of the greatest artists was Charlotte Brontë. She was a wonderful little woman, and I like little women. Did you ever read Longfellow's poem on "Little Women"? It always reminds me so much of Charlotte Brontë. One day he showed me the poem, and I asked him why he did not print it in his book, and he replied, "I don't think it is worth while." Since his death they have given it first rank, and I will quote one verse:
As within a little rose we find the richest dyes,
As in a little grain of gold much price and value lies,
And as from a little balsam much odor doth arise,
So in a little woman there's a gleam of paradise.
Charlotte Brontë was one of those wonderful, wiry, beautiful little cultivated combinations of divine femininity which no man can describe. She had a younger brother on her hands, and when a young woman has a younger brother on her hands if she has a beau, she has her hands full. This younger brother was dull of brains, clumsy of finger and unfitted to be an artist. But his sister was determined he should be a painter, and took him to the shore, to the village and the woods, and said, "Notice everything, and notice it closely." Finally, he did secure a second prize. Then his little sister threw her arms about her brother's neck and kissed him, and thanked him for getting that prize. That is just like a woman! I never could understand a woman. Of all the mysterious things that the Lord ever put together, a woman is the most mysterious. Charlotte Brontë was like an old lady I used to know up in my native town who thanked her husband, with tears, for having brought up a flock of sheep which she herself fed every morning through the winter before he was out of bed.
Finally, Charlotte Brontë's younger brother became dissipated and died, and then her father died, and when we ministers get to be old we might as well die. She was left without means of support. But when she told her friends, they said: "You have a college education, Charlotte. Why don't you write something?" We now find that the first thing she wrote was "Jane Eyre," the wonderful story for which she at last received $38,000. Queen Victoria invited that humble girl to her palace at Windsor because of her marvelous genius.
How came she to write a book like that? Simply because she had noticed so closely, for her brother's sake, that from the nib of her pen flowed those beautiful descriptions as naturally as the water ripples down the mountain-side. That is always so. No man ever gives himself for others' good in the right spirit without receiving "a hundredfold more in this present time."
I will go one step farther with this thought. We do need great painters, but we don't want more painters like that man who painted the Israelites coming out of Egypt, representing them with muskets on their shoulders with U.S. on the butts.
But more than artists we need great musicians. There is an awful need of music. We have too much noise, but very little real music. Did you ever think how little you have? Do you suppose a true musician is simply a man who roars down to low B and squeals to high C? What an awful need there is of the music which refines the heart, brightens the mind; that brings glory and heaven down to men. I have not the space here to expand upon that thought—the awful need of humanity for real music. But we don't get it. I do not know why it is. I am not able to explain. But perhaps I can hint at what music is.
At Yale I had to earn my own living, and that is why, for these forty-four years, I have been lecturing exclusively to help young men secure their college education. I arose at four o'clock and worked in the New Haven House from four to eight to get the "come backs" from the breakfast table so that my brother and I could live. Some days, however, I digged potatoes in the afternoon, and taught music in the evening, although the former was my proper occupation. Sometimes my music scholars would invite me in to play something to entertain their company, and I noticed the louder I played the louder they talked. I often said, "What a low standard of musical culture there is in New Haven!" But I learned something after I left college. I learned I was not a musician.
Had I been a musician they would have listened. That is the only test of real music. There is no other.
If you sing and every one whispers, or you play and every one talks, it is because you are not a musician. I dare tell it to you here, when I would not dare say it to you individually if we were alone. There is no person on earth who gets so many lies to the square inch as a person who drums on a piano.
What is music? Music may be wholly a personal matter and be called music. I remember Major Snow, of my native town, who used to listen to the filing of the saw at the sawmill. How that did screech and scratch until it hurt to our toes! We asked the old major why he went down to the mill Saturday, when he could go any other day. He said: "Oh, boys, you do not understand it. When I was young I worked in a sawmill and I come down here to hear them file that saw. It reminds me of the good old days. It is music to me." He was "educated up" to that standard where filing of a saw was music to him, and so men may be educated in all manner of ways in so-called music. But it is not the real music.
What is true music? I went to a beautiful church in New York to exchange with the pastor, and an officer of the church came down the aisle as I walked in and said to me, "Sir, the choir always opens the service." They did; they opened it! I sat down on the pulpit sofa and waited an embarrassingly long time for something to be done up there. The choir roosted on a shelf over my head. The soprano earned $4,000 a year, and I was anxious to hear her. Soon I heard the rustle of silk up there, and one or two little giggles. Then the soprano began. She struck the lowest note her cultivated voice could possibly touch, and then she began to wind, or rather, corkscrew, her way up and up and up, out of sight—and she stayed up there. Then the second bass began and wound his way down, down, down—down to the Hades of sound—and he stayed down there.
Now, was that music? Was it worship? Why, if I had stood in that sacred place and positively sworn at the people it would not have been greater sacrilege than that exhibition up on that shelf! Do you think the living God is to be worshiped by a high-flying, pyrotechnic, trapeze performance in acoustics? Neither worship nor music was there. Music does not consist of a high-flying circus trapeze performance in acoustics.
What is music? Music is such a combination of sound as moves the heart to holier emotions, quickens the brain to brighter thoughts, and moves the whole man on to nobler deeds. That is music. Nothing else is music. You can only find out whether you are a musician or not by taking notice, while you sing, whether you hold the attention of the people, and whether you influence their memory and their after character.
Chapter V. Need of Orators
We need great orators. The need is something alarming. I am often called to lecture at the Chautauquas and the lyceums, and the committees often urge me to recommend some man or woman who will fill a place on the public platform. They offer marvelous rewards for those who will do that well. There are no men or women alive, not one known in our land to-day, who could be called a great orator. When I began to lecture, fifty-eight years ago, there were Henry Ward Beecher, Wendell Phillips, George William Curtis, Edward Everett, the greatest orator of his day—and John B. Gough. I esteem it a great honor to have been induced by Mr. Gough to go on the lecture platform. They are all gone, and no successors have appeared.
Liberty and oratory have ever gone together, and always will, hence the need of oratory is especially pressing now.
Why don't we have orators? The editors say "because the newspaper has come in and goes into every home, and a man on Sunday will read a better sermon in his newspaper than ever was delivered, and will save paying the minister and having trouble with the choir." Now, that time will never come. You will never get along without real orators, no matter
