Delphi collected works o.., p.117
Delphi Collected Works of E. T. A. Hoffmann (Illustrated), page 117
“And the mighty Haendel,” said Theodore, “the inimitable Hasse, the profound and thoughtful Sebastian Bach; have you not a thought for them?”
“Certainly,” answered Cyprian; “I reckon them among the sacred bands whose hearts were strengthened by the power of faith and love. It was this power which brought to them that inspiration by virtue of which they entered into communion with the Highest, and were fired to those works which serve not worldly aims, but are, of necessity, nothing but praise of, and honour to, the loftiest things. This is why those works of theirs bear the impress of veracious truth, and why no anxious striving after ‘effect,’ no laboured apings of other things, defile and desecrate that of the Heavenly which has revealed itself to them, pure, and clear, and undefiled. This is why there is, in their writings, none of those so-called ‘striking’ modulations, varied ‘figurations,’ or effeminate ‘melodies,’ — none of those powerless, confusing rushes of instrumentation, the object of which is to benumb the intelligence of the listeners so that they may not detect the emptiness of this music. Hence it is that only the works of the masters just mentioned (and of the few in more recent times, who, like them, have remained true servants of that faithful ‘Church’ which exists no more here below), truly elevate and edify pious souls. Let me here mention the glorious master Fasch, who belongs to the old pious times, and whose profound and reverent writings have found so little favour with the frivolous crowd that his Mass for sixteen voices could not be published for want of due support. You would do me much injustice, Theodore, if you supposed that my mind is shut up with reference to the more modern music. Haydn, Mozart, and Beethoven have, in very truth, unfolded a new art, whose germ, perhaps, began to show itself in the middle of the eighteenth century. It was not the fault of those masters that frivolity and lack of comprehension prized the treasures already in existence so lightly that coiners of false money tried to give to their base metal the semblance of true currency. It is true that nearly in the same degree in which instrumental music gained in importance, vocal music became neglected, and that the complete disappearance of the true old choral music (which the result of sundry ecclesiastical changes — dissolution of the monasteries, and so forth), kept pace therewith. Of course it is quite clear that, now, it is not possible to go back to Palestrina’s simplicity and grandeur, but it is still a question how far our new gains and progress can be brought into use in churches. The spirit which rules this world drives onward and onward continually; and although the forms which are lost and gone can never come back just as they were when they moved in our life-atmosphere, what is true is everlasting, imperishable, immortal; and a wondrous spiritual communion gently binds a mysterious band around the past, the present, and the future. The sublime old masters are still alive, in the spirit. ‘They being dead, yet speak.’ Their music has not died away into silence, although in the roaring, tumultuous strife of the ungovernable which has broken in upon us, it is difficult to hear it. May the time of the fulfilling of our hopes be not far off! May a life of piety, peace, and joy begin, when Music, plying her Seraph-pinions freely and joyously once more, may enter upon her flight to the life beyond this, to that world which is her home, and whence comfort and salvation beam down into the unresting hearts of men.”
Cyprian spoke those words with an unction which showed that they came truly from his heart of hearts. The friends, deeply moved by them, kept silence for some moments.
Then Sylvester said, “Although I am not a musician as Theodore and Cyprian are, I can assure you that I have thoroughly followed all you have said about Beethoven’s Mass, and Church music in general. But, just as Cyprian complains that it may almost be said that there is no such person in existence at the present moment as a genuine ecclesiastical composer, I think I might assert that it would be hard to find a poet able to write worthy words for a Church composition.”
“Quite true,” said Theodore; “and the German words published with this very Mass of Beethoven’s are but too clear a proof of it.” 4
“But now,” said Vincenz, rising from his chair, “like a second irate Pope Marcellus, I banish all further talk about music from the chapel of the Holy Saint Serapion. Both Theodore and Cyprian have spoken very finely, but let me move ‘the previous question’ — let us return to the strict rule of the Order, for which I, being a novice, am a great stickler.”
“Vincenz is right,” said Theodore. “Our dissertations have not been very interesting to the unskilled in music, wherefore it is well to bring them to a conclusion. Let Sylvester read us the tale he has brought with him.”
This was agreed to, and Sylvester began, without further prelude, as follows: —
MASTER MARTIN, THE COOPER, AND HIS MEN.
DEAR READER, DOUBTLESS you, like others, feel your heart swell with emotion when you wander about some spot where the glorious monuments of old German art bear witness, in eloquent language, to the brightness, the pious, diligent industry, the truthfulness of beautiful days which are no more. Does not it seem as though you were entering some old, deserted dwelling? The pious book which the good house-father had been reading is still lying open on the table; the mother’s needlework is still in the place where she left it; cherished presents, given on birthdays, and other festivals, stand about in carefully-kept cupboards. You feel as though some members of the household would come in presently and greet you with cordial hospitality. But you wait for them in vain. The ever-rolling wheel of time has carried them away. You may give yourself up to the sweet dream which brings the old masters back to you, so that you hear them talking to you with a pious energy which goes to the very marrow of your bones. And it is then that you begin to understand the deep meaning of their labours; for you are living in their days, and you understand the period which produced them and their works. But alas! what happens is, that just as you would clasp this beautiful dream-image to your heart with loving arms, it flies away coyly on the light clouds of the morning, scared at the noise and uproar of the day, and you gaze at its vanishing after-shimmer with eyes filled with burning tears. Hard beset by the surges of the life around you, you wake suddenly from the beautiful dream, and all that remains to you is the deep, endless longing which penetrates your heart with thrills of sweet emotion. Feelings such as those, dear reader, have at all times filled the breast of him who writes those pages for you, when his way has led him to the world-renowned town of Nürnberg. Delaying before the wondrous fabric of the fountain in the market-place, or contemplating the monument in St. Sebald, or the Pyx in St. Laurenz, or Albert Dürer’s works of deep meaning in the Rathhaus, he has yielded himself wholly to the sweet dreams which took him back into the midst of the glories of the old Imperial free-town; and many a picture of the doughty burgher-life of those old days, when art and handicraft held out hands of help and friendship to each other in eager emulation, has risen up in clearness, and impressed itself on his mind with a peculiar pleasure and serenity of cheerfulness. Let it please you, dear reader, to have one of those pictures displayed to you. Perhaps you may look upon it with a sense of pleasure and satisfaction, or even with genial smiles; perhaps you may feel at home in Master Martin’s house, and linger gladly amongst his vats and barrels. At all events, may that come to pass which the writer from the depths of his heart most cordially desires.
HOW MASTER MARTIN WAS ELECTED ONE OF THE CHIEFS OF HIS GUILD, AND DULY RETURNED THANKS FOR THAT HONOUR.
On the first of May of the year one thousand five hundred and eighty, the Honourable Guild of Coopers in the free Imperial town of Nürnberg held its solemn annual meeting, according to use and wont. A short time previously one of its “Vorsteher,” or presidents, had been carried to his grave; so that it was necessary to appoint his successor. The choice fell upon Master Martin, and, in truth, no one could equal him in strong and elegant building of vats; nor did any one understand as he did the keeping of wine in cellar; for which reason he had the grandest lords and gentry for his patrons, and lived in the utmost comfort; nay, in absolute wealth, so that the worthy town councillor, Jacobus Paumgartner (who was president of the Guild), said, “You have done right well, my worthy friends, to pitch upon Master Martin for this appointment, which could not be in better hands. Master Martin is highly esteemed by all who have the pleasure of his acquaintance, for his great ability, and his profound experience in the art of storing and caring for the noble wine. His ceaseless, honest industry, his life of piety, in spite of the wealth which he has amassed, are an example to you all.”
“So I offer you a thousand congratulations on your election, my dear Master Martin.”
Thus saying, Paumgartner rose from his chair, and stepped forward a pace or two with extended arms, expecting that Master Martin would advance towards him in reciprocation. Upon which Master Martin pressed his arms on the elbows of his chair, and raised himself as slowly and heavily as his well-nourished “corporation” admitted of his doing; after which, with equal deliberateness, he walked into Paumgartner’s hearty embrace, which he scarcely returned.
“Well, Master Martin,” said Paumgartner, a little astonished, “is there anything not quite to your liking in having been elected Syndic?”
Master Martin, as was his habit, threw his head well back, fingered his paunch with both hands, and looked around the assemblage with his eyes opened very wide, and his nether lip protruded; then, turning to Paumgartner, he said: “My dear and worthy sir! how should it be otherwise than to my liking that I receive what is my just due? Who despises the reward of his hard work? Who sends from his door a bad debtor who comes at last to pay the money he has owed so long? My good friends” — here he turned to the Masters— “it has struck you at last, has it, that I ought to be elected Syndic of our Honourable Guild? What, think you, are the qualifications you expect in your Syndic? Ought he to be the best hand at his work? — Go and look at my two-fudder vat, hooped without firing, my great masterpiece there, and then come and tell me if e’er a one of you can boast of a piece of work its equal in strength and beauty. Should your Syndic be a man of money and property? — Call at my house, and I will open my chests and my coffers, and you shall gladden your eyes with the sight of the glittering gold and silver. Should he be honoured and esteemed by high and low, great and small? — Ask our honourable gentlemen of the Council; ask Princes und Lords all round our good town of Nürnberg; ask the Right Rev. Bishop of Bamberg; ask them all what they think of Master Martin — and I don’t think you will hear much to his disadvantage.”
With which Master Martin patted his fat corporation with much complacent contentment, twinkled his half-closed eyes, and, as all were silent, and only a half-suppressed throat-clearing, of a somewhat dubious character, was audible here and there, he continued as follows:
“However, I perceive — in fact I am well aware — that I ought now to return thanks, to the best of my ability, that it has pleased the Lord at last to enlighten your minds to make this election. Certainly, when I am paid for my work, or when my debtor returns me the sum he borrowed, I always write at the bottom of the receipt, ‘With thanks. Tobias Martin, cooper in this town;’ so I return you all my hearty thanks that you have paid off an old debt by electing me your Syndic. For the rest, I promise that I will perform the duties of my office with all truth and faithfulness; that I shall ever be ready to stand by the Guild, or any of its members, in word and deed, in time of need, to the utmost of my power. It will be my heart’s earnest desire to maintain our Honourable Company in all the honour and dignity which it possesses at present; and, dear friends and Masters, I invite you, one and all, to dinner on Sunday next, when, over a good glass of Hochheimer, Johannisberger, or whatever other good wine out of my cellar you may prefer, we may consider and discuss what further may be expedient for our common advantage. Once more, consider yourselves all cordially invited.”
The faces of the Honourable Society, which had darkened considerably at Martin’s arrogant words, now brightened again, and the gloomy silence was succeeded by lively conversation, in which much was said concerning the eminent merits of Master Martin, and of his celebrated cellar. Every one promised to appear on the Sunday, and gave his hand to the newly-elected Syndic, who shook them all cordially, — and he even pressed one or two of the Masters just the least little bit against his waistcoat, as if he half thought of embracing them.
The meeting dispersed in the best of humour, and the highest spirits.
WHAT HAPPENED AFTER THAT, IN MASTER MARTIN’S HOUSE.
It so chanced that Master Jacobus Paumgartner, on his way to his own dwelling, had to pass the door of Master Martin’s house; and when they, together, had reached the said door, and Paumgartner was about to proceed on his way, Master Martin, taking off his little cap and bowing as low as he could, said to the Councillor: “Ah! if you would not think it beneath you, my dear and honoured sir, to step into this poor house of mine for a brief hour; if you would but be so very kind as to grant me the opportunity of profiting by, and delighting in, your wise conversation.”
“I am sure, Master Martin,” said the Councillor with a smile, “I shall only be too happy to accept your invitation to come in; though how you can call your house a poor one I cannot imagine. I know well that the wealthiest of our citizens do not surpass you in the costliness of your furniture and appointments. It is only the other day that you have finished those additions to your house which have made it one of the finest specimens of street architecture in all this famous town, of which it is one of the ornaments; of the interior arrangements I say nothing, for I am aware that of them no nobleman in the land need be ashamed.”
Old Paumgartner was right; for when the brightly-waxed and polished door, all over rich brass-work, was opened, the spacious entrance-hall, with its beautifully-inlaid floor, fine pictures on the walls, rich carpets, and elegant cabinets and chairs, was seen to be like some fine drawing-room; so that everyone willingly obeyed the instructions which, according to an old-world custom, were inscribed on a tablet hung up close to the door, in verse, as follows:
“Those who, in entering, these steps ascend
Should see that their shoon shall not sully the floor;
Or then let them elsewhere their footsteps wend,
That so there shall be no distress on their score
A person of judgment doth know — without this —
What, in such matter, his duty is.”
It was warm weather, and the air in the rooms, now that the evening twilight was falling, was heavy and steamy; for which reason Master Martin took his guest into the cool, spacious “best kitchen;” such at that time was named the apartment which, in the houses of wealthy merchants, was indeed furnished like a kitchen, but, at the same time, adorned not for use, but solely for display — with all manner of costly implements of household necessity. As soon as they came in, Master Martin cried loudly, “Rosa! Rosa!” The door presently opened, and Rosa, Master Martin’s only daughter, entered.
Gracious reader! I must here ask you to call to remembrance, as vividly as you can, the masterpieces of our grand Albrecht Dürer. Let those beautiful virgin forms which he has pourtrayed, instinct with grace and suavity, sweetness, gentleness, pious meekness, rise before you. Think of the noble, tender shapes; the pure, rounded foreheads white as snow; the rose-tint suffusing the cheeks; the delicate lips, red as cherries; the eyes, looking far away, in dreamy longing, half shadowed by the dark lashes, as moonlight is by thick leafage. Think on the silky hair, carefully gathered and knotted. Think on all the heavenly beauty of those virgin forms, and you will see the lovely Rosa. He who relates this tale cannot hope otherwise to pourtray her. Let me, however, remind you of another grand painter into whose soul a ray from those ancient days has penetrated: I mean our German Master, Cornelius. Just as he has made Margaret (in his illustrations to Goethe’s mighty ‘Faust’) appear, as she says —
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