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+The Project Gutenberg EBook of A Day with Robert Schumann, by May Byron
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Day with Robert Schumann
+
+Author: May Byron
+
+Release Date: June 19, 2011 [EBook #36472]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH ROBERT SCHUMANN ***
+
+
+
+
+Produced by Juliet Sutherland, paksenarrion and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+    [Illustration]
+
+
+
+
+    THE HIDALGO.
+
+    My days I spend in courting,
+    With songs and hearts a-sporting,
+        Or weaponed for a fight!
+
+                              (_Der Hidalgo_).
+
+    [Illustration]
+
+
+     A DAY WITH
+       ROBERT
+      SCHUMANN
+    BY MAY BYRON
+
+    [Illustration]
+
+    LONDON
+    HODDER & STOUGHTON
+
+
+    _In the same Series._
+        _Mozart._
+        _Beethoven._
+        _Mendelssohn._
+        _Schubert._
+        _Chopin._
+        _Wagner._
+        _Gounod._
+        _Tschaikovsky._
+
+
+
+
+A DAY WITH SCHUMANN.
+
+
+It is an April morning in 1844, in the town of Leipzig,--calm, cool, and
+fraught with exquisite promise of a prolific spring,--when the Herr
+Professor Doctor Robert Schumann, rising before six o'clock as is his
+wont, very quietly and noiselessly in his soft felt slippers, dresses
+and goes downstairs. For he does not wish to disturb or incommode his
+sleeping wife, whose dark eyes are still closed, or to awaken any of his
+three little children.
+
+The tall, dignified, well-built man, with his pleasant, kindly
+expression, and his air of mingled intellect and reverie, bears his
+whole character written large upon him,--his transparent honesty,
+unflagging industry, and generous, enthusiastic altruism. No touch of
+self-seeking about him, no hint of ostentation or conceit: he is still
+that same reticent and silent person, of whom it was said some years ago
+by his friends,
+
+    "Herr Schumann is a right good man,
+    He smokes tobacco as no one can:
+    A man of thirty, I suppose,
+    And short his hair, and short his nose."
+
+That, indeed, is the sum total of his outward appearance: as for the
+inward man, it is not to be known save through his writings. Literature
+and music are the only means of expression, of communication with
+others, which are possessed by this modest, pensive, reserved maestro,
+upon whom the sounding titles of Doctor and Professor sit so strangely.
+
+In the unparalleled fervour and romance of his compositions,--in the
+passionate heart-opening of his letters,--in the sane, wholesome, racy
+colloquialism of his critiques,--the real Robert Schumann is unfolded.
+Otherwise he might remain a perennial enigma to his nearest and dearest:
+for even in his own family circle, tenderly and dearly as he adores his
+wife and children, his lips remain sealed of all that they might say:
+and the fixed, unvarying quietude of his face but rarely reveals the
+least suggestion of his deeper feelings.
+
+Yet, at the present time, were you to search the world around, you
+should hardly find a happier man than this, in his own serene and
+thoughtful way. For, in his own words, "I have an incomparable wife.
+There is no happiness equal to that. If you could only take a peep at us
+in our snug little artist home!" Clara Wieck, whom he has known from her
+childhood, whom he struggled, and agonised, and fought for against fate,
+for five long years of frustration and disappointment, is not only his
+beloved wife and the mother of his little ones,--she is his
+fellow-worker and co-artist, and literal helpmate in every department of
+life. She has "filled his life with sunshine of love,"--and, "as a
+woman," he declares, "she is a gift from heaven.... Think of perfection,
+and I will agree to it!" But, beyond that, she has poured her beautiful
+soul into every hungry cranny of his artistic sense. "For Clara's
+untiring zeal and energy in her art, she really deserves love and
+encouragement.... I will say no more of my happiness in possessing a
+girl with whom I have grown to be one through art, intellectual
+affinities, the regular intercourse of years, and the deepest and
+holiest affection. My whole life is one joyous activity."
+
+The annals of art, indeed, hold no more lovely record of a union between
+natural affinities. That of Robert and Elizabeth Barrett Browning perhaps
+approximates most closely to that of Robert and Clara Schumann. But
+whereas in the former case both husband and wife were alike engaged upon
+the same branch of literature,--poetry,--and a certain sense of sadness
+was apt to embitter the success of the wife, because of the unpopularity
+(in those days) of the husband,--Schumann is solely and pre-eminently a
+composer, and Clara solely and absorbingly a pianist. No shadow of
+artistic rivalry can fall upon their delight, nor darken their pleasure
+in each other's achievements. Schumann's most impassioned and
+characteristic productions have been definitely inspired by Clara, ever
+since the days when, as a child of nine, she listened to his fantastic
+fairy-tales, and her exquisite playing thrilled him with a desire to
+think in music. And Clara, who has never made a mere show of her
+marvellous executive skill, but has "consecrated it to the service of
+true art alone,"--is never happier than when interpreting her husband's
+works.
+
+It is, in short, necessary to deal with Schumann as a whole,--as a man
+who has fulfilled the triple destiny for which Nature intended him,--as
+individual, husband, and father,--before one can even approximately
+understand this silent, studious dreamer, whose one ideal of happiness
+is to sit at home and compose.
+
+Schumann considers this early morning hour the most precious of his day,
+from a working standpoint. He seats himself at his desk, and places his
+two treasures where they shall catch his eye conspicuously; for he
+regards them more or less as charms and talismans to bring out the best
+that is in him. They are, a steel pen which he found lying on
+Beethoven's grave at Vienna, and the MS. score of Schubert's C-major
+Symphony, which he obtained by a lucky chance. He regards these with a
+mixture of sentiment and humorous toleration of his own mysticism: but
+he cherishes them none the less, and often casts a reassuring glance in
+their direction, as he covers sheet after sheet of paper with his
+shockingly illegible handwriting. "Poets and pianists," says he with
+resignation, "almost always write with a dog's paw. The printers will
+make it out somehow." He is engaged upon his work in connection with the
+_Neue Zeitschrift f�r Musik_ (New Musical Times), which he originally
+founded, and of which he has been some nine years Editor. During all
+these years he has contributed to its pages those admirable reviews and
+appreciations which are so utterly unlike anything heretofore attempted
+in the realm of musical criticism. "There is no quality to be desired in
+a musical critic that Schumann does not possess:" and in addition to
+technical equipments of every kind, keen insight and an almost prophetic
+quality in his predictions, he has the priceless gift too often denied
+to the critic,--that of superabundant sympathy. His hands are ever
+thrown out to welcome the young and timid genius, even as they are
+clenched, so to speak, with threatening fists towards Philistinism,
+charlatanism and mediocrity. He loves to praise rather than to blame,
+and to detect the germs of coming greatness in some obscure, unsuspected
+artist. He takes into his regard the personal equation wherever
+possible, and does not separate the musician from the man: for, he says,
+"the man and the musician in myself have always struggled to manifest
+themselves simultaneously.... I speak with a certain diffidence of
+works, of the precursors of which I know nothing. I like to know
+something of the composer's school, his youthful aspirations, his
+exemplars and even of the actions and circumstances of his life, and
+what he has done hitherto."
+
+As his pen travels rapidly over the pages, the reason of his cramped and
+crabbed handwriting is only too evident. Schumann's right hand is
+crippled. In an evil hour of his youth, while yet he was consumed with
+the ambition of a would-be virtuoso, he experimented, with artificial
+restrictions, upon one of his right-hand fingers, intending thus to
+strengthen the rest by assiduous practice ... with the result that he
+lamed his hand for ever. This disastrous attempt deprived the world of a
+good pianist, but conferred upon it a great composer: for it is possible
+that the executive would have superseded the creative ability within
+him. Nevertheless, he confesses that, "My lame hand makes me wretched
+sometimes ... it would mean so much if I were able to play. What a
+relief to give utterance to all the music surging within me! As it is, I
+can barely play at all, but stumble along with my fingers all mixed up
+together in a terrible way. It causes me great distress."
+
+Thus, you perceive, he is considerably debarred from expressing himself
+in sounds, no less than in words: he must perforce retire more and more
+within himself. The ease with which he writes is balanced by the
+difficulty with which he speaks: and bitterly he has complained, "People
+are often at a loss to understand me, and no wonder! I meet affectionate
+advances with icy reserve, and often wound and repel those who wish to
+help me.... It is not that I fail to appreciate the very smallest
+attention, or to distinguish every subtle change in expression and
+attitude: it is a fatal something in my words and manner which belies
+me."
+
+He is, indeed, only paralleled by the _Lotus Flower_ of his own
+delicious song,--shrinking from the daylight of publicity, and softly
+unfolding to the gentle rays of love.
+
+    The Lotus flower is pining
+        Under the sun's red light:
+    Slowly her head inclining,
+        She dreams and waits for the night.
+
+    The moon, who is her lover,
+        Awakes her with his rays,
+    And bids her softly uncover
+        Her veiled and gentle gaze.
+
+    Now glowing, gleaming, throbbing,
+        She looks all mutely above,--
+    She is trembling, and sighing, and sobbing,
+        For love and the pangs of love.
+
+                                                (_Heine._)
+
+And here she enters the room, this woman who is literally his _alter
+ego_, and the small prattle of children is audible in the awakening
+house. Madame Schumann is, in her husband's words, a "pale, not pretty,
+but attractive" young woman of twenty-six, "with black eyes that speak
+volumes,"--slender, vivacious, affectionate: the exact complement of
+Robert in all respects. It is easy to perceive in them, at the first
+glance, "two noble souls distinguished by fastidious purity of
+character--two buoyant minds concentrated to the service of the same
+art." The heavily-thoughtful face of the composer lights up with sudden
+sunshine.
+
+"Come and sit beside me, my dear, sweet girl!" says he. "Hold your head
+a little to the right, in the charming way you have, and let me talk to
+you a little. Upon my word, Cl�rchen, you look younger than ever this
+morning. You cannot be the mother of three. You cannot be the celebrated
+pianist. You are just the queer, quaint little girl you were ten years
+ago, with strong views of your own, beautiful eyes, and a weakness for
+cherries!" This is a very long speech for Schumann, and his wife looks
+at him with a shade of anxiety--such anxiety as she is never wholly
+free from. For the words which she wrote in her diary on her wedding day
+were more prophetic than even she may yet recognise: "My
+responsibilities are heavy--very heavy; give me strength to fulfil them
+as a good wife should. God has always been and will continue to be my
+helper. I have always had perfect trust in Him, which I will ever
+preserve." She, and she alone, is aware of all those mysterious clouds
+of melancholia, those strange sounds of inexplicable music, which brood
+at times above her darling husband--friend, comrade and lover in one.
+She, and she only, can banish, as David did from Saul, the terrible
+phases of irrational depression, and exorcise the evil power which is
+always lurking ambushed in Schumann's outwardly happy life.
+
+    [Illustration: THE LOTUS-FLOWER.
+
+    The Lotus flower is pining
+        Under the sun's red light:
+    Slowly her head inclining,
+        She dreams and waits for the night.
+
+                                          (_Die Lotos-Blume_).]
+
+"See," says he, with modest pride, "what a vast amount of work I have
+completed this morning!"
+
+"You are a most diligent creature, Robert!" she tells him, "and yet I
+cannot but wish sometimes, that this literary work were off your
+mind--that you had more time to devote towards composing, which is your
+true _m�tier_. I want all the world to understand how great a master
+you are--I am jealous of every minute spent upon the _Neue
+Zeitschrift_!"
+
+"Don't be too ambitious for me, Cl�rchen: I desire no better place than
+a seat at the piano with you close by."
+
+"That does not satisfy me," says the impetuous little lady, "I want you
+to be recognised and applauded by all men. When I am rendering your
+divine compositions, I feel as though all the while I were declaring:
+'Just hear this!--Just listen to that!--This is by Robert Schumann, the
+greatest genius in Germany: it is an honour to me to be allowed to
+perform such works.'"
+
+"My dear, those compositions are my poor, weak way of expressing my
+thoughts about you! The battles which you have cost me, the joy you have
+given me, are all reflected by my music. You are almost the sole
+inspiration of my best--the Concerto, the Sonata, the _Davidsb�ndler_
+dances, the _Kreisleriana_, the _Novelletten_. Why, dearest, in the
+_Novelletten_ are my thoughts of you in every possible position and
+circumstance and all your irresistibleness!... No one could have written
+the _Novelletten_, unless he had gazed into such eyes and touched such
+lips as yours. In short, another may do better work, but nothing just
+like these."
+
+"That, indeed, I feel," replies Clara with a little sigh, "and the very
+significance of their meaning, I believe, forbids my doing full justice
+to their amazing difficulties. You need a pianist like Liszt, my Robert,
+to interpret you to the best advantage."
+
+"I have every admiration for Liszt's wonderful playing, with its
+diapason of all the moods between the extremes of fiery frenzy, and
+utmost delicacy. But his world is not mine--not ours, Cl�rchen. Art, as
+we know it--you when you play, I when I compose--has an intimate charm
+that is worth far more to us than all Liszt's splendour and tinsel."
+
+They embrace with the warmth and sweetness of perfect mutual
+comprehension: and she prevails upon him to descend from cloudy Olympian
+editorial heights, so far as to refresh himself with a modest
+_Fr�hst�ck_ or breakfast, and a brief gambol with the little ones--for
+he has that devotion to tiny children characteristic of all great men.
+Never, perhaps, has any composer so thoroughly entered into childish
+griefs and fears and pleasures--the April shower and shine of
+babyhood--than Schumann in his _Kinderscenen_. The consummate musician
+who has surmounted every difficulty, acquainted himself with every
+method of his art--the man who has mastered the forms of symphony,
+chamber-music, pianoforte and vocal music to their farthest present
+limits--here stands forth as the exponent of little innocent every-day
+emotions. _By the Fireside_, _Bogeys_, _A Child's Petition_, _From
+Foreign Lands_, _Blindman's Buff_, and so on, the simple titles run.
+"They are descriptive enough, you see, and as easy as winking!" he has
+told his wife. And they are the very breath of childhood,--they "dally
+with the innocence of love, like the old age." Nobody could have
+imagined them but a man who had eternal youth in his heart. "The
+dissonances are as softly blended as if a child had actually poured
+forth its pure soul."
+
+It may readily be imagined with what looks askance the composer of the
+_Kinderscenen_ is favoured by his academic and hide-bound
+contemporaries. "Romanticism run mad"--"modernism gone
+crazy;"--"discordant innovations;"--"new-fangled nonsense"--there are
+few terms too harsh for Herr Schumann; and sometimes he is
+contemptuously ignored as beyond all possibility of classification.
+Already sufficiently _outr�_, in the opinion of all conventional
+musicians, by his adoption of the cyclical form, rather than the
+orthodox classical, for his abstract pianoforte music--"the whole
+becoming organic by means of the intimate connection between the various
+parts;"--already sufficiently outlandish, in the estimation of the
+average conservative critic, by what is condemned as his _grotesquerie_
+and _bizarrerie_ of treatment: Schumann is not careful to answer his
+opponents, or to defend himself from any charges of _l�se-majest�_
+against the imperial art which he serves. That wide and genial tolerance
+which he extends towards all new composers, he does not demand or even
+expect for himself. Nevertheless, as he allows, "I used to be quite
+indifferent to the amount of notice I received, but a wife and children
+put a different complexion upon everything. It becomes imperative to
+think of the future." And he is aware that his own personal
+idiosyncrasies are the strongest obstacle in his way; for he is unable
+to push or praise himself in the least, and the lordly egotism by dint
+of which other composers win, or command, a hearing, has been entirely
+omitted from the making of this dumb genius. He knows no professional
+jealousy, he never speaks ill of a soul;--but then, one might say that
+he hardly ever spoke at all. He is almost unknown in society,--partly
+because he really has no interest whatever apart from music, partly
+owing to his silent manner and retiring disposition. It is on record
+that one day after Madame Schumann had been playing with tremendous
+success at one of the smaller German courts, the Serene Highness who was
+ruler there enquired of her with great affability, "whether her husband
+were also musical?" And with his fellow-musicians he is so invincibly
+taciturn that conversation is almost a farce. Even Wagner, whose powers
+of loquacity are almost illimitable, resents being reduced to the
+utterance of an absolute monologue. "When I came to see Schumann," he
+grumbles, "I related to him my Parisian experiences, spoke of the state
+of music in France, then of that in Germany, spoke of literature
+and politics,--but he remained as good as dumb for nearly an hour. Now,
+one cannot go on talking _quite_ alone. An impossible man!"
+
+    [Illustration: THE KNIGHT AND THE LORELEI.
+
+    The hour is late, the night is cold,--
+    Who through the forest rides so bold?
+    The wood is wide,--thou art alone,--
+    O lovely maid, be thou my own!
+
+                                      (_Waldesgesprach_).]
+
+The fact is, that the "impossible man" dwells apart in a world of his
+own, a world peopled by the best folk he has ever encountered either in
+the flesh or the spirit, and a world where the austerest canons and
+noblest aspirations of his great art are upheld on a very different
+plane from that of Leipzig. He has the highest possible view of his
+vocation and what it should entail. "To send light into the depths of
+the human heart, that is the artistic calling," he has declared.... "The
+artist is to choose for his companions those who can do something beyond
+playing passably on one or two instruments--those who are whole men and
+can understand Shakespeare and Jean Paul.... People say, 'It pleased,'
+or 'It did not please,'--as if there were nothing higher than pleasing
+the public!" ... A man with such notions as these, in the first half of
+the nineteenth century, must of necessity live and move to a great
+extent in an ideal atmosphere of his own: and Schumann, to do so the
+more literally, has created his own company in that "spiritual and
+romantic league," the _Davidsbund_, which exists only in his
+imagination, but exercises considerable vigour none the less.
+
+The _Davidsbund_ is a mystical community of kindred souls, each
+enlisted, with or without his knowledge, under the banner of "a resolve
+to do battle in the cause of musical progress, against Philistinism in
+every form." One can only vaguely compare it to the Pre-Raphaelite
+Brotherhood in England. "Mozart was as much a member of it as Berlioz
+now is," so declares its founder. Chopin, Julius Knorr, Schuncke, Carl
+Banck and others, without any form of enrolment, are members of the
+Davidite fraternity. New names and old are added from time to time, in
+the friendly columns of the _Neue Zeitschrift f�r Musik_, which is the
+organ of the league: and especially Schumann himself appears under a
+number of _noms de guerre_, representing the manifold facets of his
+identity. As _Florestan_, he speaks for "the turbulent and impulsive
+side of his nature, full of imaginative activity;" as _Eusebius_, he
+expresses those gentle, thoughtful, sensitive qualities which sit so
+lovably upon him. As _Meister Raro_, calmly logical, he stands between
+both the above, and, "acting as arbitrator, sums up their opposing
+criticisms," much as his father-in-law Friedrich Wieck the great
+professor might do. To light-hearted, humorous, almost frivolous
+critiques he signs himself _Jeanquirit_: and last, not least of the
+"Davidites," he introduces Mendelssohn as _Meritis_, and embodies
+varying traits of his beloved Clara as _Zilia_, _Chiarina_, and
+_Cecilia_.... Call it feather-brained, fantastic, ridiculous, if you
+will, the _Davidsbund_ has a very definite meaning, and fulfils a very
+noble purpose. For, to use its inventor's own phrase, "In every age
+there is a secret band of kindred spirits. Ye who are of this
+fellowship, see that ye weld the circle firmly, that so the truth of Art
+may shine ever more and more clearly, shedding joy and blessing far and
+near."
+
+That remarkable power of expressing the personalities of his friends in
+music, which has been Schumann's from youth, stands him in good stead
+for the depicting of various "Davidites": he could show the peculiar
+characteristics of any one of them in a few moments, on the pianoforte,
+whereas years would not suffice him to give a verbal explanation. This
+power of portrayal is noticeable in the very construction of his
+songs,--such as, for instance, _The Two Grenadiers_, or _Freedom_, or
+_The Hidalgo_, with its essentially Spanish arrogance.
+
+    My days I spend in courting,
+    With songs and hearts a-sporting,
+        Or weaponed for a fight!
+    The fragrant darkness daring,
+    I gaily forth am faring,
+        To roam the streets by night,
+    For love or war preparing,
+        With bearing proud and light....
+    The moon her light is flinging,
+    The powers of Love are springing,
+        And sombre passions burn ...
+    Or wounds or blossoms bringing,
+        To-morrow I'll return!
+    While o'er the horizon darkling,
+    The first faint star is sparkling,
+        All prudence cold I spurn,--
+    Or wounds or blossoms bringing,
+        To-morrow I'll return!
+
+In the course of the morning Schumann, reluctantly leaving a mass of
+unfinished MSS. upon his desk and pianoforte, betakes himself to his
+duties at the Conservatorium, where he has been professor for about a
+year. Conscientious and painstaking in tuition as in all else, he is not
+naturally a good teacher. He seems to be devoid of the priceless power
+of imparting verbal instruction, or of imparting the secret of the
+system whereby a desired effect shall be attained. His habitual and
+increasing melancholy reserve rises up like a barrier between himself
+and his pupils: his reticence chills and bewilders them. His own musical
+education has been an entirely personal matter, and not wrought out upon
+the accepted scholastic lines. Moreover, intercourse with musical people
+has always "appealed to Schumann far more, and with greater success,
+than dry lessons in thorough bass and counterpoint." Hence, whilst he
+appears almost unable to assist the novice in the beginning, or tadpole
+stage, he is able to afford invaluable help and stimulating criticism to
+those young artists with whom he may come in contact, and who adore him
+for his sympathetic kindness. The violinist Joachim never forgot how,
+as a boy of thirteen, he played the _Kreutzer_ sonata with his host at
+the house of Mendelssohn. Lonely and silent all the while, Schumann
+remained in a corner of the room; but subsequently, while Joachim was
+sitting near him, he leaned forward and pointed to the stars, shining
+down into the room through the open window. He patted the lad's knee
+with gentle, friendly encouragement. "Do you think they know up
+there," he queried, "that a little boy has been playing down here
+with Mendelssohn?"--This question was the very essence of
+Schumann,--romantic, mystical, full of tender dreams.
+
+His composition-lessons over, he conducts a part-singing class.
+Orchestral conducting is abhorrent to him; it is "too defiant and
+conspicuous a task." He cannot make his meaning clear by word of mouth:
+and in gesture he is singularly deficient. But in part-singing he is an
+excellent instructor, because he is seated at the piano and can indicate
+there the suggestion which he fails to convey _viva-voce_. Even now, in
+the wreck of his abilities as a pianist, it is possible to imagine what
+he might have been: he can produce an extraordinary depth and
+richness of tone, seeming to obtain some of his effects by unusual and
+almost illegitimate means. His accentuation is very slight, and he uses
+both pedals too frequently and too freely. Notwithstanding these
+peculiarities, however, the same indefinable magic pervades his
+piano-playing as his compositions.
+
+    [Illustration: I WILL NOT CHIDE.
+
+    I will not chide, although my heart should break,
+    Though all my hopes have died, lost Love, for thy dear sake--
+          I will not chide.
+
+                                    (_Ich grolle nicht_).]
+
+Nervous, excitable, uneasy, the master draws a breath of relief when the
+class is dismissed. The pleasant Hebraic face of Mendelssohn nods in at
+his door in passing. The two musicians are so busily engaged, that often
+they hardly exchange a word for weeks together. Mendelssohn, the
+recipient of many a generous and whole-hearted encomium from his devotee
+Schumann, does not return this fraternal enthusiasm. To his
+well-balanced mind, the silent moody man and his productions are too
+wild, too eccentric, too uncanny. He regards them, at times, with a
+species of grudging admiration: at others, he sides in heart, if not in
+speech, with the current opinion of the town. "Opposition to all
+artistic progress has always been a distinctive characteristic of
+Leipzig musical society," and therefore horror-stricken hands are
+uplifted at the editor of the _Neue Zeitschrift f�r Musik_, his
+heretical doctrines, and still more heretical deeds. The good people of
+the Thomas-School Choral Society, the audience at the Gewandhaus
+concerts, the subscribers to opposition musical papers, regard Herr
+Schumann very much as the knight regarded the lady at the close of his
+own magnificent _Waldesgesprach_.
+
+    "The hour is late, the night is cold,--
+    Who through the forest rides so bold?
+    The wood is wide,--thou art alone,--
+    O lovely maid, be thou my own!"
+
+    "Great is the craft and guile of men,
+    With grief my heart is rent in twain;
+    Far sounds the bugle to and fro,--
+    Away! my name thou dost not know!"
+
+    "Thy steed and thou so bright array'd,
+    So wondrous fair, thou lovely maid,--
+    --I know thee now! God! let me fly!
+    Thou art the fairy Lorelei!"
+
+    "Thou know'st me now--my towers do shine
+    Deep mirror'd in the dark blue Rhine,--
+    The wind blows cold, the day is o'er,--
+    Thou shalt escape me never more!"
+
+In the afternoon, Schumann, back at home, is occupied with creative
+work. This, perhaps, is the most congenial part of his day: for, as it
+has been said of him, he sees life musically, and whatever happens to
+impress him takes the form of music. Steadily, deliberately, of set
+purpose, and yet with the authentic fire of divine inspiration infusing
+his smallest effort, he has conquered, one by one, in every field of
+creative art. His finest pianoforte works were composed during the
+wretched years of strain and stress whilst he was waiting to marry
+Clara, held apart from her by her jealous and inexorable father, until
+(again like the Brownings) the lovers took matters into their own hands
+and were married in sudden and in secret. Three of his four great
+symphonies saw the light in one year, 1841,--an achievement truly
+colossal. Last year, 1843, he was studying and perfecting himself in
+chamber music. His life, outwardly so uneventful, has been abnormally
+prolific in brain-work: and that of no fatal fluency or shallow
+meretriciousness, but conceived upon the highest possible plane. "The
+more clearly we examine Schumann's ideas," says Liszt, "the more power
+and life do we discover in them: and the more we study them, the more
+are we amazed at the wealth and fertility which had before escaped us."
+And his own theories of art are bound to evolve themselves thus:--for
+"Only think," he has written, "what circumstances must be combined to
+produce the beautiful in all its dignity and splendour. We need,--1st,
+lofty deep purposes and ideality in a composition; 2nd, enthusiasm in
+description; 3rd, masterly execution and harmony of action, closely
+combined; 4th, innate desire for giving and receiving, a momentarily
+favourable mood (on both sides, that of listener and performer); 5th,
+the most fortunate conjunction of the relatives of time, as well as of
+the more especial question of place and other accessories; 6th, sympathy
+of impression, feelings and ideas--a reflection of artistic pleasure in
+the eyes of others."
+
+And these definitions apply in all their detail to the outcome of
+Schumann's happiest year of all,--the year after his union with
+Clara,--the time when like a bird he burst into infinite ecstasy of
+melody, and eclipsed himself with the number, variety and bewildering
+beauty of his vocal compositions. That perfect balance between words and
+music, that power of identifying himself with the poet whose words he
+"sets," which pre-eminently differentiates Schumann from all other
+musicians, was born of "hopes fulfilled and mutual love." There are no
+songs which can compare with his, in passionate intensity and depth of
+emotion. It may be that only the skilled and sympathetic musician can
+interpret them with full effect: but the least expert auditor can be
+poignantly affected by them. Especially is this the case with his
+treatments of Heine,--the one poet _par excellence_ in whom he discovers
+all he can desire of power, of pathos and of passion. "The lyrics _Die
+Lotos-blume_ (The Lotus-flower) and _Du bist wie eine Blume_ (Thou art
+like unto a flower) are among the most perfect things found in the
+realms of song, in their enchanting truth and delicacy of sentiment";
+and "not one of all those subtle touches ... which make Heine's poetry
+what it is, has been lost upon Schumann." _Ich grolle nicht_ (I will
+not chide) is unapproachable in its white-heat of uttermost despair.
+
+    I will not chide, although my heart should break,
+    Though all my hopes have died, lost Love, for thy dear sake--
+        I will not chide.
+
+    Though thou be bright bedeck'd with diamond-shine,
+    No ray of joy illumines that heart of thine,
+        I know full well!
+
+    I will not chide, although my heart should break,--
+        I saw it all in dreaming,
+    I saw the night that thro' thy soul is streaming,
+    I saw the snake that on thy heart doth feed,
+    I saw, my love, how sad thou art indeed,--
+        I will not chide!
+
+_Die Beiden Grenadieren_ (The Two Grenadiers), with Schumann's favourite
+_Marseillaise_ introduced in such masterly fashion at the end,
+remains an unrivalled utterance of manly and patriotic grief.
+
+    To France were returning two Grenadiers,
+        In Russia they long did languish,
+    And as they came to the German frontier,
+        They hung down their heads with anguish.
+    'Twas then that they heard the story of woe,
+        That France was forlorn and forsaken,
+    Besieged and defeated, and crushed by the foe,
+        And the Emp'ror, their Emp'ror was taken!
+
+        *       *       *       *       *
+
+    "My cross of honour and crimson band
+        Lay on my heart right surely;
+    My musket place within my hand,
+        And gird my sword securely:
+    So will I lie there and harken, dumb,--
+        Like sentry when hosts are camping,--
+    Till I hear the roar of the cannon come,
+        And the chargers above are tramping!
+
+    "Above me shall ride then my Emp'ror so brave,
+        While swords are flashing and clashing,
+        While sabres are fiercely contending,--
+    In that hour of his need I will rise from the grave,
+        The cause of my Emp'ror defending!"
+
+And in his song-cycle _Frauen-lieben und Leben_ (Woman's Life and Love)
+he has evinced "extraordinary depths of penetration into a side of human
+character which men are generally supposed incapable of
+understanding--the intensity and endurance of a pure woman's love." ...
+Yet who should know it if he does not?...
+
+Towards evening, various folk drop in by ones and twos,--musical
+acquaintances, it need hardly be said, for there is no other topic than
+that of their art which they can discuss with Robert Schumann. The
+discussion may possibly be on their part only, with a man like this, of
+whom it is told that one day he went into a friend's house, whistling
+softly _sotto voce_,--and, with nothing but a cheery nod, walked to the
+piano and opened it,--played a few chords,--made a modulation, and
+returned to the original key,--shut the piano, gave another courteous
+nod, and--exit, in utter silence! He is, indeed, capable of sitting for
+hours in the midst of a merry chattering company, completely lost in
+thought, employed upon the evolution of some musical thought. But when
+he _does_ speak, his words are all altruistically ardent, full of eager
+praise and joyful appreciation for the great names of music, whose
+excellencies he loves to point out. "The great masters, it is to them I
+go," he avows with the humility of a child,--"to Gluck the simple, to
+H�ndel the complicated, and to Bach the most complicated of all." His
+admiration of "John Sebastian" is boundless. "I always flee to Bach, and
+he gives me fresh strength and desire for life and work.... The profound
+combinations, the poetry and humour of the new school of music
+principally emanate from Bach."
+
+
+    [Illustration: THE TWO GRENADIERS.
+
+    To France were returning two Grenadiers,
+        In Russia they long did languish,
+    And as they came to the German frontier,
+        They hung down their heads with anguish.
+
+                                          (_Die Beiden Grenadieren_).]
+
+Mozart is to him, as to all great artists, a veritable divinity. "Do not
+put Beethoven," says he, "too soon into the hands of the young: steep
+and strengthen them in the fresh animation of Mozart.... The music of
+the first act of _Figaro_ I consider the most heavenly that Mozart ever
+wrote." And with his customary absolute freedom from professional envy,
+he terms Mendelssohn "the Mozart of the nineteenth century," and will
+not even sit in the same room with anyone who disparages him. He has
+upheld with noble enthusiasm the merits of such rising stars as Chopin,
+Heller, Gade, Sterndale-Bennett, Berlioz, Franz, and Brahms. He has, it
+may be said, only one _b�te noir_, the blatant and flamboyant Meyerbeer.
+Regarding Wagner, his opinion is in abeyance. "Wagner is a man of
+education and spirit ... certainly a clever fellow, full of crazy ideas,
+and audacious to a degree.... Yet he cannot write or think of four
+consecutive lines of beautiful, hardly of good, music." So Schumann has
+delivered himself at one time; but he is ready to revoke this judgment,
+and to declare, "I must take back one or two things I said after reading
+the score of _Tannh�user_; it makes quite a different effect on the
+stage. Much of it impressed me deeply."
+
+When his guests depart, Schumann accompanies them a little way, that he
+may, according to his invariable custom, spend an hour or so of the
+evening at Popper's Restaurant. There, should his friend Verhulst
+be present, he enjoys what is for him a free and animated
+conversation--otherwise, among the chink of glasses and clank of plates,
+he remains aloof and meditative.
+
+Evening darkens slowly into the calm spring night,--that
+_Fr�hlingsnacht_ which he has set forth in such exquisite music--as he
+regains his home and rejoins his wife. She is practising softly lest the
+children awaken, but rises with a smile of joy, and receives her husband
+as though he had been a year away. Side by side, holding each others'
+hands, they sit by the window and inhale the sweet April air. A sense of
+beatitude encompasses them.
+
+"Hast thou done well to-day, Robert?" she enquires.
+
+"Well? Yes--very well: better than I hoped or expected. A soft voice
+seemed to whisper to me whilst I worked, 'It is not in vain that thou
+art writing.' ... But in such an hour as this, my Clara, I long more
+deeply to give expression to my holiest thoughts. To apply his powers to
+sacred music must always be the loftiest aim of an artist. In youth we
+are all too firmly rooted to earth with its joys and sorrows: but with
+advancing age, our branches extend higher. And so I hope the time for my
+efforts in this direction is not far distant."
+
+"It is, then, at present, eluding you--the study of sacred music?"
+
+"It demands a power of treating the chorus--a knowledge of superb
+_ensemble_ and massive effects to which I have not yet attained." And he
+heaves a sigh as of one faced with mighty problems. For to this man,
+"from whom the knowledge of no emotion in the individual heart is
+withheld, it is a matter of extreme difficulty to give expression to ...
+those feelings which affect the whole of mankind in common."
+
+"For you, who can realize human love so devoutly, there should be no
+eventual hindrance to the expression of love towards God," says the
+little dark-eyed woman, pressing his hand with warm devotion.
+
+"You yourself are the concrete expression of love towards God," the
+composer murmurs, gazing down at her in the twilight--"you and your
+music together. If I once said I loved you because of your goodness, it
+is only half true. Everything is so harmoniously combined in your
+nature, that I cannot think of you apart from your music--and so I love
+you one with the other." A sudden spasm contracts his face as he
+speaks--he turns his head wildly to and fro.
+
+"Robert!" she exclaims, "what is the matter? You shuddered--your hand
+has gone cold and clammy. What ails you?"
+
+"What are those distant wind-instruments?" he asks in awestruck tones.
+"What are they playing? Don't you hear? Such harmonies are too beautiful
+for earth...."
+
+Clara strains her ears into the stillness. "There is nothing--nothing
+audible whatever," she asseverates. "Robert, you are ill--you have
+overworked your head--"
+
+"I have heard them before ... beautiful, beautiful!--Ah! now they are
+silent!" and he passes his hand over his brow with a bewildered air.
+
+"Come, dearest, you are overwearied--come and sleep sweetly." Schumann
+permits himself to be led away from the window by his anxious wife:
+slowly he regains his composure.
+
+"My little treasure!" he whispers, clasping her tenderly, "what should I
+be without your loving care of me? Cl�rchen ... Schumann ... I wonder
+whether an angel imagined the names together?"
+
+"May that angel guard thee, Robert," says she, "and all that is thine
+and mine, for ever."
+
+The open piano glistens whitely in the darkness: she closes it as they
+leave the room.
+
+    [Illustration]
+
+
+    _Printed by Percy Lund, Humphries & Co., Ltd.
+    Bradford and London._       _4880_
+
+       *       *       *       *       *
+
+Transcriber's notes:
+
+    Punctuation has been normalized.
+    Page 10: "Barret" changed to "Barrett."
+      "Elizabeth Barrett Browning".
+    Page 21: "pevote" changed to "devote."
+      "... more time to devote towards composing".
+    Page 23: "fr�hst�ck" changed to "Fr�hst�ck."
+      "... a modest _Fr�hst�ck_ or breakfast".
+    Page 45: "blume" changed to "Blume."
+      "The lyrics _Die Lotos-blume_".
+
+
+
+
+
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+
+The Project Gutenberg EBook of A Day with Robert Schumann, by May Byron
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Day with Robert Schumann
+
+Author: May Byron
+
+Release Date: June 19, 2011 [EBook #36472]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH ROBERT SCHUMANN ***
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+
+Produced by Juliet Sutherland, paksenarrion and the Online
+Distributed Proofreading Team at https://www.pgdp.net
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+</pre>
+
+
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/cover.jpg" width="450" height="650" alt="" title="" />
+</div>
+
+<hr style="width: 45%;" />
+
+<div class="figcenter" style="width: 225px;">
+<img src="images/illus001.png" width="225" height="309" alt="" title="" />
+</div>
+<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<p>
+<br /><br /><br /><br /></p>
+<p><span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span><span class="pagenum">
+<a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+
+<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/illus004.jpg" width="450" height="714" alt="THE HIDALGO." title="" />
+
+<div class="caption"><div class="poem"><div class="stanza">
+<span class="i0"><b>THE HIDALGO.</b><br /></span>
+</div><div class="stanza">
+<span class="i0">My days I spend in courting,<br /></span>
+<span class="i0">With songs and hearts a-sporting,<br /></span>
+<span class="i0">Or weaponed for a fight!<br /></span>
+</div><div class="stanza">
+<span class="i0">(<i>Der Hidalgo</i>).<br /></span></div></div></div></div>
+
+<hr style="width: 45%;" />
+
+<h1>A DAY WITH<br />
+ROBERT<br />
+SCHUMANN</h1>
+<p class="venti">BY MAY BYRON</p>
+
+<div class="figcenter" style="width: 100px;">
+<img src="images/illus005.jpg" width="100" height="98" alt="" title="" />
+</div>
+
+<p class="center">LONDON<br />
+HODDER &amp; STOUGHTON</p>
+<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+
+<p class="center"><i>In the same Series.</i><br />
+    <i>Mozart.</i><br />
+    <i>Beethoven.</i><br />
+    <i>Mendelssohn.</i><br />
+    <i>Schubert.</i><br />
+    <i>Chopin.</i><br />
+    <i>Wagner.</i><br />
+    <i>Gounod.</i><br />
+    <i>Tschaikovsky.</i></p>
+<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
+
+<hr style="width: 45%;" />
+
+
+<h2>A DAY WITH SCHUMANN.</h2>
+
+
+<div class="drop">
+<img src="images/illus007.png" alt="I" width="100" height="121" class="cap" />
+<p class="cap_1">It is an April morning in 1844,
+in the town of Leipzig,&mdash;calm,
+cool, and fraught with exquisite
+promise of a prolific spring,&mdash;when
+the Herr Professor
+Doctor Robert Schumann,
+rising before six o'clock as is his wont, very
+quietly and noiselessly in his soft felt
+slippers, dresses and goes downstairs. For
+he does not wish to disturb or incommode
+his sleeping wife, whose dark eyes are still
+closed, or to awaken any of his three little
+children.</p></div>
+
+<p>The tall, dignified, well-built man, with his
+pleasant, kindly expression, and his air of
+mingled intellect and reverie, bears his whole
+character written large upon him,&mdash;his transparent
+honesty, unflagging industry, and
+generous, enthusiastic altruism. No touch of
+self-seeking about him, no hint of ostentation <span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
+or conceit: he is still that same reticent and
+silent person, of whom it was said some
+years ago by his friends,</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Herr Schumann is a right good man,<br /></span>
+<span class="i0">He smokes tobacco as no one can:<br /></span>
+<span class="i0">A man of thirty, I suppose,<br /></span>
+<span class="i0">And short his hair, and short his nose."<br /></span>
+</div></div>
+
+<p>That, indeed, is the sum total of his outward
+appearance: as for the inward man, it is
+not to be known save through his writings.
+Literature and music are the only means of
+expression, of communication with others,
+which are possessed by this modest, pensive,
+reserved maestro, upon whom the sounding
+titles of Doctor and Professor sit so strangely.</p>
+
+<p>In the unparalleled fervour and romance
+of his compositions,&mdash;in the passionate heart-opening
+of his letters,&mdash;in the sane, wholesome,
+racy colloquialism of his critiques,&mdash;the real
+Robert Schumann is unfolded. Otherwise he
+might remain a perennial enigma to his nearest
+and dearest: for even in his own family circle,
+tenderly and dearly as he adores his wife and<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>
+children, his lips remain sealed of all that they
+might say: and the fixed, unvarying quietude
+of his face but rarely reveals the least suggestion
+of his deeper feelings.</p>
+
+<p>Yet, at the present time, were you to
+search the world around, you should hardly
+find a happier man than this, in his own serene
+and thoughtful way. For, in his own words,
+"I have an incomparable wife. There is no
+happiness equal to that. If you could only
+take a peep at us in our snug little artist
+home!" Clara Wieck, whom he has known
+from her childhood, whom he struggled, and
+agonised, and fought for against fate, for five
+long years of frustration and disappointment,
+is not only his beloved wife and the mother of
+his little ones,&mdash;she is his fellow-worker and
+co-artist, and literal helpmate in every department
+of life. She has "filled his life with
+sunshine of love,"&mdash;and, "as a woman," he
+declares, "she is a gift from heaven....
+Think of perfection, and I will agree to it!"
+But, beyond that, she has poured her beautiful
+soul into every hungry cranny of his artistic
+sense. "For Clara's untiring zeal and energy<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+in her art, she really deserves love and encouragement....
+I will say no more
+of my happiness in possessing a girl with whom
+I have grown to be one through art, intellectual
+affinities, the regular intercourse of years,
+and the deepest and holiest affection. My
+whole life is one joyous activity."</p>
+
+<p>The annals of art, indeed, hold no more
+lovely record of a union between natural
+affinities. That of Robert and Elizabeth
+Barrett Browning perhaps approximates most
+closely to that of Robert and Clara Schumann.
+But whereas in the former case both husband
+and wife were alike engaged upon the same
+branch of literature,&mdash;poetry,&mdash;and a certain
+sense of sadness was apt to embitter the success
+of the wife, because of the unpopularity (in
+those days) of the husband,&mdash;Schumann is
+solely and pre-eminently a composer, and Clara
+solely and absorbingly a pianist. No shadow
+of artistic rivalry can fall upon their delight,
+nor darken their pleasure in each other's
+achievements. Schumann's most impassioned
+and characteristic productions have been definitely
+inspired by Clara, ever since the days<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+when, as a child of nine, she listened to his
+fantastic fairy-tales, and her exquisite playing
+thrilled him with a desire to think in music.
+And Clara, who has never made a mere show
+of her marvellous executive skill, but has
+"consecrated it to the service of true art
+alone,"&mdash;is never happier than when interpreting
+her husband's works.</p>
+
+<p>It is, in short, necessary to deal with
+Schumann as a whole,&mdash;as a man who has
+fulfilled the triple destiny for which Nature
+intended him,&mdash;as individual, husband, and
+father,&mdash;before one can even approximately
+understand this silent, studious dreamer, whose
+one ideal of happiness is to sit at home and
+compose.</p>
+
+<p>Schumann considers this early morning
+hour the most precious of his day, from a
+working standpoint. He seats himself at his
+desk, and places his two treasures where they
+shall catch his eye conspicuously; for he
+regards them more or less as charms and
+talismans to bring out the best that is in him.
+They are, a steel pen which he found lying on<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+Beethoven's grave at Vienna, and the MS.
+score of Schubert's C-major Symphony, which
+he obtained by a lucky chance. He regards
+these with a mixture of sentiment and humorous
+toleration of his own mysticism: but he
+cherishes them none the less, and often casts a
+reassuring glance in their direction, as he
+covers sheet after sheet of paper with his
+shockingly illegible handwriting. "Poets and
+pianists," says he with resignation, "almost
+always write with a dog's paw. The printers
+will make it out somehow." He is engaged
+upon his work in connection with the <i>Neue
+Zeitschrift f�r Musik</i> (New Musical Times),
+which he originally founded, and of which he
+has been some nine years Editor. During all
+these years he has contributed to its pages those
+admirable reviews and appreciations which are
+so utterly unlike anything heretofore attempted
+in the realm of musical criticism. "There is
+no quality to be desired in a musical critic that
+Schumann does not possess:" and in addition
+to technical equipments of every kind, keen
+insight and an almost prophetic quality in his
+predictions, he has the priceless gift too often
+denied to the critic,&mdash;that of superabundant<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+sympathy. His hands are ever thrown out to
+welcome the young and timid genius, even as
+they are clenched, so to speak, with threatening
+fists towards Philistinism, charlatanism and
+mediocrity. He loves to praise rather than to
+blame, and to detect the germs of coming greatness
+in some obscure, unsuspected artist. He
+takes into his regard the personal equation
+wherever possible, and does not separate the
+musician from the man: for, he says, "the
+man and the musician in myself have always
+struggled to manifest themselves simultaneously....
+I speak with a certain diffidence of works,
+of the precursors of which I know nothing.
+I like to know something of the composer's
+school, his youthful aspirations, his exemplars
+and even of the actions and circumstances of
+his life, and what he has done hitherto."</p>
+
+<p>As his pen travels rapidly over the pages,
+the reason of his cramped and crabbed handwriting
+is only too evident. Schumann's right
+hand is crippled. In an evil hour of his youth,
+while yet he was consumed with the ambition
+of a would-be virtuoso, he experimented, with
+artificial restrictions, upon one of his right-hand<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+fingers, intending thus to strengthen the rest by
+assiduous practice ... with the result that
+he lamed his hand for ever. This disastrous
+attempt deprived the world of a good pianist,
+but conferred upon it a great composer: for it
+is possible that the executive would have
+superseded the creative ability within him.
+Nevertheless, he confesses that, "My lame
+hand makes me wretched sometimes ... it
+would mean so much if I were able to play.
+What a relief to give utterance to all the music
+surging within me! As it is, I can barely play
+at all, but stumble along with my fingers all
+mixed up together in a terrible way. It causes
+me great distress."</p>
+
+<p>Thus, you perceive, he is considerably
+debarred from expressing himself in sounds, no
+less than in words: he must perforce retire
+more and more within himself. The ease with
+which he writes is balanced by the difficulty
+with which he speaks: and bitterly he has
+complained, "People are often at a loss to
+understand me, and no wonder! I meet
+affectionate advances with icy reserve, and
+often wound and repel those who wish to help<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>
+me.... It is not that I fail to appreciate the
+very smallest attention, or to distinguish every
+subtle change in expression and attitude: it is
+a fatal something in my words and manner
+which belies me."</p>
+
+<p>He is, indeed, only paralleled by the <i>Lotus
+Flower</i> of his own delicious song,&mdash;shrinking
+from the daylight of publicity, and softly
+unfolding to the gentle rays of love.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">The Lotus flower is pining<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;Under the sun's red light:<br /></span>
+<span class="i0">Slowly her head inclining,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;She dreams and waits for the night.<br /></span></div>
+
+<div class="stanza">
+<span class="i0">The moon, who is her lover,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;Awakes her with his rays,<br /></span>
+<span class="i0">And bids her softly uncover<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;Her veiled and gentle gaze.<br /></span></div>
+
+<div class="stanza">
+<span class="i0">Now glowing, gleaming, throbbing,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;She looks all mutely above,&mdash;<br /></span>
+<span class="i0">She is trembling, and sighing, and sobbing,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;For love and the pangs of love.<br /></span></div>
+(<i>Heine.</i>)<br /></div>
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+
+<p>And here she enters the room, this woman
+who is literally his <i>alter ego</i>, and the small
+prattle of children is audible in the awakening
+house. Madame Schumann is, in her husband's
+words, a "pale, not pretty, but attractive"
+young woman of twenty-six, "with black eyes
+that speak volumes,"&mdash;slender, vivacious,
+affectionate: the exact complement of Robert
+in all respects. It is easy to perceive in them,
+at the first glance, "two noble souls distinguished
+by fastidious purity of character&mdash;two buoyant
+minds concentrated to the service of the same
+art." The heavily-thoughtful face of the
+composer lights up with sudden sunshine.</p>
+
+<p>"Come and sit beside me, my dear, sweet
+girl!" says he. "Hold your head a little to the
+right, in the charming way you have, and let
+me talk to you a little. Upon my word,
+Cl�rchen, you look younger than ever this
+morning. You cannot be the mother of three.
+You cannot be the celebrated pianist. You
+are just the queer, quaint little girl you were
+ten years ago, with strong views of your own,
+beautiful eyes, and a weakness for cherries!"
+This is a very long speech for Schumann, and
+his wife looks at him with a shade of anxiety&mdash;such<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+anxiety as she is never wholly free from.
+For the words which she wrote in her diary
+on her wedding day were more prophetic than
+even she may yet recognise: "My responsibilities
+are heavy&mdash;very heavy; give me
+strength to fulfil them as a good wife should.
+God has always been and will continue to be
+my helper. I have always had perfect trust
+in Him, which I will ever preserve." She, and
+she alone, is aware of all those mysterious
+clouds of melancholia, those strange sounds of
+inexplicable music, which brood at times above
+her darling husband&mdash;friend, comrade and lover
+in one. She, and she only, can banish, as
+David did from Saul, the terrible phases of
+irrational depression, and exorcise the evil
+power which is always lurking ambushed in
+Schumann's outwardly happy life.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/illus019.jpg" width="450" height="630" alt="THE LOTUS-FLOWER." title="" />
+
+<div class="caption"><div class="poem"><div class="stanza">
+<span class="i0"><b>THE LOTUS-FLOWER.</b><br /></span>
+</div><div class="stanza">
+<span class="i0">The Lotus flower is pining<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;Under the sun&#39;s red light:<br /></span>
+<span class="i0">Slowly her head inclining,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;She dreams and waits for the night.<br /></span>
+</div><div class="stanza">
+<span class="i0">(<i>Die Lotos-Blume</i>).<br /></span></div></div></div></div>
+
+<p>"See," says he, with modest pride, "what
+a vast amount of work I have completed this
+morning!"</p>
+
+<p>"You are a most diligent creature,
+Robert!" she tells him, "and yet I cannot but
+wish sometimes, that this literary work were
+off your mind&mdash;that you had more time to
+devote towards composing, which is your true<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+<i>m�tier</i>. I want all the world to understand
+how great a master you are&mdash;I am jealous of
+every minute spent upon the <i>Neue Zeitschrift</i>!"</p>
+
+<p>"Don't be too ambitious for me, Cl�rchen:
+I desire no better place than a seat at the piano
+with you close by."</p>
+
+<p>"That does not satisfy me," says the
+impetuous little lady, "I want you to be recognised
+and applauded by all men. When I am
+rendering your divine compositions, I feel as
+though all the while I were declaring: 'Just
+hear this!&mdash;Just listen to that!&mdash;This is by
+Robert Schumann, the greatest genius in
+Germany: it is an honour to me to be
+allowed to perform such works.'"</p>
+
+<p>"My dear, those compositions are my poor,
+weak way of expressing my thoughts about you!
+The battles which you have cost me, the joy
+you have given me, are all reflected by my
+music. You are almost the sole inspiration of
+my best&mdash;the Concerto, the Sonata, the <i>Davidsb�ndler</i>
+dances, the <i>Kreisleriana</i>, the <i>Novelletten</i>.
+Why, dearest, in the <i>Novelletten</i> are my
+thoughts of you in every possible position and
+circumstance and all your irresistibleness!...
+No one could have written the <i>Novelletten</i>,<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+unless he had gazed into such eyes and touched
+such lips as yours. In short, another may do
+better work, but nothing just like these."</p>
+
+<p>"That, indeed, I feel," replies Clara with
+a little sigh, "and the very significance of their
+meaning, I believe, forbids my doing full justice
+to their amazing difficulties. You need a pianist
+like Liszt, my Robert, to interpret you to the
+best advantage."</p>
+
+<p>"I have every admiration for Liszt's
+wonderful playing, with its diapason of all the
+moods between the extremes of fiery frenzy,
+and utmost delicacy. But his world is not mine&mdash;not
+ours, Cl�rchen. Art, as we know it&mdash;you
+when you play, I when I compose&mdash;has an
+intimate charm that is worth far more to us
+than all Liszt's splendour and tinsel."</p>
+
+<p>They embrace with the warmth and sweetness
+of perfect mutual comprehension: and she
+prevails upon him to descend from cloudy
+Olympian editorial heights, so far as to refresh
+himself with a modest <i>Fr�hst�ck</i> or breakfast,
+and a brief gambol with the little ones&mdash;for he
+has that devotion to tiny children characteristic
+of all great men. Never, perhaps, has any<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+composer so thoroughly entered into childish
+griefs and fears and pleasures&mdash;the April
+shower and shine of babyhood&mdash;than Schumann
+in his <i>Kinderscenen</i>. The consummate musician
+who has surmounted every difficulty, acquainted
+himself with every method of his art&mdash;the man
+who has mastered the forms of symphony,
+chamber-music, pianoforte and vocal music to
+their farthest present limits&mdash;here stands forth
+as the exponent of little innocent every-day
+emotions. <i>By the Fireside</i>, <i>Bogeys</i>, <i>A Child's
+Petition</i>, <i>From Foreign Lands</i>, <i>Blindman's Buff</i>,
+and so on, the simple titles run. "They are
+descriptive enough, you see, and as easy as
+winking!" he has told his wife. And they are
+the very breath of childhood,&mdash;they "dally
+with the innocence of love, like the old age."
+Nobody could have imagined them but a man
+who had eternal youth in his heart. "The
+dissonances are as softly blended as if a child
+had actually poured forth its pure soul."</p>
+
+<p>It may readily be imagined with what looks
+askance the composer of the <i>Kinderscenen</i> is
+favoured by his academic and hide-bound
+contemporaries. "Romanticism run mad"&mdash;"modernism<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>
+gone crazy;"&mdash;"discordant
+innovations;"&mdash;"new-fangled nonsense"&mdash;there
+are few terms too harsh for Herr
+Schumann; and sometimes he is contemptuously
+ignored as beyond all possibility of classification.
+Already sufficiently <i>outr�</i>, in the opinion of all
+conventional musicians, by his adoption of the
+cyclical form, rather than the orthodox classical,
+for his abstract pianoforte music&mdash;"the whole
+becoming organic by means of the intimate
+connection between the various parts;"&mdash;already
+sufficiently outlandish, in the estimation
+of the average conservative critic, by what is
+condemned as his <i>grotesquerie</i> and <i>bizarrerie</i> of
+treatment: Schumann is not careful to answer
+his opponents, or to defend himself from any
+charges of <i>l�se-majest�</i> against the imperial art
+which he serves. That wide and genial
+tolerance which he extends towards all new
+composers, he does not demand or even expect
+for himself. Nevertheless, as he allows, "I
+used to be quite indifferent to the amount of
+notice I received, but a wife and children put
+a different complexion upon everything. It
+becomes imperative to think of the future."
+And he is aware that his own personal idiosyncrasies<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+are the strongest obstacle in his way;
+for he is unable to push or praise himself in the
+least, and the lordly egotism by dint of which
+other composers win, or command, a hearing,
+has been entirely omitted from the making of
+this dumb genius. He knows no professional
+jealousy, he never speaks ill of a soul;&mdash;but
+then, one might say that he hardly ever spoke
+at all. He is almost unknown in society,&mdash;partly
+because he really has no interest whatever
+apart from music, partly owing to his silent
+manner and retiring disposition. It is on record
+that one day after Madame Schumann had been
+playing with tremendous success at one of the
+smaller German courts, the Serene Highness
+who was ruler there enquired of her with great
+affability, "whether her husband were also
+musical?" And with his fellow-musicians he
+is so invincibly taciturn that conversation is
+almost a farce. Even Wagner, whose powers
+of loquacity are almost illimitable, resents being
+reduced to the utterance of an absolute monologue.
+"When I came to see Schumann," he
+grumbles, "I related to him my Parisian
+experiences, spoke of the state of music in
+France, then of that in Germany, spoke of<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>
+literature and politics,&mdash;but he remained as good
+as dumb for nearly an hour. Now, one cannot
+go on talking <i>quite</i> alone. An impossible man!"</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/illus029.jpg" width="450" height="630" alt="THE KNIGHT AND THE LORELEI." title="" />
+
+<div class="caption"><div class="poem"><div class="stanza">
+<span class="i0"><b>THE KNIGHT AND THE LORELEI.</b><br /></span>
+</div><div class="stanza">
+<span class="i0">The hour is late, the night is cold,&mdash;<br /></span>
+<span class="i0">Who through the forest rides so bold?<br /></span>
+<span class="i0">The wood is wide,&mdash;thou art alone,&mdash;<br /></span>
+<span class="i0">O lovely maid, be thou my own!<br /></span>
+</div><div class="stanza">
+<span class="i0">(<i>Waldesgesprach</i>).<br /></span></div></div></div></div>
+
+<p>The fact is, that the "impossible man"
+dwells apart in a world of his own, a world
+peopled by the best folk he has ever encountered
+either in the flesh or the spirit, and a world
+where the austerest canons and noblest aspirations
+of his great art are upheld on a very
+different plane from that of Leipzig. He has the
+highest possible view of his vocation and what
+it should entail. "To send light into the depths
+of the human heart, that is the artistic calling,"
+he has declared.... "The artist is to choose
+for his companions those who can do something
+beyond playing passably on one or two instruments&mdash;those
+who are whole men and can
+understand Shakespeare and Jean Paul....
+People say, 'It pleased,' or 'It did not please,'&mdash;as
+if there were nothing higher than pleasing
+the public!"... A man with such notions
+as these, in the first half of the nineteenth
+century, must of necessity live and move to a
+great extent in an ideal atmosphere of his own:
+and Schumann, to do so the more literally, has<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+created his own company in that "spiritual and
+romantic league," the <i>Davidsbund</i>, which exists
+only in his imagination, but exercises considerable
+vigour none the less.</p>
+
+<p>The <i>Davidsbund</i> is a mystical community of
+kindred souls, each enlisted, with or without his
+knowledge, under the banner of "a resolve to
+do battle in the cause of musical progress,
+against Philistinism in every form." One can
+only vaguely compare it to the Pre-Raphaelite
+Brotherhood in England. "Mozart was as
+much a member of it as Berlioz now is," so
+declares its founder. Chopin, Julius Knorr,
+Schuncke, Carl Banck and others, without any
+form of enrolment, are members of the Davidite
+fraternity. New names and old are added
+from time to time, in the friendly columns of
+the <i>Neue Zeitschrift f�r Musik</i>, which is the
+organ of the league: and especially Schumann
+himself appears under a number of <i>noms de
+guerre</i>, representing the manifold facets of his
+identity. As <i>Florestan</i>, he speaks for "the
+turbulent and impulsive side of his nature, full
+of imaginative activity;" as <i>Eusebius</i>, he
+expresses those gentle, thoughtful, sensitive<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+qualities which sit so lovably upon him. As
+<i>Meister Raro</i>, calmly logical, he stands between
+both the above, and, "acting as arbitrator,
+sums up their opposing criticisms," much as his
+father-in-law Friedrich Wieck the great professor
+might do. To light-hearted, humorous,
+almost frivolous critiques he signs himself
+<i>Jeanquirit</i>: and last, not least of the "Davidites,"
+he introduces Mendelssohn as <i>Meritis</i>, and
+embodies varying traits of his beloved Clara
+as <i>Zilia</i>, <i>Chiarina</i>, and <i>Cecilia</i>.... Call it
+feather-brained, fantastic, ridiculous, if you will,
+the <i>Davidsbund</i> has a very definite meaning, and
+fulfils a very noble purpose. For, to use its
+inventor's own phrase, "In every age there is
+a secret band of kindred spirits. Ye who are
+of this fellowship, see that ye weld the circle
+firmly, that so the truth of Art may shine ever
+more and more clearly, shedding joy and
+blessing far and near."</p>
+
+<p>That remarkable power of expressing the
+personalities of his friends in music, which has
+been Schumann's from youth, stands him in
+good stead for the depicting of various "Davidites":
+he could show the peculiar characteristics<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+of any one of them in a few moments, on the
+pianoforte, whereas years would not suffice him
+to give a verbal explanation. This power of
+portrayal is noticeable in the very construction
+of his songs,&mdash;such as, for instance, <i>The Two
+Grenadiers</i>, or <i>Freedom</i>, or <i>The Hidalgo</i>, with its
+essentially Spanish arrogance.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">My days I spend in courting,<br /></span>
+<span class="i0">With songs and hearts a-sporting,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;Or weaponed for a fight!<br /></span>
+<span class="i0">The fragrant darkness daring,<br /></span>
+<span class="i0">I gaily forth am faring,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;To roam the streets by night,<br /></span>
+<span class="i0">For love or war preparing,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;With bearing proud and light....<br /></span>
+<span class="i0">The moon her light is flinging,<br /></span>
+<span class="i0">The powers of Love are springing,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;And sombre passions burn ...<br /></span>
+<span class="i0">Or wounds or blossoms bringing,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;To-morrow I'll return!<br /></span>
+<span class="i0">While o'er the horizon darkling,<br /></span>
+<span class="i0">The first faint star is sparkling,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;All prudence cold I spurn,&mdash;<br /></span>
+<span class="i0">Or wounds or blossoms bringing,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;To-morrow I'll return!<br /></span></div></div>
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+
+<p>In the course of the morning Schumann,
+reluctantly leaving a mass of unfinished MSS.
+upon his desk and pianoforte, betakes himself
+to his duties at the Conservatorium, where he
+has been professor for about a year. Conscientious
+and painstaking in tuition as in all else, he
+is not naturally a good teacher. He seems to
+be devoid of the priceless power of imparting
+verbal instruction, or of imparting the secret of
+the system whereby a desired effect shall be
+attained. His habitual and increasing melancholy
+reserve rises up like a barrier between
+himself and his pupils: his reticence chills and
+bewilders them. His own musical education
+has been an entirely personal matter, and not
+wrought out upon the accepted scholastic lines.
+Moreover, intercourse with musical people has
+always "appealed to Schumann far more, and
+with greater success, than dry lessons in
+thorough bass and counterpoint." Hence,
+whilst he appears almost unable to assist the
+novice in the beginning, or tadpole stage, he is
+able to afford invaluable help and stimulating
+criticism to those young artists with whom he
+may come in contact, and who adore him for
+his sympathetic kindness. The violinist Joachim<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+never forgot how, as a boy of thirteen, he
+played the <i>Kreutzer</i> sonata with his host at the
+house of Mendelssohn. Lonely and silent all
+the while, Schumann remained in a corner of the
+room; but subsequently, while Joachim was
+sitting near him, he leaned forward and pointed
+to the stars, shining down into the room through
+the open window. He patted the lad's knee
+with gentle, friendly encouragement. "Do
+you think they know up there" he queried,
+"that a little boy has been playing down here
+with Mendelssohn?"&mdash;This question was the
+very essence of Schumann,&mdash;romantic, mystical,
+full of tender dreams.</p>
+
+<p>His composition-lessons over, he conducts
+a part-singing class. Orchestral conducting is
+abhorrent to him; it is "too defiant and conspicuous
+a task." He cannot make his meaning
+clear by word of mouth: and in gesture he is
+singularly deficient. But in part-singing he is
+an excellent instructor, because he is seated at
+the piano and can indicate there the suggestion
+which he fails to convey <i>viva-voce</i>. Even now,
+in the wreck of his abilities as a pianist, it is
+possible to imagine what he might have been:<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+he can produce an extraordinary depth and
+richness of tone, seeming to obtain some of his
+effects by unusual and almost illegitimate means.
+His accentuation is very slight, and he uses both
+pedals too frequently and too freely. Notwithstanding
+these peculiarities, however, the same
+indefinable magic pervades his piano-playing as
+his compositions.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/illus039.jpg" width="450" height="630" alt="I WILL NOT CHIDE." title="" />
+
+<div class="caption"><div class="poem"><div class="stanza">
+<span class="i0"><b>I WILL NOT CHIDE.</b><br /></span>
+</div><div class="stanza">
+<span class="i0">I will not chide, although my heart should break,<br /></span>
+<span class="i0">Though all my hopes have died, lost Love, for thy dear sake&mdash;<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I will not chide.<br /></span>
+</div><div class="stanza">
+<span class="i0">(<i>Ich grolle nicht</i>).<br /></span></div></div></div></div>
+
+<p>Nervous, excitable, uneasy, the master
+draws a breath of relief when the class is dismissed.
+The pleasant Hebraic face of Mendelssohn
+nods in at his door in passing. The two
+musicians are so busily engaged, that often they
+hardly exchange a word for weeks together.
+Mendelssohn, the recipient of many a generous
+and whole-hearted encomium from his devotee
+Schumann, does not return this fraternal
+enthusiasm. To his well-balanced mind, the
+silent moody man and his productions are too
+wild, too eccentric, too uncanny. He regards
+them, at times, with a species of grudging
+admiration: at others, he sides in heart, if not
+in speech, with the current opinion of the town.
+"Opposition to all artistic progress has always
+been a distinctive characteristic of Leipzig<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+musical society," and therefore horror-stricken
+hands are uplifted at the editor of the <i>Neue
+Zeitschrift f�r Musik</i>, his heretical doctrines, and
+still more heretical deeds. The good people of
+the Thomas-School Choral Society, the audience
+at the Gewandhaus concerts, the subscribers to
+opposition musical papers, regard Herr
+Schumann very much as the knight regarded
+the lady at the close of his own magnificent
+<i>Waldesgesprach</i>.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The hour is late, the night is cold,&mdash;<br /></span>
+<span class="i0">Who through the forest rides so bold?<br /></span>
+<span class="i0">The wood is wide,&mdash;thou art alone,&mdash;<br /></span>
+<span class="i0">O lovely maid, be thou my own!"<br /></span>
+</div><div class="stanza">
+<span class="i0">"Great is the craft and guile of men,<br /></span>
+<span class="i0">With grief my heart is rent in twain;<br /></span>
+<span class="i0">Far sounds the bugle to and fro,&mdash;<br /></span>
+<span class="i0">Away! my name thou dost not know!"<br /></span>
+</div><div class="stanza">
+<span class="i0">"Thy steed and thou so bright array'd,<br /></span>
+<span class="i0">So wondrous fair, thou lovely maid,&mdash;<br /></span>
+<span class="i0">&mdash;I know thee now! God! let me fly!<br /></span><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>
+<span class="i0">Thou art the fairy Lorelei!"<br /></span>
+</div><div class="stanza">
+<span class="i0">"Thou know'st me now&mdash;my towers do shine<br /></span>
+<span class="i0">Deep mirror'd in the dark blue Rhine,&mdash;<br /></span>
+<span class="i0">The wind blows cold, the day is o'er,&mdash;<br /></span>
+<span class="i0">Thou shalt escape me never more!"<br /></span>
+</div></div>
+
+<p>In the afternoon, Schumann, back at home,
+is occupied with creative work. This, perhaps,
+is the most congenial part of his day: for, as it
+has been said of him, he sees life musically, and
+whatever happens to impress him takes the
+form of music. Steadily, deliberately, of set
+purpose, and yet with the authentic fire of
+divine inspiration infusing his smallest effort, he
+has conquered, one by one, in every field of
+creative art. His finest pianoforte works were
+composed during the wretched years of strain
+and stress whilst he was waiting to marry Clara,
+held apart from her by her jealous and inexorable
+father, until (again like the Brownings) the
+lovers took matters into their own hands and
+were married in sudden and in secret. Three
+of his four great symphonies saw the light in
+one year, 1841,&mdash;an achievement truly colossal.
+Last year, 1843, he was studying and perfecting
+himself in chamber music. His life, outwardly
+so uneventful, has been abnormally prolific in<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+brain-work: and that of no fatal fluency or
+shallow meretriciousness, but conceived upon
+the highest possible plane. "The more clearly
+we examine Schumann's ideas," says Liszt,
+"the more power and life do we discover in
+them: and the more we study them, the more
+are we amazed at the wealth and fertility which
+had before escaped us." And his own theories
+of art are bound to evolve themselves thus:&mdash;for
+"Only think," he has written, "what
+circumstances must be combined to produce
+the beautiful in all its dignity and splendour.
+We need,&mdash;1st, lofty deep purposes and ideality
+in a composition; 2nd, enthusiasm in description;
+3rd, masterly execution and harmony of
+action, closely combined; 4th, innate desire for
+giving and receiving, a momentarily favourable
+mood (on both sides, that of listener and performer);
+5th, the most fortunate conjunction
+of the relatives of time, as well as of the more
+especial question of place and other accessories;
+6th, sympathy of impression, feelings and ideas&mdash;a
+reflection of artistic pleasure in the eyes of
+others."</p>
+
+<p>And these definitions apply in all their
+detail to the outcome of Schumann's happiest<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+year of all,&mdash;the year after his union with Clara,&mdash;the
+time when like a bird he burst into infinite
+ecstasy of melody, and eclipsed himself with the
+number, variety and bewildering beauty of his
+vocal compositions. That perfect balance
+between words and music, that power of
+identifying himself with the poet whose words
+he "sets," which pre-eminently differentiates
+Schumann from all other musicians, was born
+of "hopes fulfilled and mutual love." There
+are no songs which can compare with his, in
+passionate intensity and depth of emotion. It
+may be that only the skilled and sympathetic
+musician can interpret them with full effect:
+but the least expert auditor can be poignantly
+affected by them. Especially is this the
+case with his treatments of Heine,&mdash;the one
+poet <i>par excellence</i> in whom he discovers all he
+can desire of power, of pathos and of passion.
+"The lyrics <i>Die Lotos-blume</i> (The Lotus-flower)
+and <i>Du bist wie eine Blume</i> (Thou art like unto a
+flower) are among the most perfect things found
+in the realms of song, in their enchanting truth
+and delicacy of sentiment"; and "not one of all
+those subtle touches ... which make Heine's
+poetry what it is, has been lost upon<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>
+Schumann." <i>Ich grolle nicht</i> (I will not chide)
+is unapproachable in its white-heat of uttermost
+despair.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">I will not chide, although my heart should break,<br /></span>
+<span class="i0">Though all my hopes have died, lost Love, for thy dear sake&mdash;<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;I will not chide.<br /></span>
+
+</div><div class="stanza">
+<span class="i0">Though thou be bright bedeck'd with diamond-shine,<br /></span>
+<span class="i0">No ray of joy illumines that heart of thine,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;I know full well!<br /></span>
+</div><div class="stanza">
+
+<span class="i0">I will not chide, although my heart should break,&mdash;<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;I saw it all in dreaming,<br /></span>
+<span class="i0">I saw the night that thro' thy soul is streaming,<br /></span>
+<span class="i0">I saw the snake that on thy heart doth feed,<br /></span>
+<span class="i0">I saw, my love, how sad thou art indeed,&mdash;<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;I will not chide!<br /></span>
+</div></div>
+
+<p><i>Die Beiden Grenadieren</i> (The Two Grenadiers),
+with Schumann's favourite <i>Marseillaise</i><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>
+introduced in such masterly fashion at the end,
+remains an unrivalled utterance of manly and
+patriotic grief.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">To France were returning two Grenadiers,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;In Russia they long did languish,<br /></span>
+<span class="i0">And as they came to the German frontier,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;They hung down their heads with anguish.<br /></span>
+<span class="i0">'Twas then that they heard the story of woe,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;That France was forlorn and forsaken,<br /></span>
+<span class="i0">Besieged and defeated, and crushed by the foe,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;And the Emp'ror, their Emp'ror was taken!<br /></span></div>
+
+<span class="i0">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span>
+
+<div class="stanza">
+<span class="i0">"My cross of honour and crimson band<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;Lay on my heart right surely;<br /></span>
+<span class="i0">My musket place within my hand,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;And gird my sword securely:<br /></span>
+<span class="i0">So will I lie there and harken, dumb,&mdash;<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;Like sentry when hosts are camping,&mdash;<br /></span>
+<span class="i0">Till I hear the roar of the cannon come,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;And the chargers above are tramping!<br /></span></div>
+<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+
+<div class="stanza">
+<span class="i0">"Above me shall ride then my Emp'ror so brave,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;While swords are flashing and clashing,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;While sabres are fiercely contending,&mdash;<br /></span>
+<span class="i0">In that hour of his need I will rise from the grave,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;The cause of my Emp'ror defending!"<br /></span>
+</div></div>
+
+<p>And in his song-cycle <i>Frauen-lieben und
+Leben</i> (Woman's Life and Love) he has evinced
+"extraordinary depths of penetration into a
+side of human character which men are generally
+supposed incapable of understanding&mdash;the
+intensity and endurance of a pure woman's
+love."... Yet who should know it if he
+does not?...</p>
+
+<p>Towards evening, various folk drop in by
+ones and twos,&mdash;musical acquaintances, it need
+hardly be said, for there is no other topic than
+that of their art which they can discuss with
+Robert Schumann. The discussion may possibly
+be on their part only, with a man like this, of
+whom it is told that one day he went into a
+friend's house, whistling softly <i>sotto voce</i>,&mdash;and,
+with nothing but a cheery nod, walked to the<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+piano and opened it,&mdash;played a few chords,&mdash;made
+a modulation, and returned to the original
+key,&mdash;shut the piano, gave another courteous
+nod, and&mdash;exit, in utter silence! He is, indeed,
+capable of sitting for hours in the midst of a
+merry chattering company, completely lost in
+thought, employed upon the evolution of some
+musical thought. But when he <i>does</i> speak, his
+words are all altruistically ardent, full of eager
+praise and joyful appreciation for the great
+names of music, whose excellencies he loves to
+point out. "The great masters, it is to them
+I go," he avows with the humility of a child,&mdash;"to
+Gluck the simple, to H�ndel the complicated,
+and to Bach the most complicated of all." His
+admiration of "John Sebastian" is boundless.
+"I always flee to Bach, and he gives me fresh
+strength and desire for life and work....
+The profound combinations, the poetry and
+humour of the new school of music principally
+emanate from Bach."</p>
+
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/illus049.jpg" width="450" height="625" alt="THE TWO GRENADIERS." title="" />
+
+<div class="caption"><div class="poem"><div class="stanza">
+<span class="i0"><b>THE TWO GRENADIERS.</b><br /></span>
+</div><div class="stanza">
+<span class="i0">To France were returning two Grenadiers,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;In Russia they long did languish,<br /></span>
+<span class="i0">And as they came to the German frontier,<br /></span>
+<span class="i0">&nbsp;&nbsp;&nbsp;&nbsp;They hung down their heads with anguish.<br /></span>
+</div><div class="stanza">
+<span class="i0">(<i>Die Beiden Grenadieren</i>).<br /></span></div></div></div></div>
+
+<p>Mozart is to him, as to all great artists, a
+veritable divinity. "Do not put Beethoven,"
+says he, "too soon into the hands of the young:
+steep and strengthen them in the fresh animation<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>
+of Mozart.... The music of the first act of
+<i>Figaro</i> I consider the most heavenly that Mozart
+ever wrote." And with his customary absolute
+freedom from professional envy, he terms
+Mendelssohn "the Mozart of the nineteenth
+century," and will not even sit in the same room
+with anyone who disparages him. He has upheld
+with noble enthusiasm the merits of such rising
+stars as Chopin, Heller, Gade, Sterndale-Bennett,
+Berlioz, Franz, and Brahms. He has, it may be
+said, only one <i>b�te noir</i>, the blatant and flamboyant
+Meyerbeer. Regarding Wagner, his
+opinion is in abeyance. "Wagner is a man of
+education and spirit ... certainly a clever
+fellow, full of crazy ideas, and audacious to a
+degree.... Yet he cannot write or think of
+four consecutive lines of beautiful, hardly of
+good, music." So Schumann has delivered
+himself at one time; but he is ready to revoke
+this judgment, and to declare, "I must take
+back one or two things I said after reading the
+score of <i>Tannh�user</i>; it makes quite a different
+effect on the stage. Much of it impressed me
+deeply."</p>
+
+<p>When his guests depart, Schumann accompanies
+them a little way, that he may, according
+<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span>to his invariable custom, spend an hour or so of
+the evening at Popper's Restaurant. There,
+should his friend Verhulst be present, he enjoys
+what is for him a free and animated conversation&mdash;otherwise,
+among the chink of glasses and
+clank of plates, he remains aloof and meditative.</p>
+
+<p>Evening darkens slowly into the calm
+spring night,&mdash;that <i>Fr�hlingsnacht</i> which he has
+set forth in such exquisite music&mdash;as he regains
+his home and rejoins his wife. She is practising
+softly lest the children awaken, but rises with a
+smile of joy, and receives her husband as though
+he had been a year away. Side by side, holding
+each others' hands, they sit by the window and
+inhale the sweet April air. A sense of beatitude
+encompasses them.</p>
+
+<p>"Hast thou done well to-day, Robert?"
+she enquires.</p>
+
+<p>"Well? Yes&mdash;very well: better than I
+hoped or expected. A soft voice seemed to
+whisper to me whilst I worked, 'It is not in vain
+that thou art writing.'... But in such an
+hour as this, my Clara, I long more deeply to
+give expression to my holiest thoughts. To
+apply his powers to sacred music must always<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+be the loftiest aim of an artist. In youth we
+are all too firmly rooted to earth with its joys
+and sorrows: but with advancing age, our
+branches extend higher. And so I hope the
+time for my efforts in this direction is not far
+distant."</p>
+
+<p>"It is, then, at present, eluding you&mdash;the
+study of sacred music?"</p>
+
+<p>"It demands a power of treating the chorus&mdash;a
+knowledge of superb <i>ensemble</i> and massive
+effects to which I have not yet attained." And
+he heaves a sigh as of one faced with mighty
+problems. For to this man, "from whom the
+knowledge of no emotion in the individual heart
+is withheld, it is a matter of extreme difficulty
+to give expression to ... those feelings
+which affect the whole of mankind in common."</p>
+
+<p>"For you, who can realize human love so
+devoutly, there should be no eventual hindrance
+to the expression of love towards God," says
+the little dark-eyed woman, pressing his hand
+with warm devotion.</p>
+
+<p>"You yourself are the concrete expression
+of love towards God," the composer murmurs,
+gazing down at her in the twilight&mdash;"you and
+your music together. If I once said I loved you<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>
+because of your goodness, it is only half true.
+Everything is so harmoniously combined in
+your nature, that I cannot think of you apart
+from your music&mdash;and so I love you one with
+the other." A sudden spasm contracts his face
+as he speaks&mdash;he turns his head wildly to and
+fro.</p>
+
+<p>"Robert!" she exclaims, "what is the
+matter? You shuddered&mdash;your hand has gone
+cold and clammy. What ails you?"</p>
+
+<p>"What are those distant wind-instruments?"
+he asks in awestruck tones. "What are they
+playing? Don't you hear? Such harmonies
+are too beautiful for earth...."</p>
+
+<p>Clara strains her ears into the stillness.
+"There is nothing&mdash;nothing audible whatever,"
+she asseverates. "Robert, you are ill&mdash;you
+have overworked your head&mdash;"</p>
+
+<p>"I have heard them before ... beautiful,
+beautiful!&mdash;Ah! now they are silent!" and he
+passes his hand over his brow with a bewildered
+air.</p>
+
+<p>"Come, dearest, you are overwearied&mdash;come
+and sleep sweetly." Schumann permits
+himself to be led away from the window by his<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+anxious wife: slowly he regains his composure.</p>
+
+<p>"My little treasure!" he whispers, clasping
+her tenderly, "what should I be without your
+loving care of me? Cl�rchen ... Schumann ...
+I wonder whether an angel imagined the
+names together?"</p>
+
+<p>"May that angel guard thee, Robert," says
+she, "and all that is thine and mine, for ever."</p>
+
+<p>The open piano glistens whitely in the
+darkness: she closes it as they leave the room.</p>
+
+<div class="figcenter" style="width: 225px;">
+<img src="images/illus058.png" width="225" height="161" alt="" title="" />
+</div>
+
+
+<p class="center">
+<i>Printed by Percy Lund, Humphries &amp; Co., Ltd.<br />
+Bradford and London.</i>       <i>4880</i><br />
+</p>
+<hr style="width: 45%;" />
+<p class="center">
+<b>Transcriber's notes:</b><br />
+
+    Punctuation has been normalized.<br />
+<br />
+    Page 10: "Barret" changed to "Barrett."<br />
+      "Elizabeth Barrett Browning".<br />
+<br />
+    Page 21: "pevote" changed to "devote."<br />
+      "... more time to devote towards composing".<br />
+<br />
+    Page 23: "fr�hst�ck" changed to "Fr�hst�ck."<br />
+      "... a modest <i>Fr�hst�ck</i> or breakfast".<br />
+<br />
+    Page 45: "blume" changed to "Blume."<br />
+      "The lyrics <i>Die Lotos-blume</i>".<br />
+</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of A Day with Robert Schumann, by May Byron
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+</pre>
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+The Project Gutenberg EBook of A Day with Robert Schumann, by May Byron
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Day with Robert Schumann
+
+Author: May Byron
+
+Release Date: June 19, 2011 [EBook #36472]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH ROBERT SCHUMANN ***
+
+
+
+
+Produced by Juliet Sutherland, paksenarrion and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+    [Illustration]
+
+
+
+
+    THE HIDALGO.
+
+    My days I spend in courting,
+    With songs and hearts a-sporting,
+        Or weaponed for a fight!
+
+                              (_Der Hidalgo_).
+
+    [Illustration]
+
+
+     A DAY WITH
+       ROBERT
+      SCHUMANN
+    BY MAY BYRON
+
+    [Illustration]
+
+    LONDON
+    HODDER & STOUGHTON
+
+
+    _In the same Series._
+        _Mozart._
+        _Beethoven._
+        _Mendelssohn._
+        _Schubert._
+        _Chopin._
+        _Wagner._
+        _Gounod._
+        _Tschaikovsky._
+
+
+
+
+A DAY WITH SCHUMANN.
+
+
+It is an April morning in 1844, in the town of Leipzig,--calm, cool, and
+fraught with exquisite promise of a prolific spring,--when the Herr
+Professor Doctor Robert Schumann, rising before six o'clock as is his
+wont, very quietly and noiselessly in his soft felt slippers, dresses
+and goes downstairs. For he does not wish to disturb or incommode his
+sleeping wife, whose dark eyes are still closed, or to awaken any of his
+three little children.
+
+The tall, dignified, well-built man, with his pleasant, kindly
+expression, and his air of mingled intellect and reverie, bears his
+whole character written large upon him,--his transparent honesty,
+unflagging industry, and generous, enthusiastic altruism. No touch of
+self-seeking about him, no hint of ostentation or conceit: he is still
+that same reticent and silent person, of whom it was said some years ago
+by his friends,
+
+    "Herr Schumann is a right good man,
+    He smokes tobacco as no one can:
+    A man of thirty, I suppose,
+    And short his hair, and short his nose."
+
+That, indeed, is the sum total of his outward appearance: as for the
+inward man, it is not to be known save through his writings. Literature
+and music are the only means of expression, of communication with
+others, which are possessed by this modest, pensive, reserved maestro,
+upon whom the sounding titles of Doctor and Professor sit so strangely.
+
+In the unparalleled fervour and romance of his compositions,--in the
+passionate heart-opening of his letters,--in the sane, wholesome, racy
+colloquialism of his critiques,--the real Robert Schumann is unfolded.
+Otherwise he might remain a perennial enigma to his nearest and dearest:
+for even in his own family circle, tenderly and dearly as he adores his
+wife and children, his lips remain sealed of all that they might say:
+and the fixed, unvarying quietude of his face but rarely reveals the
+least suggestion of his deeper feelings.
+
+Yet, at the present time, were you to search the world around, you
+should hardly find a happier man than this, in his own serene and
+thoughtful way. For, in his own words, "I have an incomparable wife.
+There is no happiness equal to that. If you could only take a peep at us
+in our snug little artist home!" Clara Wieck, whom he has known from her
+childhood, whom he struggled, and agonised, and fought for against fate,
+for five long years of frustration and disappointment, is not only his
+beloved wife and the mother of his little ones,--she is his
+fellow-worker and co-artist, and literal helpmate in every department of
+life. She has "filled his life with sunshine of love,"--and, "as a
+woman," he declares, "she is a gift from heaven.... Think of perfection,
+and I will agree to it!" But, beyond that, she has poured her beautiful
+soul into every hungry cranny of his artistic sense. "For Clara's
+untiring zeal and energy in her art, she really deserves love and
+encouragement.... I will say no more of my happiness in possessing a
+girl with whom I have grown to be one through art, intellectual
+affinities, the regular intercourse of years, and the deepest and
+holiest affection. My whole life is one joyous activity."
+
+The annals of art, indeed, hold no more lovely record of a union between
+natural affinities. That of Robert and Elizabeth Barrett Browning perhaps
+approximates most closely to that of Robert and Clara Schumann. But
+whereas in the former case both husband and wife were alike engaged upon
+the same branch of literature,--poetry,--and a certain sense of sadness
+was apt to embitter the success of the wife, because of the unpopularity
+(in those days) of the husband,--Schumann is solely and pre-eminently a
+composer, and Clara solely and absorbingly a pianist. No shadow of
+artistic rivalry can fall upon their delight, nor darken their pleasure
+in each other's achievements. Schumann's most impassioned and
+characteristic productions have been definitely inspired by Clara, ever
+since the days when, as a child of nine, she listened to his fantastic
+fairy-tales, and her exquisite playing thrilled him with a desire to
+think in music. And Clara, who has never made a mere show of her
+marvellous executive skill, but has "consecrated it to the service of
+true art alone,"--is never happier than when interpreting her husband's
+works.
+
+It is, in short, necessary to deal with Schumann as a whole,--as a man
+who has fulfilled the triple destiny for which Nature intended him,--as
+individual, husband, and father,--before one can even approximately
+understand this silent, studious dreamer, whose one ideal of happiness
+is to sit at home and compose.
+
+Schumann considers this early morning hour the most precious of his day,
+from a working standpoint. He seats himself at his desk, and places his
+two treasures where they shall catch his eye conspicuously; for he
+regards them more or less as charms and talismans to bring out the best
+that is in him. They are, a steel pen which he found lying on
+Beethoven's grave at Vienna, and the MS. score of Schubert's C-major
+Symphony, which he obtained by a lucky chance. He regards these with a
+mixture of sentiment and humorous toleration of his own mysticism: but
+he cherishes them none the less, and often casts a reassuring glance in
+their direction, as he covers sheet after sheet of paper with his
+shockingly illegible handwriting. "Poets and pianists," says he with
+resignation, "almost always write with a dog's paw. The printers will
+make it out somehow." He is engaged upon his work in connection with the
+_Neue Zeitschrift fuer Musik_ (New Musical Times), which he originally
+founded, and of which he has been some nine years Editor. During all
+these years he has contributed to its pages those admirable reviews and
+appreciations which are so utterly unlike anything heretofore attempted
+in the realm of musical criticism. "There is no quality to be desired in
+a musical critic that Schumann does not possess:" and in addition to
+technical equipments of every kind, keen insight and an almost prophetic
+quality in his predictions, he has the priceless gift too often denied
+to the critic,--that of superabundant sympathy. His hands are ever
+thrown out to welcome the young and timid genius, even as they are
+clenched, so to speak, with threatening fists towards Philistinism,
+charlatanism and mediocrity. He loves to praise rather than to blame,
+and to detect the germs of coming greatness in some obscure, unsuspected
+artist. He takes into his regard the personal equation wherever
+possible, and does not separate the musician from the man: for, he says,
+"the man and the musician in myself have always struggled to manifest
+themselves simultaneously.... I speak with a certain diffidence of
+works, of the precursors of which I know nothing. I like to know
+something of the composer's school, his youthful aspirations, his
+exemplars and even of the actions and circumstances of his life, and
+what he has done hitherto."
+
+As his pen travels rapidly over the pages, the reason of his cramped and
+crabbed handwriting is only too evident. Schumann's right hand is
+crippled. In an evil hour of his youth, while yet he was consumed with
+the ambition of a would-be virtuoso, he experimented, with artificial
+restrictions, upon one of his right-hand fingers, intending thus to
+strengthen the rest by assiduous practice ... with the result that he
+lamed his hand for ever. This disastrous attempt deprived the world of a
+good pianist, but conferred upon it a great composer: for it is possible
+that the executive would have superseded the creative ability within
+him. Nevertheless, he confesses that, "My lame hand makes me wretched
+sometimes ... it would mean so much if I were able to play. What a
+relief to give utterance to all the music surging within me! As it is, I
+can barely play at all, but stumble along with my fingers all mixed up
+together in a terrible way. It causes me great distress."
+
+Thus, you perceive, he is considerably debarred from expressing himself
+in sounds, no less than in words: he must perforce retire more and more
+within himself. The ease with which he writes is balanced by the
+difficulty with which he speaks: and bitterly he has complained, "People
+are often at a loss to understand me, and no wonder! I meet affectionate
+advances with icy reserve, and often wound and repel those who wish to
+help me.... It is not that I fail to appreciate the very smallest
+attention, or to distinguish every subtle change in expression and
+attitude: it is a fatal something in my words and manner which belies
+me."
+
+He is, indeed, only paralleled by the _Lotus Flower_ of his own
+delicious song,--shrinking from the daylight of publicity, and softly
+unfolding to the gentle rays of love.
+
+    The Lotus flower is pining
+        Under the sun's red light:
+    Slowly her head inclining,
+        She dreams and waits for the night.
+
+    The moon, who is her lover,
+        Awakes her with his rays,
+    And bids her softly uncover
+        Her veiled and gentle gaze.
+
+    Now glowing, gleaming, throbbing,
+        She looks all mutely above,--
+    She is trembling, and sighing, and sobbing,
+        For love and the pangs of love.
+
+                                                (_Heine._)
+
+And here she enters the room, this woman who is literally his _alter
+ego_, and the small prattle of children is audible in the awakening
+house. Madame Schumann is, in her husband's words, a "pale, not pretty,
+but attractive" young woman of twenty-six, "with black eyes that speak
+volumes,"--slender, vivacious, affectionate: the exact complement of
+Robert in all respects. It is easy to perceive in them, at the first
+glance, "two noble souls distinguished by fastidious purity of
+character--two buoyant minds concentrated to the service of the same
+art." The heavily-thoughtful face of the composer lights up with sudden
+sunshine.
+
+"Come and sit beside me, my dear, sweet girl!" says he. "Hold your head
+a little to the right, in the charming way you have, and let me talk to
+you a little. Upon my word, Claerchen, you look younger than ever this
+morning. You cannot be the mother of three. You cannot be the celebrated
+pianist. You are just the queer, quaint little girl you were ten years
+ago, with strong views of your own, beautiful eyes, and a weakness for
+cherries!" This is a very long speech for Schumann, and his wife looks
+at him with a shade of anxiety--such anxiety as she is never wholly
+free from. For the words which she wrote in her diary on her wedding day
+were more prophetic than even she may yet recognise: "My
+responsibilities are heavy--very heavy; give me strength to fulfil them
+as a good wife should. God has always been and will continue to be my
+helper. I have always had perfect trust in Him, which I will ever
+preserve." She, and she alone, is aware of all those mysterious clouds
+of melancholia, those strange sounds of inexplicable music, which brood
+at times above her darling husband--friend, comrade and lover in one.
+She, and she only, can banish, as David did from Saul, the terrible
+phases of irrational depression, and exorcise the evil power which is
+always lurking ambushed in Schumann's outwardly happy life.
+
+    [Illustration: THE LOTUS-FLOWER.
+
+    The Lotus flower is pining
+        Under the sun's red light:
+    Slowly her head inclining,
+        She dreams and waits for the night.
+
+                                          (_Die Lotos-Blume_).]
+
+"See," says he, with modest pride, "what a vast amount of work I have
+completed this morning!"
+
+"You are a most diligent creature, Robert!" she tells him, "and yet I
+cannot but wish sometimes, that this literary work were off your
+mind--that you had more time to devote towards composing, which is your
+true _metier_. I want all the world to understand how great a master
+you are--I am jealous of every minute spent upon the _Neue
+Zeitschrift_!"
+
+"Don't be too ambitious for me, Claerchen: I desire no better place than
+a seat at the piano with you close by."
+
+"That does not satisfy me," says the impetuous little lady, "I want you
+to be recognised and applauded by all men. When I am rendering your
+divine compositions, I feel as though all the while I were declaring:
+'Just hear this!--Just listen to that!--This is by Robert Schumann, the
+greatest genius in Germany: it is an honour to me to be allowed to
+perform such works.'"
+
+"My dear, those compositions are my poor, weak way of expressing my
+thoughts about you! The battles which you have cost me, the joy you have
+given me, are all reflected by my music. You are almost the sole
+inspiration of my best--the Concerto, the Sonata, the _Davidsbuendler_
+dances, the _Kreisleriana_, the _Novelletten_. Why, dearest, in the
+_Novelletten_ are my thoughts of you in every possible position and
+circumstance and all your irresistibleness!... No one could have written
+the _Novelletten_, unless he had gazed into such eyes and touched such
+lips as yours. In short, another may do better work, but nothing just
+like these."
+
+"That, indeed, I feel," replies Clara with a little sigh, "and the very
+significance of their meaning, I believe, forbids my doing full justice
+to their amazing difficulties. You need a pianist like Liszt, my Robert,
+to interpret you to the best advantage."
+
+"I have every admiration for Liszt's wonderful playing, with its
+diapason of all the moods between the extremes of fiery frenzy, and
+utmost delicacy. But his world is not mine--not ours, Claerchen. Art, as
+we know it--you when you play, I when I compose--has an intimate charm
+that is worth far more to us than all Liszt's splendour and tinsel."
+
+They embrace with the warmth and sweetness of perfect mutual
+comprehension: and she prevails upon him to descend from cloudy Olympian
+editorial heights, so far as to refresh himself with a modest
+_Fruehstueck_ or breakfast, and a brief gambol with the little ones--for
+he has that devotion to tiny children characteristic of all great men.
+Never, perhaps, has any composer so thoroughly entered into childish
+griefs and fears and pleasures--the April shower and shine of
+babyhood--than Schumann in his _Kinderscenen_. The consummate musician
+who has surmounted every difficulty, acquainted himself with every
+method of his art--the man who has mastered the forms of symphony,
+chamber-music, pianoforte and vocal music to their farthest present
+limits--here stands forth as the exponent of little innocent every-day
+emotions. _By the Fireside_, _Bogeys_, _A Child's Petition_, _From
+Foreign Lands_, _Blindman's Buff_, and so on, the simple titles run.
+"They are descriptive enough, you see, and as easy as winking!" he has
+told his wife. And they are the very breath of childhood,--they "dally
+with the innocence of love, like the old age." Nobody could have
+imagined them but a man who had eternal youth in his heart. "The
+dissonances are as softly blended as if a child had actually poured
+forth its pure soul."
+
+It may readily be imagined with what looks askance the composer of the
+_Kinderscenen_ is favoured by his academic and hide-bound
+contemporaries. "Romanticism run mad"--"modernism gone
+crazy;"--"discordant innovations;"--"new-fangled nonsense"--there are
+few terms too harsh for Herr Schumann; and sometimes he is
+contemptuously ignored as beyond all possibility of classification.
+Already sufficiently _outre_, in the opinion of all conventional
+musicians, by his adoption of the cyclical form, rather than the
+orthodox classical, for his abstract pianoforte music--"the whole
+becoming organic by means of the intimate connection between the various
+parts;"--already sufficiently outlandish, in the estimation of the
+average conservative critic, by what is condemned as his _grotesquerie_
+and _bizarrerie_ of treatment: Schumann is not careful to answer his
+opponents, or to defend himself from any charges of _lese-majeste_
+against the imperial art which he serves. That wide and genial tolerance
+which he extends towards all new composers, he does not demand or even
+expect for himself. Nevertheless, as he allows, "I used to be quite
+indifferent to the amount of notice I received, but a wife and children
+put a different complexion upon everything. It becomes imperative to
+think of the future." And he is aware that his own personal
+idiosyncrasies are the strongest obstacle in his way; for he is unable
+to push or praise himself in the least, and the lordly egotism by dint
+of which other composers win, or command, a hearing, has been entirely
+omitted from the making of this dumb genius. He knows no professional
+jealousy, he never speaks ill of a soul;--but then, one might say that
+he hardly ever spoke at all. He is almost unknown in society,--partly
+because he really has no interest whatever apart from music, partly
+owing to his silent manner and retiring disposition. It is on record
+that one day after Madame Schumann had been playing with tremendous
+success at one of the smaller German courts, the Serene Highness who was
+ruler there enquired of her with great affability, "whether her husband
+were also musical?" And with his fellow-musicians he is so invincibly
+taciturn that conversation is almost a farce. Even Wagner, whose powers
+of loquacity are almost illimitable, resents being reduced to the
+utterance of an absolute monologue. "When I came to see Schumann," he
+grumbles, "I related to him my Parisian experiences, spoke of the state
+of music in France, then of that in Germany, spoke of literature
+and politics,--but he remained as good as dumb for nearly an hour. Now,
+one cannot go on talking _quite_ alone. An impossible man!"
+
+    [Illustration: THE KNIGHT AND THE LORELEI.
+
+    The hour is late, the night is cold,--
+    Who through the forest rides so bold?
+    The wood is wide,--thou art alone,--
+    O lovely maid, be thou my own!
+
+                                      (_Waldesgesprach_).]
+
+The fact is, that the "impossible man" dwells apart in a world of his
+own, a world peopled by the best folk he has ever encountered either in
+the flesh or the spirit, and a world where the austerest canons and
+noblest aspirations of his great art are upheld on a very different
+plane from that of Leipzig. He has the highest possible view of his
+vocation and what it should entail. "To send light into the depths of
+the human heart, that is the artistic calling," he has declared.... "The
+artist is to choose for his companions those who can do something beyond
+playing passably on one or two instruments--those who are whole men and
+can understand Shakespeare and Jean Paul.... People say, 'It pleased,'
+or 'It did not please,'--as if there were nothing higher than pleasing
+the public!" ... A man with such notions as these, in the first half of
+the nineteenth century, must of necessity live and move to a great
+extent in an ideal atmosphere of his own: and Schumann, to do so the
+more literally, has created his own company in that "spiritual and
+romantic league," the _Davidsbund_, which exists only in his
+imagination, but exercises considerable vigour none the less.
+
+The _Davidsbund_ is a mystical community of kindred souls, each
+enlisted, with or without his knowledge, under the banner of "a resolve
+to do battle in the cause of musical progress, against Philistinism in
+every form." One can only vaguely compare it to the Pre-Raphaelite
+Brotherhood in England. "Mozart was as much a member of it as Berlioz
+now is," so declares its founder. Chopin, Julius Knorr, Schuncke, Carl
+Banck and others, without any form of enrolment, are members of the
+Davidite fraternity. New names and old are added from time to time, in
+the friendly columns of the _Neue Zeitschrift fuer Musik_, which is the
+organ of the league: and especially Schumann himself appears under a
+number of _noms de guerre_, representing the manifold facets of his
+identity. As _Florestan_, he speaks for "the turbulent and impulsive
+side of his nature, full of imaginative activity;" as _Eusebius_, he
+expresses those gentle, thoughtful, sensitive qualities which sit so
+lovably upon him. As _Meister Raro_, calmly logical, he stands between
+both the above, and, "acting as arbitrator, sums up their opposing
+criticisms," much as his father-in-law Friedrich Wieck the great
+professor might do. To light-hearted, humorous, almost frivolous
+critiques he signs himself _Jeanquirit_: and last, not least of the
+"Davidites," he introduces Mendelssohn as _Meritis_, and embodies
+varying traits of his beloved Clara as _Zilia_, _Chiarina_, and
+_Cecilia_.... Call it feather-brained, fantastic, ridiculous, if you
+will, the _Davidsbund_ has a very definite meaning, and fulfils a very
+noble purpose. For, to use its inventor's own phrase, "In every age
+there is a secret band of kindred spirits. Ye who are of this
+fellowship, see that ye weld the circle firmly, that so the truth of Art
+may shine ever more and more clearly, shedding joy and blessing far and
+near."
+
+That remarkable power of expressing the personalities of his friends in
+music, which has been Schumann's from youth, stands him in good stead
+for the depicting of various "Davidites": he could show the peculiar
+characteristics of any one of them in a few moments, on the pianoforte,
+whereas years would not suffice him to give a verbal explanation. This
+power of portrayal is noticeable in the very construction of his
+songs,--such as, for instance, _The Two Grenadiers_, or _Freedom_, or
+_The Hidalgo_, with its essentially Spanish arrogance.
+
+    My days I spend in courting,
+    With songs and hearts a-sporting,
+        Or weaponed for a fight!
+    The fragrant darkness daring,
+    I gaily forth am faring,
+        To roam the streets by night,
+    For love or war preparing,
+        With bearing proud and light....
+    The moon her light is flinging,
+    The powers of Love are springing,
+        And sombre passions burn ...
+    Or wounds or blossoms bringing,
+        To-morrow I'll return!
+    While o'er the horizon darkling,
+    The first faint star is sparkling,
+        All prudence cold I spurn,--
+    Or wounds or blossoms bringing,
+        To-morrow I'll return!
+
+In the course of the morning Schumann, reluctantly leaving a mass of
+unfinished MSS. upon his desk and pianoforte, betakes himself to his
+duties at the Conservatorium, where he has been professor for about a
+year. Conscientious and painstaking in tuition as in all else, he is not
+naturally a good teacher. He seems to be devoid of the priceless power
+of imparting verbal instruction, or of imparting the secret of the
+system whereby a desired effect shall be attained. His habitual and
+increasing melancholy reserve rises up like a barrier between himself
+and his pupils: his reticence chills and bewilders them. His own musical
+education has been an entirely personal matter, and not wrought out upon
+the accepted scholastic lines. Moreover, intercourse with musical people
+has always "appealed to Schumann far more, and with greater success,
+than dry lessons in thorough bass and counterpoint." Hence, whilst he
+appears almost unable to assist the novice in the beginning, or tadpole
+stage, he is able to afford invaluable help and stimulating criticism to
+those young artists with whom he may come in contact, and who adore him
+for his sympathetic kindness. The violinist Joachim never forgot how,
+as a boy of thirteen, he played the _Kreutzer_ sonata with his host at
+the house of Mendelssohn. Lonely and silent all the while, Schumann
+remained in a corner of the room; but subsequently, while Joachim was
+sitting near him, he leaned forward and pointed to the stars, shining
+down into the room through the open window. He patted the lad's knee
+with gentle, friendly encouragement. "Do you think they know up
+there," he queried, "that a little boy has been playing down here
+with Mendelssohn?"--This question was the very essence of
+Schumann,--romantic, mystical, full of tender dreams.
+
+His composition-lessons over, he conducts a part-singing class.
+Orchestral conducting is abhorrent to him; it is "too defiant and
+conspicuous a task." He cannot make his meaning clear by word of mouth:
+and in gesture he is singularly deficient. But in part-singing he is an
+excellent instructor, because he is seated at the piano and can indicate
+there the suggestion which he fails to convey _viva-voce_. Even now, in
+the wreck of his abilities as a pianist, it is possible to imagine what
+he might have been: he can produce an extraordinary depth and
+richness of tone, seeming to obtain some of his effects by unusual and
+almost illegitimate means. His accentuation is very slight, and he uses
+both pedals too frequently and too freely. Notwithstanding these
+peculiarities, however, the same indefinable magic pervades his
+piano-playing as his compositions.
+
+    [Illustration: I WILL NOT CHIDE.
+
+    I will not chide, although my heart should break,
+    Though all my hopes have died, lost Love, for thy dear sake--
+          I will not chide.
+
+                                    (_Ich grolle nicht_).]
+
+Nervous, excitable, uneasy, the master draws a breath of relief when the
+class is dismissed. The pleasant Hebraic face of Mendelssohn nods in at
+his door in passing. The two musicians are so busily engaged, that often
+they hardly exchange a word for weeks together. Mendelssohn, the
+recipient of many a generous and whole-hearted encomium from his devotee
+Schumann, does not return this fraternal enthusiasm. To his
+well-balanced mind, the silent moody man and his productions are too
+wild, too eccentric, too uncanny. He regards them, at times, with a
+species of grudging admiration: at others, he sides in heart, if not in
+speech, with the current opinion of the town. "Opposition to all
+artistic progress has always been a distinctive characteristic of
+Leipzig musical society," and therefore horror-stricken hands are
+uplifted at the editor of the _Neue Zeitschrift fuer Musik_, his
+heretical doctrines, and still more heretical deeds. The good people of
+the Thomas-School Choral Society, the audience at the Gewandhaus
+concerts, the subscribers to opposition musical papers, regard Herr
+Schumann very much as the knight regarded the lady at the close of his
+own magnificent _Waldesgesprach_.
+
+    "The hour is late, the night is cold,--
+    Who through the forest rides so bold?
+    The wood is wide,--thou art alone,--
+    O lovely maid, be thou my own!"
+
+    "Great is the craft and guile of men,
+    With grief my heart is rent in twain;
+    Far sounds the bugle to and fro,--
+    Away! my name thou dost not know!"
+
+    "Thy steed and thou so bright array'd,
+    So wondrous fair, thou lovely maid,--
+    --I know thee now! God! let me fly!
+    Thou art the fairy Lorelei!"
+
+    "Thou know'st me now--my towers do shine
+    Deep mirror'd in the dark blue Rhine,--
+    The wind blows cold, the day is o'er,--
+    Thou shalt escape me never more!"
+
+In the afternoon, Schumann, back at home, is occupied with creative
+work. This, perhaps, is the most congenial part of his day: for, as it
+has been said of him, he sees life musically, and whatever happens to
+impress him takes the form of music. Steadily, deliberately, of set
+purpose, and yet with the authentic fire of divine inspiration infusing
+his smallest effort, he has conquered, one by one, in every field of
+creative art. His finest pianoforte works were composed during the
+wretched years of strain and stress whilst he was waiting to marry
+Clara, held apart from her by her jealous and inexorable father, until
+(again like the Brownings) the lovers took matters into their own hands
+and were married in sudden and in secret. Three of his four great
+symphonies saw the light in one year, 1841,--an achievement truly
+colossal. Last year, 1843, he was studying and perfecting himself in
+chamber music. His life, outwardly so uneventful, has been abnormally
+prolific in brain-work: and that of no fatal fluency or shallow
+meretriciousness, but conceived upon the highest possible plane. "The
+more clearly we examine Schumann's ideas," says Liszt, "the more power
+and life do we discover in them: and the more we study them, the more
+are we amazed at the wealth and fertility which had before escaped us."
+And his own theories of art are bound to evolve themselves thus:--for
+"Only think," he has written, "what circumstances must be combined to
+produce the beautiful in all its dignity and splendour. We need,--1st,
+lofty deep purposes and ideality in a composition; 2nd, enthusiasm in
+description; 3rd, masterly execution and harmony of action, closely
+combined; 4th, innate desire for giving and receiving, a momentarily
+favourable mood (on both sides, that of listener and performer); 5th,
+the most fortunate conjunction of the relatives of time, as well as of
+the more especial question of place and other accessories; 6th, sympathy
+of impression, feelings and ideas--a reflection of artistic pleasure in
+the eyes of others."
+
+And these definitions apply in all their detail to the outcome of
+Schumann's happiest year of all,--the year after his union with
+Clara,--the time when like a bird he burst into infinite ecstasy of
+melody, and eclipsed himself with the number, variety and bewildering
+beauty of his vocal compositions. That perfect balance between words and
+music, that power of identifying himself with the poet whose words he
+"sets," which pre-eminently differentiates Schumann from all other
+musicians, was born of "hopes fulfilled and mutual love." There are no
+songs which can compare with his, in passionate intensity and depth of
+emotion. It may be that only the skilled and sympathetic musician can
+interpret them with full effect: but the least expert auditor can be
+poignantly affected by them. Especially is this the case with his
+treatments of Heine,--the one poet _par excellence_ in whom he discovers
+all he can desire of power, of pathos and of passion. "The lyrics _Die
+Lotos-blume_ (The Lotus-flower) and _Du bist wie eine Blume_ (Thou art
+like unto a flower) are among the most perfect things found in the
+realms of song, in their enchanting truth and delicacy of sentiment";
+and "not one of all those subtle touches ... which make Heine's poetry
+what it is, has been lost upon Schumann." _Ich grolle nicht_ (I will
+not chide) is unapproachable in its white-heat of uttermost despair.
+
+    I will not chide, although my heart should break,
+    Though all my hopes have died, lost Love, for thy dear sake--
+        I will not chide.
+
+    Though thou be bright bedeck'd with diamond-shine,
+    No ray of joy illumines that heart of thine,
+        I know full well!
+
+    I will not chide, although my heart should break,--
+        I saw it all in dreaming,
+    I saw the night that thro' thy soul is streaming,
+    I saw the snake that on thy heart doth feed,
+    I saw, my love, how sad thou art indeed,--
+        I will not chide!
+
+_Die Beiden Grenadieren_ (The Two Grenadiers), with Schumann's favourite
+_Marseillaise_ introduced in such masterly fashion at the end,
+remains an unrivalled utterance of manly and patriotic grief.
+
+    To France were returning two Grenadiers,
+        In Russia they long did languish,
+    And as they came to the German frontier,
+        They hung down their heads with anguish.
+    'Twas then that they heard the story of woe,
+        That France was forlorn and forsaken,
+    Besieged and defeated, and crushed by the foe,
+        And the Emp'ror, their Emp'ror was taken!
+
+        *       *       *       *       *
+
+    "My cross of honour and crimson band
+        Lay on my heart right surely;
+    My musket place within my hand,
+        And gird my sword securely:
+    So will I lie there and harken, dumb,--
+        Like sentry when hosts are camping,--
+    Till I hear the roar of the cannon come,
+        And the chargers above are tramping!
+
+    "Above me shall ride then my Emp'ror so brave,
+        While swords are flashing and clashing,
+        While sabres are fiercely contending,--
+    In that hour of his need I will rise from the grave,
+        The cause of my Emp'ror defending!"
+
+And in his song-cycle _Frauen-lieben und Leben_ (Woman's Life and Love)
+he has evinced "extraordinary depths of penetration into a side of human
+character which men are generally supposed incapable of
+understanding--the intensity and endurance of a pure woman's love." ...
+Yet who should know it if he does not?...
+
+Towards evening, various folk drop in by ones and twos,--musical
+acquaintances, it need hardly be said, for there is no other topic than
+that of their art which they can discuss with Robert Schumann. The
+discussion may possibly be on their part only, with a man like this, of
+whom it is told that one day he went into a friend's house, whistling
+softly _sotto voce_,--and, with nothing but a cheery nod, walked to the
+piano and opened it,--played a few chords,--made a modulation, and
+returned to the original key,--shut the piano, gave another courteous
+nod, and--exit, in utter silence! He is, indeed, capable of sitting for
+hours in the midst of a merry chattering company, completely lost in
+thought, employed upon the evolution of some musical thought. But when
+he _does_ speak, his words are all altruistically ardent, full of eager
+praise and joyful appreciation for the great names of music, whose
+excellencies he loves to point out. "The great masters, it is to them I
+go," he avows with the humility of a child,--"to Gluck the simple, to
+Haendel the complicated, and to Bach the most complicated of all." His
+admiration of "John Sebastian" is boundless. "I always flee to Bach, and
+he gives me fresh strength and desire for life and work.... The profound
+combinations, the poetry and humour of the new school of music
+principally emanate from Bach."
+
+
+    [Illustration: THE TWO GRENADIERS.
+
+    To France were returning two Grenadiers,
+        In Russia they long did languish,
+    And as they came to the German frontier,
+        They hung down their heads with anguish.
+
+                                          (_Die Beiden Grenadieren_).]
+
+Mozart is to him, as to all great artists, a veritable divinity. "Do not
+put Beethoven," says he, "too soon into the hands of the young: steep
+and strengthen them in the fresh animation of Mozart.... The music of
+the first act of _Figaro_ I consider the most heavenly that Mozart ever
+wrote." And with his customary absolute freedom from professional envy,
+he terms Mendelssohn "the Mozart of the nineteenth century," and will
+not even sit in the same room with anyone who disparages him. He has
+upheld with noble enthusiasm the merits of such rising stars as Chopin,
+Heller, Gade, Sterndale-Bennett, Berlioz, Franz, and Brahms. He has, it
+may be said, only one _bete noir_, the blatant and flamboyant Meyerbeer.
+Regarding Wagner, his opinion is in abeyance. "Wagner is a man of
+education and spirit ... certainly a clever fellow, full of crazy ideas,
+and audacious to a degree.... Yet he cannot write or think of four
+consecutive lines of beautiful, hardly of good, music." So Schumann has
+delivered himself at one time; but he is ready to revoke this judgment,
+and to declare, "I must take back one or two things I said after reading
+the score of _Tannhaeuser_; it makes quite a different effect on the
+stage. Much of it impressed me deeply."
+
+When his guests depart, Schumann accompanies them a little way, that he
+may, according to his invariable custom, spend an hour or so of the
+evening at Popper's Restaurant. There, should his friend Verhulst
+be present, he enjoys what is for him a free and animated
+conversation--otherwise, among the chink of glasses and clank of plates,
+he remains aloof and meditative.
+
+Evening darkens slowly into the calm spring night,--that
+_Fruehlingsnacht_ which he has set forth in such exquisite music--as he
+regains his home and rejoins his wife. She is practising softly lest the
+children awaken, but rises with a smile of joy, and receives her husband
+as though he had been a year away. Side by side, holding each others'
+hands, they sit by the window and inhale the sweet April air. A sense of
+beatitude encompasses them.
+
+"Hast thou done well to-day, Robert?" she enquires.
+
+"Well? Yes--very well: better than I hoped or expected. A soft voice
+seemed to whisper to me whilst I worked, 'It is not in vain that thou
+art writing.' ... But in such an hour as this, my Clara, I long more
+deeply to give expression to my holiest thoughts. To apply his powers to
+sacred music must always be the loftiest aim of an artist. In youth we
+are all too firmly rooted to earth with its joys and sorrows: but with
+advancing age, our branches extend higher. And so I hope the time for my
+efforts in this direction is not far distant."
+
+"It is, then, at present, eluding you--the study of sacred music?"
+
+"It demands a power of treating the chorus--a knowledge of superb
+_ensemble_ and massive effects to which I have not yet attained." And he
+heaves a sigh as of one faced with mighty problems. For to this man,
+"from whom the knowledge of no emotion in the individual heart is
+withheld, it is a matter of extreme difficulty to give expression to ...
+those feelings which affect the whole of mankind in common."
+
+"For you, who can realize human love so devoutly, there should be no
+eventual hindrance to the expression of love towards God," says the
+little dark-eyed woman, pressing his hand with warm devotion.
+
+"You yourself are the concrete expression of love towards God," the
+composer murmurs, gazing down at her in the twilight--"you and your
+music together. If I once said I loved you because of your goodness, it
+is only half true. Everything is so harmoniously combined in your
+nature, that I cannot think of you apart from your music--and so I love
+you one with the other." A sudden spasm contracts his face as he
+speaks--he turns his head wildly to and fro.
+
+"Robert!" she exclaims, "what is the matter? You shuddered--your hand
+has gone cold and clammy. What ails you?"
+
+"What are those distant wind-instruments?" he asks in awestruck tones.
+"What are they playing? Don't you hear? Such harmonies are too beautiful
+for earth...."
+
+Clara strains her ears into the stillness. "There is nothing--nothing
+audible whatever," she asseverates. "Robert, you are ill--you have
+overworked your head--"
+
+"I have heard them before ... beautiful, beautiful!--Ah! now they are
+silent!" and he passes his hand over his brow with a bewildered air.
+
+"Come, dearest, you are overwearied--come and sleep sweetly." Schumann
+permits himself to be led away from the window by his anxious wife:
+slowly he regains his composure.
+
+"My little treasure!" he whispers, clasping her tenderly, "what should I
+be without your loving care of me? Claerchen ... Schumann ... I wonder
+whether an angel imagined the names together?"
+
+"May that angel guard thee, Robert," says she, "and all that is thine
+and mine, for ever."
+
+The open piano glistens whitely in the darkness: she closes it as they
+leave the room.
+
+    [Illustration]
+
+
+    _Printed by Percy Lund, Humphries & Co., Ltd.
+    Bradford and London._       _4880_
+
+       *       *       *       *       *
+
+Transcriber's notes:
+
+    Punctuation has been normalized.
+    Page 10: "Barret" changed to "Barrett."
+      "Elizabeth Barrett Browning".
+    Page 21: "pevote" changed to "devote."
+      "... more time to devote towards composing".
+    Page 23: "fruehstueck" changed to "Fruehstueck."
+      "... a modest _Fruehstueck_ or breakfast".
+    Page 45: "blume" changed to "Blume."
+      "The lyrics _Die Lotos-blume_".
+
+
+
+
+
+End of the Project Gutenberg EBook of A Day with Robert Schumann, by May Byron
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