Latest / Fairytales and Short Stories by Hans Christian Andersen / 021 - Lucky Peer part 5

Transcript

021 - Lucky Peer part 5 · Fairytales and Short Stories by Hans Christian Andersen

• 0:01
  Speaker 1: Section twenty one of Ann's Christian Anderson Fairy Tales and
• 0:05
  Speaker 1: Short Stories, Volume six. This is a LibriVox recording. All
• 0:09
  Speaker 1: LibriVox recordings are in the public domain. For more information
• 0:14
  Speaker 1: or to volunteer, please visit LibriVox dot org. Recording by
• 0:19
  Speaker 1: Ruhi huck Hans Christian Anderson Fairy Tales and Short Stories,
• 0:25
  Speaker 1: Volume six, eighteen sixty six to eighteen seventy three by ANNs.
• 0:30
  Speaker 1: Christian Anderson, translated by H. B. Paul The Lucky Peer,
• 0:35
  Speaker 1: Part five eleven. Madam Courte expected Pier to visit her
• 0:42
  Speaker 1: at her house, and he went there. Now you shall
• 0:45
  Speaker 1: know my Courte, said she, and you shall make the
• 0:48
  Speaker 1: acquaintance of my chimney corner. I never dreamed of this
• 0:52
  Speaker 1: when I danced in Circe and the Rose elfin Province. Indeed,
• 0:57
  Speaker 1: there are not many now who think of that ballet
• 1:00
  Speaker 1: and of Little franzm See transit Gloria in the Moon
• 1:06
  Speaker 1: as the saying Latin. My coat is a witty fellow
• 1:10
  Speaker 1: and uses that phrase we'd be I talk about my
• 1:14
  Speaker 1: time of honor. He likes to poke fun at me,
• 1:17
  Speaker 1: but he does it with a good heart. The chimney
• 1:21
  Speaker 1: Corner was an inviting, low standed room with a carpet
• 1:25
  Speaker 1: on the floor and an endless lot of portraits for
• 1:29
  Speaker 1: a bookbinder to have. There was a picture of Gutenberg,
• 1:33
  Speaker 1: and one of Franklin, of Shakespeare, Servante Moliere, and the
• 1:39
  Speaker 1: two blind poets Homer and Ossian, lowest down, hung glazed,
• 1:44
  Speaker 1: and in a broad frame one cut out in paper
• 1:48
  Speaker 1: of a damn suess with great spangles on her dress
• 1:51
  Speaker 1: of gauze, the right leg lifted toward heaven, and written
• 1:55
  Speaker 1: beneath a verse, who wins our heart by her dancing?
• 2:00
  Speaker 1: Who of her wreath trophies can sing? Mademoiselle Emily France
• 2:06
  Speaker 1: And footnote one, it is but fair to say, for
• 2:11
  Speaker 1: the enthusiastic court that he's not responsible for the disgraceful
• 2:15
  Speaker 1: English rhymes. His Danish ones were built on Miss Franson's
• 2:19
  Speaker 1: name translator and off footnote. It was written by Courte,
• 2:26
  Speaker 1: who wrote excellent verse, especially comic verse. He had himself
• 2:31
  Speaker 1: tipped the picture out and pasted and sewed it before
• 2:34
  Speaker 1: he got his first wife. It had lain many years
• 2:37
  Speaker 1: in a drawer. Now it flourished here in the poetic
• 2:40
  Speaker 1: picture gallery my Chimney corner as Madame Court called her
• 2:45
  Speaker 1: little room. Here were Pierre and Court introduced to each other.
• 2:51
  Speaker 1: Is he not a charming man, said she to Pierre.
• 2:54
  Speaker 1: To me, he's just the most charming I on a Sunday,
• 2:58
  Speaker 1: when I am well bound in state clothes, said her court.
• 3:01
  Speaker 1: You are charming without any binding, said she, And then
• 3:05
  Speaker 1: she tipped her head down as it came over her
• 3:08
  Speaker 1: that she had spoken a little too childishly for one
• 3:11
  Speaker 1: of her age. Oh, love does not trust, said her court.
• 3:16
  Speaker 1: An old house afire burns down to the ground. It
• 3:20
  Speaker 1: is as with the phoenix, said Madame Court. One rises
• 3:24
  Speaker 1: up young again. Here is my band. Dyes, I do
• 3:28
  Speaker 1: not care at all to seek any other place except
• 3:31
  Speaker 1: an hour at your mother and grandmother's and at your sister's,
• 3:37
  Speaker 1: said her court. No, Angel Court, it is no longer
• 3:41
  Speaker 1: any paradise there, I must tell you, Pierre. They live
• 3:44
  Speaker 1: in narrow circumstances, but there is a great mingle mangle
• 3:48
  Speaker 1: about them. For all that, no one knows what he
• 3:51
  Speaker 1: dares say there in that house. One dare not mention
• 3:55
  Speaker 1: the word darkie, for the eldest daughter is beloved by
• 3:59
  Speaker 1: one who has negsd in him. One dare not say hunchback,
• 4:03
  Speaker 1: for that one of the children is one. Dare not
• 4:06
  Speaker 1: talk about defalcation. My brother in law has been in
• 4:10
  Speaker 1: that unfortunate way. One dare not even say that he
• 4:13
  Speaker 1: has been driving in the wood. Wood is an ugly sound,
• 4:17
  Speaker 1: for it is just the same as woods who fought
• 4:20
  Speaker 1: with the youngest son. I don't like to go out
• 4:23
  Speaker 1: and sit and hold my tongue. I don't dare talk.
• 4:26
  Speaker 1: So I just come back to my own house and
• 4:29
  Speaker 1: sit in my chimney corner. Were it not too emphatic
• 4:33
  Speaker 1: as they say, I would gladly ask our lot to
• 4:36
  Speaker 1: let us live as long as my chimney corner holds out,
• 4:39
  Speaker 1: for there grows better. Here is my paradise, and this
• 4:44
  Speaker 1: my coat has given me. She has a gold mill
• 4:47
  Speaker 1: in her mouth, said he, And thou hast gold grain
• 4:50
  Speaker 1: in thy heart, said she grind, grind all the bag
• 4:54
  Speaker 1: will hold. Millie is the grain. Milly is pure gold,
• 4:58
  Speaker 1: said he, as he chucked her under the chin. That
• 5:02
  Speaker 1: verse was written right on the spot. It ought to
• 5:06
  Speaker 1: be printed, yes, and handsomely bound, said he. So these
• 5:12
  Speaker 1: two old folks rallied each other. A year past before
• 5:17
  Speaker 1: Pierre began to study a role at the theater. He
• 5:20
  Speaker 1: chose Joseph, but he changed it for George Brown in
• 5:24
  Speaker 1: the Opera of the White Lady. The words and music
• 5:27
  Speaker 1: he quickly made his own, and from Sir Walter Scott's romance,
• 5:32
  Speaker 1: which had furnished the material for the opera, he obtained
• 5:35
  Speaker 1: a clearful picture of the young spirited officer who visits
• 5:39
  Speaker 1: his native hills and comes to his ancestral castle without
• 5:44
  Speaker 1: knowing it. An old song wakens recollections of his childhood.
• 5:50
  Speaker 1: Fortune attends, and he wins a castle and his wife.
• 5:55
  Speaker 1: What he read became as if something which he himself
• 5:59
  Speaker 1: had lived, a chapter of his own life story. The music,
• 6:04
  Speaker 1: rich in melodies, was entirely in keeping. There was, meanwhile,
• 6:08
  Speaker 1: a long, very long time before the first rehearsals began.
• 6:13
  Speaker 1: The singing master did not mean that there should be
• 6:15
  Speaker 1: any hurry about his appearance, and at length he too
• 6:20
  Speaker 1: understood this. He was not merely a singer. He was
• 6:24
  Speaker 1: an actor, and his old being was thrown into his character.
• 6:29
  Speaker 1: The chorus and the orchestra at the very first applauded
• 6:32
  Speaker 1: him loudly, and the evening of the representation was looked
• 6:37
  Speaker 1: forward to with the greatest expectation. One can be a
• 6:41
  Speaker 1: great actor in a nightgown at home, said, A good
• 6:44
  Speaker 1: natured companion can be very great by daylight, but only
• 6:49
  Speaker 1: so so before the lights in a full house, that
• 6:53
  Speaker 1: you will see for yourself. Pierre had no anxiety, but
• 6:57
  Speaker 1: the strong desire for the eventful evening. The singing master,
• 7:02
  Speaker 1: on the contrary, was quite feverish. Pierre's mother had not
• 7:06
  Speaker 1: the courage to go to the theater. She would be
• 7:09
  Speaker 1: ill with anxiety for her dear boy. Grandmother was sick
• 7:13
  Speaker 1: and must stay at home, the doctor had said, But
• 7:16
  Speaker 1: the trusty friend, Madame Court, promised to bring the news
• 7:20
  Speaker 1: the very same evening. How it all went off, she
• 7:24
  Speaker 1: should and would be at the theater, even if she
• 7:28
  Speaker 1: were to be in the last extremity. How long the
• 7:31
  Speaker 1: evening was, how the three or four hours stretched into eternity.
• 7:36
  Speaker 1: Grandmother sang a arm and prayed with mother to the
• 7:39
  Speaker 1: good God for their little peer, that he might this
• 7:42
  Speaker 1: evening also be lucky Pierre. The hands of the clock
• 7:46
  Speaker 1: moved slowly. Now Pier is beginning, they said, Now he
• 7:52
  Speaker 1: is in the middle. Now he has passed it. The
• 7:56
  Speaker 1: mother and grandmother looked at one another, but they said
• 7:59
  Speaker 1: never a word. In the streets there was the rumbling
• 8:02
  Speaker 1: of carriages. People were driving home from the theater. The
• 8:07
  Speaker 1: two women looked down from the window. The people who
• 8:10
  Speaker 1: were passing talked in loud voices. They were from the theater,
• 8:14
  Speaker 1: they knew, bringing good news or sorrow up into the
• 8:18
  Speaker 1: garret of the merchant's house. At last some one came
• 8:22
  Speaker 1: up the stairs. Madame Court burst in, followed by her husband.
• 8:27
  Speaker 1: She flung herself on the necks of the mother and grandmother,
• 8:30
  Speaker 1: but never said a word. She cried and sobbed. Lord God,
• 8:36
  Speaker 1: said mother and grandmother. How has it gone with Pierre?
• 8:41
  Speaker 1: Let me weep? Said Madame Court. So overcome was she.
• 8:45
  Speaker 1: I cannot bear it. Ah, you dear good people, you
• 8:49
  Speaker 1: cannot bear it either, and her tears streamed down. Have
• 8:53
  Speaker 1: they hissed him off? Cried the mother. No, no, not that,
• 8:58
  Speaker 1: said Madame Court. They have oh that I should live
• 9:02
  Speaker 1: to see it. Then both mother and grandmother fell to weeping.
• 9:07
  Speaker 1: Be calm, emily, said her court. Pierre has been victorious.
• 9:11
  Speaker 1: He has triumphed. The house came near trumbling down. They
• 9:16
  Speaker 1: clapped him. So I can feel it still in my hands.
• 9:20
  Speaker 1: It was one storm of applause from pitt to gallery.
• 9:23
  Speaker 1: The entire royal family clapped too. Really, it was what
• 9:28
  Speaker 1: one may call a white day in the annals of
• 9:31
  Speaker 1: the theater. It was more than talent. It was genius. Aye, genius,
• 9:38
  Speaker 1: said Madame Court. That is my word. God bless you Court,
• 9:42
  Speaker 1: that you spoke that word out, you dear good people.
• 9:46
  Speaker 1: Never would I have believed that one could so sing
• 9:48
  Speaker 1: an act in comedy, and yet I have lived through
• 9:51
  Speaker 1: a theater's whole history, she cried again. The mother and
• 9:55
  Speaker 1: grandmother laughed, while tears still chased down their cheek. Now
• 10:01
  Speaker 1: sleep well on, that, said her Court, and now come Emily,
• 10:05
  Speaker 1: good night, good night. They left the garret chamber and
• 10:10
  Speaker 1: two happy people there, But these were not long alone.
• 10:15
  Speaker 1: The door opened and Pierre, who had not promised to
• 10:18
  Speaker 1: come before the next forenoon, stood in the room. He knew,
• 10:23
  Speaker 1: well with what thoughts the old people have followed him,
• 10:26
  Speaker 1: how ignorant too, They still must be of his success.
• 10:30
  Speaker 1: And so he was driving past with the singing master.
• 10:34
  Speaker 1: He stopped outside. There were still lights up in the chamber,
• 10:38
  Speaker 1: and so he must needs go up to them. Splendid, glorious,
• 10:43
  Speaker 1: superb all went off well, he exclaimed jubilantly, and kissed
• 10:47
  Speaker 1: his mother and grandmother. The singing Master nodded with a
• 10:51
  Speaker 1: bright face and pressed their hands. And now he must
• 10:55
  Speaker 1: go home to rest, said he, And the visit was over, Ah,
• 11:01
  Speaker 1: Father in heaven. How gracious and good thou art said
• 11:05
  Speaker 1: these two poor women. They talked long into the night
• 11:08
  Speaker 1: about peer. Round about in the great town. People talked
• 11:12
  Speaker 1: of him, the young, handsome, wonderful singer. So far had
• 11:18
  Speaker 1: Pierre's fame gone? Twelve The morning papers mentioned the debut
• 11:24
  Speaker 1: with the great flourish of trumpets as something more than common,
• 11:27
  Speaker 1: and the dramatic reviewer reserved in another number his privilege
• 11:31
  Speaker 1: of expressing his opinion. The merchant invited pier In the
• 11:35
  Speaker 1: Singing Master to a grand dinner. It was an attention
• 11:40
  Speaker 1: intended as a testimony of the interest which he and
• 11:44
  Speaker 1: his wife felt in the young man who was born
• 11:47
  Speaker 1: in the house, and in the same year, and on
• 11:50
  Speaker 1: the very same day as their own son. The merchant
• 11:55
  Speaker 1: proposed the health of the singing Master. The man who
• 11:57
  Speaker 1: had found and polished this precious stone, a name after
• 12:01
  Speaker 1: which one of the prominent papers had called Pierre Felix,
• 12:06
  Speaker 1: sat by his side and was the soul of gayety
• 12:08
  Speaker 1: and affection. After dinner, he brought out his own cigars.
• 12:13
  Speaker 1: They were better than the merchants he can afford to
• 12:17
  Speaker 1: get them, said that gentleman, he has a rich father.
• 12:22
  Speaker 1: Pierre did not smoke a great fault, but one that
• 12:25
  Speaker 1: could easily be mended. We must be friends, said Felix.
• 12:30
  Speaker 1: You have become the lion of the town, all the
• 12:33
  Speaker 1: young ladies, and the old ones too. For that matter,
• 12:37
  Speaker 1: you have taken by storm. If you are a lucky
• 12:40
  Speaker 1: fellow all over I envy you, especially that you can
• 12:44
  Speaker 1: go in and out over there at the theater among
• 12:47
  Speaker 1: all the little girls that did not now seem to
• 12:52
  Speaker 1: Pierre anything so very worthy of envy. He had a
• 12:57
  Speaker 1: letter from Madame Gabriel. She was a transports over the
• 13:01
  Speaker 1: extravagant accounts in the papers of his debut, and all
• 13:06
  Speaker 1: that he was to become as an artist. She had
• 13:10
  Speaker 1: drunk his health with her maids in a bowl of punch.
• 13:14
  Speaker 1: Her Gabriel also had a share in his honor, and
• 13:18
  Speaker 1: was quite sure that he, beyond most others, spoke foreign
• 13:22
  Speaker 1: words correctly. The apothecary ran about town and reminded everybody
• 13:28
  Speaker 1: that it was at their little theater they had first
• 13:31
  Speaker 1: seen and been amazed by his talent, which was now
• 13:35
  Speaker 1: for the first time recognized at the Capitol. The apothecary's
• 13:41
  Speaker 1: daughter would be quite out of conceit with herself and
• 13:44
  Speaker 1: in Madame, now that he could be courting baronesses and countesses.
• 13:49
  Speaker 1: The apothecary's daughter had been in too much of a
• 13:52
  Speaker 1: hurry and given in too soon. She had been betrothed
• 13:57
  Speaker 1: a month since to the fat Comel. The bands had
• 14:02
  Speaker 1: been published, and they were to be married on the
• 14:05
  Speaker 1: twentieth of the month. It was just the twentieth of
• 14:09
  Speaker 1: the month when Pierre received this letter. He seemed to
• 14:12
  Speaker 1: himself to have been pierced through the heart. At that moment,
• 14:17
  Speaker 1: it was clear to him that during all the vacillation
• 14:20
  Speaker 1: of his soul, she had been his steadfast thought. He
• 14:24
  Speaker 1: thought more of her than of all others in the world.
• 14:27
  Speaker 1: Tears came into his eyes. He crumpled the letter in
• 14:31
  Speaker 1: his hand. It was the first great grief of heart
• 14:34
  Speaker 1: he had known since he heard with mother and grandmother
• 14:38
  Speaker 1: that his father had fallen in the war. It seemed
• 14:42
  Speaker 1: to him that all happiness had fled, and his future
• 14:46
  Speaker 1: was dull and sorrowful. The sunlight no longer beamy from
• 14:50
  Speaker 1: his youthful face. The sunshine was put out in his heart.
• 14:55
  Speaker 1: He does not seem well, said mother and grandmother. It
• 14:58
  Speaker 1: is the wear and tear of that theater life. He
• 15:03
  Speaker 1: was not the same as formerly, they both perceived, and
• 15:06
  Speaker 1: the singing master also saw it. What is the matter, sady?
• 15:11
  Speaker 1: May I not know what troubles thee? At that, his
• 15:14
  Speaker 1: cheeks turned red, his tears flowed afresh, and he burst
• 15:18
  Speaker 1: out with his sorrow, his loss. I loved her so earnestly,
• 15:24
  Speaker 1: said he, now for the first time, when it is
• 15:26
  Speaker 1: too late, I see it clearly, poor troubled friend, I
• 15:31
  Speaker 1: understand thee so well. Weep freely before me, and hold
• 15:35
  Speaker 1: fast by the thought as soon as thou canst. But
• 15:39
  Speaker 1: what happens in the world happens best for us. I
• 15:43
  Speaker 1: too have known and felt what you now are feeling.
• 15:47
  Speaker 1: I too, once, like you, loved a girl. She was discreet,
• 15:51
  Speaker 1: she was pretty and fascinating. She was to be my wife.
• 15:56
  Speaker 1: I could offer her good circumstances, but one condition before
• 16:00
  Speaker 1: the marriage her parents required, and she required, I must
• 16:04
  Speaker 1: become a Christian, and that you would not I could not.
• 16:11
  Speaker 1: One cannot, with an honest conscience, jump from one religion
• 16:14
  Speaker 1: to another, without singing, either against the one he takes
• 16:18
  Speaker 1: leave off, or the one and he steps into. Have
• 16:21
  Speaker 1: you no faith, said Pierre, I have the God of
• 16:25
  Speaker 1: my father's He is a light for my feet and
• 16:29
  Speaker 1: my understanding. They sat for an hour, silent, both of them.
• 16:34
  Speaker 1: Then their hands glanced over the keys, and the singing
• 16:37
  Speaker 1: master played an old folk song. Neither of them sang
• 16:41
  Speaker 1: the words. Each made his own thoughts underlie the music.
• 16:46
  Speaker 1: Madame Gabriel's letter was not again read. She little dreamed
• 16:51
  Speaker 1: what sorrow it had carried. A few days after there
• 16:55
  Speaker 1: came a letter from her Gabriel. He also wished to
• 16:58
  Speaker 1: offer his congratus, relations and a commission. It was this
• 17:03
  Speaker 1: especially which had given occasion to the letter. He asked
• 17:07
  Speaker 1: Pier to buy a little porcelain thing, namely armor and hymen,
• 17:12
  Speaker 1: love and marriage. It is all sold out here in
• 17:16
  Speaker 1: the town, he wrote, but easily to be got in
• 17:19
  Speaker 1: the capital. The money goes with this. Send the thing
• 17:22
  Speaker 1: along as quickly as possible. It is a wedding present
• 17:26
  Speaker 1: for the counselor at whose marriage I was with my wife. Finally,
• 17:32
  Speaker 1: Pierre came to young Madsen will never become a student
• 17:36
  Speaker 1: he has left the house and has dubbed the walls
• 17:39
  Speaker 1: over with stale witticisms against the family, A hard subject
• 17:44
  Speaker 1: that young madson, So POORI POORI POORI poorilla trusstand. Boys
• 17:52
  Speaker 1: are boys, and boys do boyish things. I translated, since
• 17:57
  Speaker 1: you are not a Latinist, And with that her Gabriel's
• 18:01
  Speaker 1: letter closed thirteen. Sometimes when Pierre sat at the piano,
• 18:06
  Speaker 1: there sounded tones in it which stirred thoughts in his
• 18:09
  Speaker 1: breast and head. The tones rose into melodies that now
• 18:13
  Speaker 1: and then carried words along with them. They could not
• 18:16
  Speaker 1: be separated from song. Thus arose several little poems that
• 18:20
  Speaker 1: were rhythmic and full of feeling. They were sung in
• 18:23
  Speaker 1: a subdued voice. It was as if they were shy
• 18:27
  Speaker 1: and timid in feeling, and moved in loneliness like the wind.
• 18:31
  Speaker 1: Our days are blown, No tarrying places here from cheeks
• 18:35
  Speaker 1: the roses have flown, perished, the smile and the tear. Wherefore, then,
• 18:40
  Speaker 1: smitten with grief, sorrow too taketh its flight. Everything fades
• 18:45
  Speaker 1: like the leaf, men and women, and daytime and night, vanishing,
• 18:50
  Speaker 1: vanishing all thy youth, thy hope, and thy friend. Like
• 18:54
  Speaker 1: the wind, they heed not thy call, They vanish not
• 18:58
  Speaker 1: turn back again. Where did you get that song and melody,
• 19:02
  Speaker 1: asked the singing master, who accidentally found the words and
• 19:06
  Speaker 1: music written down. It came of itself, that and all this.
• 19:12
  Speaker 1: They do not fly farther into the world a downcast
• 19:16
  Speaker 1: where it sets out flowers too, said the singing master.
• 19:19
  Speaker 1: But it dare not give counsel. Now we must set
• 19:22
  Speaker 1: sail and steer for your next debut. What do you
• 19:26
  Speaker 1: say to Hamlet, the melancholy young prince of Denmark. I
• 19:30
  Speaker 1: know Shakespeare's tragedy, said Pierre, but not yet Thomas's opera.
• 19:36
  Speaker 1: The opera should be called Ophelia, said the singing master.
• 19:40
  Speaker 1: Shakespeare has in the tragedy made the queen tell us
• 19:43
  Speaker 1: of Ophelia's dead, and this is made to be the
• 19:45
  Speaker 1: chief point in the musical rendering one sees before his
• 19:50
  Speaker 1: eyes and feels in the tones. What before we could
• 19:53
  Speaker 1: only learn from the narrative of the queen. There is
• 19:57
  Speaker 1: a willow gross aslant a brook that shows his hoar
• 20:01
  Speaker 1: leaves in the glassy stream. There with fantastic garlands. Did
• 20:06
  Speaker 1: she come of crow flowers, nettles, daisies, and long purples
• 20:12
  Speaker 1: that liberal shepherds give a grosser name, but her cold maids,
• 20:17
  Speaker 1: to dead men's fingers, called them there on the pendant boughs,
• 20:22
  Speaker 1: her coronet weeds, clambering to hang an envious silver broke.
• 20:28
  Speaker 1: When down her weedy trophies and herself fell in the
• 20:32
  Speaker 1: weeping brook, her clothes spread wide and mermaid like awhile
• 20:38
  Speaker 1: they bore her up, which time she chanted snatches of
• 20:42
  Speaker 1: old tunes, as one incapable of her own distress, or
• 20:47
  Speaker 1: like a creature native, and endued unto that element. But
• 20:51
  Speaker 1: long it could not be till that her garments, heavy
• 20:55
  Speaker 1: with their drink, pulled the poor wretch from her melodious
• 20:59
  Speaker 1: lay to muddy death. The opera brings all this before
• 21:03
  Speaker 1: our eyes. We see Ophelia. She comes out, playing, dancing,
• 21:07
  Speaker 1: singing the old ballad about the mermaid that entices men
• 21:12
  Speaker 1: down beneath the river. And while she sings and plucks
• 21:15
  Speaker 1: the flowers, the same tones are heard from the depths
• 21:18
  Speaker 1: of the stream. They sound in the voices that allure
• 21:22
  Speaker 1: from the deep water. She listens, she laughs, She draws
• 21:27
  Speaker 1: near the brink. She holds fast by the overhanging willow,
• 21:31
  Speaker 1: and stoops to pluck the white water lily gently, she
• 21:34
  Speaker 1: glides onto it, and singing, reclines on its broad leaves.
• 21:39
  Speaker 1: She swings with it and is carried by the stream
• 21:43
  Speaker 1: out into the deep, where, like the broken flower, she
• 21:47
  Speaker 1: sings in the moonlight, with the mermaid's melody welling forth
• 21:51
  Speaker 1: about her. In the entire scene, it is as if Hamlet,
• 21:55
  Speaker 1: his mother, his uncle, and the dead avenging king alone.
• 21:59
  Speaker 1: When to make the frame for the picture, we do
• 22:03
  Speaker 1: not get Shakespeare's Hamlet, just as in the opera Forced,
• 22:07
  Speaker 1: we do not get go with his creation, the speculative
• 22:11
  Speaker 1: is no material for music. It is the passionate element
• 22:15
  Speaker 1: in both these tragedies which permits them to be rendered
• 22:18
  Speaker 1: in a musical production. The Opera of Hamlet was brought
• 22:22
  Speaker 1: on the stage. The actress who had Ophelia's part was admirable.
• 22:27
  Speaker 1: The dead scene was the most effectively rendered. But Hamlet
• 22:31
  Speaker 1: himself received on this evening a commensuratic greatness, a fullness
• 22:37
  Speaker 1: of character which grew with each scene in which he appeared.
• 22:41
  Speaker 1: People were astonished at the compass of the singer's voice,
• 22:45
  Speaker 1: at the freshness shown in the high as well as
• 22:48
  Speaker 1: in the deep tones, and that he could with a
• 22:51
  Speaker 1: light brilliancy of Power sing Hamlet and George Brown. The
• 22:57
  Speaker 1: singing parts in most Italian operas are at work in
• 23:00
  Speaker 1: which the gifted singers, men and women work in their
• 23:04
  Speaker 1: soul and genius, and then, out of the variegated colors
• 23:08
  Speaker 1: given them, construct shapes as the progress of the poem requires.
• 23:12
  Speaker 1: How much more glorious then as they reveal themselves when
• 23:16
  Speaker 1: the music is carried out through thoughts and characters, And
• 23:20
  Speaker 1: this Gonaute and Thomas have understood. This evening at the theater,
• 23:26
  Speaker 1: Hamlet's form was flesh and blood, and he raised himself
• 23:30
  Speaker 1: into the position of the chief personage in the opera.
• 23:34
  Speaker 1: Most memorable was the night scene on the ramparts where
• 23:37
  Speaker 1: Hamlet for the first time Caesar's father's ghost, The scene
• 23:41
  Speaker 1: in the castle before the stage which had been erected,
• 23:44
  Speaker 1: where he flings out the words that are drops of poison,
• 23:48
  Speaker 1: The terrible meeting with his mother, where the father's ghost
• 23:52
  Speaker 1: stands in evengeful attitude before the sun. And finally, what
• 23:56
  Speaker 1: might in the singing what music at ophailures death? She
• 24:01
  Speaker 1: became as a lotus flower upon the deep dark sea,
• 24:05
  Speaker 1: whose waves rolled with a mighty force into the soul
• 24:08
  Speaker 1: of the spectators. Handed this evening became the chief personage.
• 24:14
  Speaker 1: The triumph was complete. How came he by it? Said
• 24:18
  Speaker 1: the merchant's rich wife, as she thought on Pierce's parents
• 24:21
  Speaker 1: and his grandmother up in the garret. The father had
• 24:25
  Speaker 1: been a warehouse man, clever and honorable. He had fallen
• 24:29
  Speaker 1: as a soldier on the field of honor. The mother
• 24:32
  Speaker 1: a washerwoman. But that does not give the sun culture.
• 24:37
  Speaker 1: As he grew up in a charity school, and how
• 24:40
  Speaker 1: much in a period of two years could a provincial
• 24:43
  Speaker 1: schoolmaster instill into him of higher science. It is a genius,
• 24:49
  Speaker 1: said the merchant. Genius that is born of God's grace.
• 24:55
  Speaker 1: Most certainly, said his wife, and folded her hands reverently.
• 24:59
  Speaker 1: When she talked to Pierre. Do you feel humble in
• 25:02
  Speaker 1: your heart at what you have received? She asked? Heaven
• 25:06
  Speaker 1: has been unspeakably gracious to you. Everything has been given.
• 25:11
  Speaker 1: You do not know how overpowering your Hamlet is. You
• 25:14
  Speaker 1: have yourself created the representation. I have heard that many
• 25:18
  Speaker 1: great poets do not themselves know the glory of what
• 25:22
  Speaker 1: they have given. The philosophers must reveal it for them.
• 25:26
  Speaker 1: Where did you get your conception of Hamlet? I have
• 25:30
  Speaker 1: thought over the character, and have read a portion of
• 25:33
  Speaker 1: what has been written about Shakespeare's work, and since on
• 25:37
  Speaker 1: the stage, I have entered it into the person and
• 25:39
  Speaker 1: its surroundings. I give my part, and our Lord gives
• 25:44
  Speaker 1: the rest. Our Lord, said she with a self reproving Look,
• 25:49
  Speaker 1: do not use that name. He gave you power, but
• 25:53
  Speaker 1: you do not believe that he has anything to do
• 25:55
  Speaker 1: with the theater, and uproar most assuredly, I do severer courageously.
• 26:01
  Speaker 1: There also does he have a pulpit for men? And
• 26:04
  Speaker 1: most people here better there than in church. She shook
• 26:08
  Speaker 1: her head. God is with us in all good and
• 26:11
  Speaker 1: beautiful things, but let us be careful how we take
• 26:14
  Speaker 1: his name in pain. It is a gift of grace
• 26:17
  Speaker 1: for one to be a great artist, but it is
• 26:20
  Speaker 1: still better to be a good Christian. Felix, she felt,
• 26:23
  Speaker 1: would never have named the theater and the church together
• 26:27
  Speaker 1: before her, and she was glad of that. Now you
• 26:30
  Speaker 1: have laid yourself out against Mamma, said Felix, laughing, that
• 26:34
  Speaker 1: was very far from my thoughts. Don't trouble yourself about that.
• 26:40
  Speaker 1: You will get into her good graces again next Sunday
• 26:42
  Speaker 1: when you go to church, stand outside her pew and
• 26:46
  Speaker 1: look up to the right, for there in the balcony
• 26:49
  Speaker 1: pew is a little face which is worth looking at.
• 26:52
  Speaker 1: The widow Baroness's charming daughter. Here is a well meant
• 26:56
  Speaker 1: piece of advice, and I give it to you. You
• 26:58
  Speaker 1: cannot live where you are now, move into larger lodgings
• 27:02
  Speaker 1: with the stairs in good order. Or if you won't
• 27:05
  Speaker 1: leave the singing master and let him live in better style.
• 27:09
  Speaker 1: He has means enough, and you have a pretty good income.
• 27:12
  Speaker 1: You must give a party too, an evening supper. I
• 27:16
  Speaker 1: could give it myself and will give it, but you
• 27:19
  Speaker 1: can invite a few of the little dancing girls. You're
• 27:23
  Speaker 1: a lucky fellow. But I believe, Heaven help me, that
• 27:26
  Speaker 1: you don't yet understand how to be a young man.
• 27:31
  Speaker 1: Pierre did understand it exactly in his own way, with
• 27:34
  Speaker 1: his full ardent young heart. He was in love with Art.
• 27:38
  Speaker 1: She was his bride. She returned his love and lifted
• 27:41
  Speaker 1: his soul into gladness and sunshine. The depression which had
• 27:45
  Speaker 1: crushed him soon evaporated. Gentle eyes looked upon him, and
• 27:50
  Speaker 1: everyone met him in a friendly and cordial manner. The
• 27:54
  Speaker 1: amber heart, which he still wore constantly on his breast,
• 27:58
  Speaker 1: where grandmother once had hung. It was certainly a talisman,
• 28:02
  Speaker 1: and he thought, for he was not quite free from superstition.
• 28:06
  Speaker 1: A childlike faith, one may call it. Every nature that
• 28:09
  Speaker 1: has genius in it has something of this, and looks
• 28:13
  Speaker 1: to and believes in its star. Grandmother had shown him
• 28:17
  Speaker 1: the power that lay in the heart of drawing things
• 28:20
  Speaker 1: to itself. His dream had shown him how out from
• 28:24
  Speaker 1: the amber heart there grew a tree which burst through
• 28:27
  Speaker 1: garret and roof, and bore a thousandfold of hearts and
• 28:31
  Speaker 1: silver and gold. That surely betoken that in the heart,
• 28:35
  Speaker 1: in his own warm heart, they the might of his art,
• 28:39
  Speaker 1: whereby he had won and still should win, thousands bond
• 28:43
  Speaker 1: thousands of hearts. Between him and Felix, there was undoubtedly
• 28:48
  Speaker 1: a kind of sympathy. Different as they were from each other,
• 28:52
  Speaker 1: Pere assumed that the difference between them lay in this,
• 28:55
  Speaker 1: that Felix, as the rich man's son, had grown up
• 28:57
  Speaker 1: in temptations and ford to taste them and take his pleasure.
• 29:02
  Speaker 1: Thus he had, on the contrary, been more fortunately placed
• 29:06
  Speaker 1: as a poor man's son. Both of these two children
• 29:10
  Speaker 1: of the house were meanwhile growing up into eminence Felix
• 29:13
  Speaker 1: would soon be a camera junker. Footnote two. Titles of
• 29:21
  Speaker 1: court attendants, the latter of these gentlemen wherein their court
• 29:25
  Speaker 1: dress a gold key hanging by a ribbon at the
• 29:27
  Speaker 1: back of the court ind of footnote. And that is
• 29:32
  Speaker 1: the first step to being a camera her as long
• 29:35
  Speaker 1: as one has a gold key behind Peer always lucky.
• 29:39
  Speaker 1: He had already in his hand, though it was invisible,
• 29:42
  Speaker 1: the gold key of genius, which opens all the treasures
• 29:46
  Speaker 1: of the earth, and all hearts too, And of the
• 29:51
  Speaker 1: lucky peer. Part five.