonderful manner by the prisoner. "Oh! you are jesting!" exclaimed Lafont. They did not believe me. I was not well pleased, and soon after took my leave. Some one followed me as I walked from the house. It was Rode.

He expressed himself deeply affected by what I had told them, and asked me if it was certainly true. I assured him it was.

"I can believe you," he said, "and, furthermore, I am sure there is but one man on earth who can be your mysterious prisoner. I heard him myself fifteen years ago. I was in Genoa, and going home late one evening, when I heard a violin played in a manner that filled me with surprise. The music was enchanting. At length I discovered the performer to be a youth hardly grown out of boyhood. He stood on a garden wall, and was looking up toward a window, while he drew from the instrument sounds which revealed mysteries in music of which I had never dreamed before. I stood in the shadow and listened. The moon came out from behind a cloud, and shone full on the boy's face and form; he was like what you have described.

"When he ceased playing, the window was softly opened, and the face of a young girl appeared. The next moment I heard a harsh voice exclaim: 'Traditore! pel diavolo!' The boy sprang from the wall into the street, plunged into a dark alley, and disappeared. A head peered over the wall, and oaths and menaces were profusely poured forth. The light in the window had been quickly extinguished. Some love affair, of course! After waiting some time, I went on, and as I passed by the wall trod upon something. It was a violin bow, no doubt dropped by the lad as he leaped from the wall. I kept the bow in hopes of finding the owner. It was marked with a P. But I could not trace him; I had to leave Genoa, and have heard nothing of him since. But to him I owe the improvements I have introduced into my performance, for I never lost the impression of his music. I call it a revelation: I owe to it the best part of my fame!"

I listened to the great artist with astonishment. Then I told him of the strange, fitful resemblances I had found in his playing to that of the stranger. Both of us cherish the hope that we shall yet discover him. So mighty a genius must one day sway the world.

III. Berlin, March 30, 1829.

After my long residence in the north, I returned here yesterday. It was half-past eight when I had changed my travelling dress and dined. I asked the butler if there was anything new at the theatre. "Nothing, mein Herr," he replied. "But the concert is an attraction. There is a violin player—"

"I have had enough of violin players."

"This one, sir, is called a wonder. See, in the paper, here, what the critic—Rellstab—says of him."

"Never mind, I care little for the critic's praise. What is the name of this wonderful performer?"

"His name? I will tell you directly. Strange—it has just gone out of my head! He is an Italian—"

"An Italian?" I exclaimed, starting up.

"Yes—and the name .... it begins with a P."

"With a P! I must go instantly Where can I procure a ticket?"

"At the bureau opposite."

In a moment I had rushed across the street, and had the ticket.

At the door of the concert hall I found the crowd so great I could not force my way in. I was compelled to stand outside with the others. Gradually I edged myself nearer. The tutti of the last composition was ended; the solo—apollacca—began.

The tones struck deep in my heart. I had heard them before; they were unforgotten. But what a miracle! Do two play—or three? That I have never heard. No, I could not trust my ears. If I might but see the player! but gain one look! In vain! the crowd surged against the open door, yet none could make way through the swaying mass. At least I could hear now—and I lost not one note.

The music ceased, and a thunder-burst of applause shook the building. I pressed forward again, striving to get a sight of the player; but others, equally eager, pushed before me. I was again disappointed. With swelling heart I waited, impatient to hear him commence again.

At last: "Now he plays on the G string," said some one near me. He began. I was not deceived. That was the very melody I heard in prison! Those were the self-same tones that once—calming, elevating, faith-inspiring, as if sent direct from heaven—sent light into my gloomy soul!

With renewed efforts I forced my way into the hall. I saw once more the pale, melancholy brow, the sunken eyes, the long, dark hair, the attenuated cheeks, the enfeebled aspect of the whole person. It was HE! The mystery of eighteen years was at length solved. The stranger who had so charmed my soul, filling me with feelings unutterable—who had ceaselessly accompanied me since, like a veiled phantom—familiar, yet from which I could not tear the covering stood before me. I heard—I saw—PAGANINI!