London Days: A Book of Reminiscences
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London was covered with a thickening fog. You could scarcely see the Abbey from Dean's Yard. Within the Abbey the arches aloft dissolved in mist, a mist of copper and pale gold where the light glanced through rose windows. Slipping into one's memory came Mrs. Browning's lines:
"—view the city perish in the mistLike Pharaoh's armaments in the deep Red Sea,The chariots, horsemen, footmen, all the hostSucked down and choked to silence."Candles from the choir places, and long-chained lamps, sent their soft, yellow gleams eerily through the veil which seemed to hang above us. And as the high noon drew near my glances fell upon the historians Kinglake, Lecky, and Froude. Would any one of the three ever write of this scene in England's history, I wondered? Bret Harte, Burne-Jones, George du Maurier, Leslie Stephen, William Black, Bancroft, and John Hare, and the publishers Blackwood, Macmillan, Murray, and Spottiswoode, ambassadors and ministers, the heads of universities, of learned societies, were shown to their places, singly or in groups, or took positions where they could find them, standing against the monuments. And when no more people could find space, the Abbey clock struck twelve, and the great west doors swung open, and down the long central aisle came the funeral train. Then arose the choral music which for one hundred and seventy years has risen at every burial within the Abbey, the burial office composed and played by Croft and Purcell when they were organists at Westminster.
Sir Frederick Bridge is playing it now, as Robert Browning, all there is of him on earth, is carried on his bier through the dense throng, to pause a while at the foot of the chancel steps beneath the central lantern. Choir and clergy precede him. On either side of him walk Hallam Tennyson, Doctor Butler (of Trinity College, Cambridge), Sir James Fitzjames Stephen, Sir Theodore Martin, Archdean Farrar, Professor Masson, Professor Jowett (master of Balliol), Sir Frederick Leighton, Sir James Paget, Sir George Grove, George Murray Smith (Browning's publisher), and Professor Knight (of the University of St. Andrews). Then as the service proceeds (the Archbishop of Canterbury is here, Dean Vaughan, and others eminent in the Church) the choristers sing a "Meditation" which Sir Frederick Bridge has composed to Mrs. Browning's poem:
"What would we give to our beloved?The hero's heart to be unmoved,The poet's star-tuned harp to sweep,The patriot's voice to teach and rouse,The monarch's crown to light the brows?'He giveth His beloved sleep.'"O earth, so full of dreary noises!O men, with wailing in your voices!O delved gold, the wailers heap!O strife, O curse that o'er it fall!God strikes a silence through you all,And 'giveth His beloved sleep.'"His dews drop mutely on the hill,His cloud above it saileth still,Though on its slopes men sow and reap,More softly than the dew is shed,Or cloud is floated overhead,'He giveth His beloved sleep.'"The organ and the choir paused; all sounds died away. God struck a silence through us all. It fell upon a throng that faced the world's loss as if suddenly confronted by the flight of the soul for whose absence all mourned. And just then there fell a shaft of sunlight, golden, magical, touching the bier, and then it faded slowly away. To many, very many among the silent company, the loss by this death was a personal one; to all it had more than a touch of that. It must be so when a great poet dies. What I remember as vividly as all else was the great number of young faces in the Abbey, as if the rising generation did reverence to him who had passed.
By and by the last hymn had been sung, the Dean had pronounced the benediction, and Bridge, at the great organ, made the old Abbey thrill to its inmost stones with the vibrating tones of the Dead March from "Saul." Now the coffin had been lowered into its grave at the foot of Chaucer's tomb. Before us and at each hand were monuments, tablets, inlaid stones, marking the burial places of Spenser, Dryden, Gay, of Butler and Casaubon, Ben Jonson, Addison and Cowley, Prior, Macaulay and Grote; of Handel, Campbell, Sheridan, and Garrick. I stood on the grave of Dickens. And the throng passed slowly, reverently gazing into the dark grave where Browning's body had been laid as the old year was dying. Pealing through nave and transepts and the chapels of Kings, above the altar and the tombs of soldiers, sailors, statesmen—the brood who had made England and sung of her—the rumbling and trumpeting of the Dead March. Might not Shakespeare and Milton, Doctor Johnson, and Goldsmith and Gray have come to the Poets' Corner that day at noon to join the company, and to greet, from their own memorials, this other man who had helped to make England? It seemed quite probable as we passed from that real world into the world of fog, and the closing door of the Poets' Corner shut in behind us the now tremulous notes of the organ.
How often have I heard Sir Frederick stir the slumbering majesty, beauty, and solemnity that lie within the Abbey organ, stir them to living wonder on occasions like this? More times than I can easily recall. In capitals and churches and cathedrals, in many parts of the world, that March from "Saul" has awakened memories within me. My earliest memory of music concerns itself with a military band, marching slowly, slowly down a hill, troops following with reversed arms, a gun carriage carrying something that was not a gun, covered with a flag; horses whose riders moved very slowly; coaches that young eyes saw as beyond number; and then a hole-in-the-ground. Men carried something on their shoulders from the gun carriage and lowered it into the hole; other men fired guns at the sky. A hawk flew full circle in the blue. And some one said, "My boy, take a last look where your father lies." Then the Dead March rolled and moaned again, and fixed itself on one of the pins of memory.
The solemn notes always bring back those moments, as a vision in which a small boy made his first acquaintance with Death. But they have never seemed to humble and exalt, moan and triumph and sob and victoriously march to the rhythm of the winds, so charged with majesty, as when Sir Frederick touched the heart of his instrument at the Abbey. The occasion, the place drenched with memories, the simple ceremony, the music's magic, and the mystery of it all make of this tribute to Death one of the rich experiences of living.
CHAPTER VI
PATTI
One broiling afternoon—it was in August, 1893—a Great Western train from London left me at a wee-bit station on the top of a Welsh mountain. The station was called "Penwylt." It overlooked the Swansea Valley, and stood about halfway between Brecon and the sea. When a traveller alighted at Penwylt there was no need to ask why he did so. He could have but one destination, and that was Craig-y-Nos Castle, the home of Madame Patti. She was then Madame Patti-Nicolini; she afterward became the Baroness Cederström. I shall use here the name by which, for sixty years, she has been known to an adoring world. A carriage from the castle was awaiting me, and quickly it bore me down the steep road to the valley, a sudden turn showing the Patti palace there on the banks of the Tawe. The Castle was two miles distant and a thousand feet below the railway. An American flag was flying on the tower. It flew there through the week of my visit, for was I not an ambassador from the American Public to the Queen of Song?
Mr. Gladstone once told Madame Patti that he would like to make her Queen of Wales. But she was that already, and more. She was Queen of Hearts the world over, and every soul with an ear was her liege. And, literally, in Wales Patti was very like a queen. She lived in a palace; people came to her from the ends of the earth; she was attended with "love, honour, troops of friends"; and whenever she went beyond her own immediate gardens the country folk gathered by the roadside, dropping curtseys and throwing kisses to her bonny majesty.
Her greeting of me was characteristic of this most famous and fortunate of women, this unspoiled favourite of our whirling planet. A group of her friends stood merrily chatting in the hall, and, as I approached, a dainty little woman with big brown eyes came running out from the centre of the company, stretched forth her hands, spoke a hearty welcome, and accompanied it with the inimitable smile which had made slaves of emperors. She had the figure and vivacity of a girl. She was fifty that year, but, there in broad daylight, looked fifteen or twenty years younger. This is not an illusion of gallantry, but a statement of fact.
There was a kind of family party at Craig-y-Nos. Stiffness and dullness, and the usual country-house talk about horses and guns, golf and fishing, did not prevail there. La Diva's guests were intimate friends, and chiefly a company of English girls who were passing the summer with her. In the evening, when all assembled in the drawing-room before going in to dinner, I found that we represented five nationalities,—Italian, Spanish, French, English, and American. While we awaited the appearance of our hostess, the gathering seemed like a polyglot congress.
As the chimes in the tower struck the hour of eight, a fairy vision appeared at the drawing-room door,—Patti, royally gowned and jewelled. The defects of the masculine intellect leave me incapable of describing the costume of that radiant little woman. It belonged to one of her operatic characters, I forget which one. But my forgetfulness does n't matter. The sight brought us to our feet, bowing as if we had been a company of court gallants in the "spacious days of great Elizabeth", and we added the modern tribute of applause, which our queen acknowledged with a silvery laugh. I remember only that the gown was white and of some silky stuff, and that about La Diva's neck were loops of pearls, and that above her fluffy chestnut hair were glittering jewels. With women it may be different, but mere man cannot give a list of Patti's adornments on any occasion; he can know only that they became her, and that he saw only her happy face. Before our murmurs had ceased, Patti, who had not entered the room, but had merely stood in the portal, turned, taking the arm of the guest who was to sit at her right, and away we marched in her train, as if she were truly the queen, through the corridors to the conservatory, where dinner was served.
It was my privilege at the Castle table to sit at Madame Patti's left. At her right was one whose friendship with her dated from the instant of her first European triumph. Heavens!—How many years ago? But it was a quarter of a century less than it now is at the time of which I am writing. The delight of those luncheons and dinners at Craig-y-Nos is unforgettable. There was a notion abroad that these meals were held "in state"; but they were not. There was merely the ordinary dinner custom of an English mansion. The menu, though, was stately enough, for the art of cookery was practised at Craig-y-Nos by a master who had earned the right to prepare dinners for Patti. The dining room was seldom used in summer for, handsome though that apartment is, Patti, and her guests, too, for that matter, preferred to be served in the great glass room which was formerly the conservatory and was still called so. There we sat, as far as outlook goes, out of doors; in whatever direction we gazed we looked up or down the Swansea Valley, across to the mountains, and along the tumbling course of the river Tawe. I was risking some neglect of my dinner, for I sat gazing at the wood-covered cliffs of Craig-y-Nos (Rock-of-the-Night) opposite, and listening to the ceaseless prattle of the mountain stream. Patti, noticing my admiration of the view, said, "You see what a dreadful place it is in which I bury myself."
"'Bury' yourself! On the contrary, here you are at the summit of Paradise, and you have discovered the fountain of perpetual youth. A 'dreadful place', indeed! It's the nearest thing to fairy-land."
"But one of your countrymen says that I 'hide far from the world among the ugly Welsh hills.' He writes it in an American journal of fabulous circulation, and I suppose people believe the tale."
Patti laughed at the thought of a too credulous public, and then she added:
"Really, they write the oddest things about my home, as if it were either the scene of Jack-the-Giant-Killer's exploits on the top of the Beanstalk, or a prison in a desolate land."
After visiting Patti at Craig-y-Nos I wondered no more why this enchanting woman sang "Home, Sweet Home" so that she fascinated millions. Her own home was far from being "humble", but it was before all things, a home. And she had earned it. There is not anywhere a lovelier spot, nor was there elsewhere a place so remote and at the same time so complete in every resource of civilization.
Dinner passed merrily. Merrily is exactly the word to describe it. Up and down the table good stories flew, sometimes faster than one could catch them. Nobody liked a good joke better than Patti, and when she heard one that particularly pleased her she would interpret it to some guest who had not sufficiently mastered the language in which it was told. It was all sheer comedy, and after watching it, and hearing La Diva speak in a variety of tongues, I asked:
"I wonder if you have what people call a native tongue, or whether all of them came to you as a gift of the gods."
"Oh, I don't know so many languages," she replied, "only—let's see—English, German, Italian, Spanish, and Russian."
"And which do you speak best, or like best?"
"I really don't know. To me there is no difference, as far as readiness goes, and I suppose 'the readiness is all.'"
"Not quite all. But what is your favourite, if you have a favourite among them?"
"Oh, Italian! Listen!"
And then she recited an Italian poem. Next to hearing Patti sing, the sweetest sound was her Italian speech. Presently she said:
"Speaking of languages, Mr. Gladstone paid me a pretty compliment a little while ago—nearly three years ago. I will show you his letter to-morrow, if you care to see it."
Patti forgot nothing. The next day she brought me Mr. Gladstone's letter. The Grand Old Man had been among her auditors at Edinburgh, and after the performance he went on the stage to thank her for the pleasure she had given him. He complained a little of a cold which had been troubling him, and Patti begged him to try some lozenges which she found useful. That night she sent him a little box of them. The old statesman acknowledged the gift with this letter:
6, Rothesay Terrace,
Edinburgh.
October 22, 1890.
Dear Madame Patti:
I do not know how to thank you enough for your charming gift. I am afraid, however, that the use of your lozenges will not make me your rival. Voce quastata di ottante' anni non si ricupera.
It was a rare treat to hear from your Italian lips last night the songs of my own tongue, rendered with a delicacy of modulation and a fineness of utterance such as no native ever in my hearing had reached or even approached. Believe me,
Faithfully yours,
W. E. GLADSTONE.This letter, naturally enough, gave conversation a reminiscent turn. After some talk of great folk she had known, I asked Madame Patti what had been the proudest experience in her career.
"For a great and unexpected honour most gracefully tendered," said she, "I have known nothing that has touched me more deeply than a compliment paid by the Prince of Wales (afterwards King Edward VII) and a distinguished company, at a dinner given to the Duke of York and the Princess May (the present King and Queen), a little while before their wedding. The dinner was given by Mr. Alfred Rothschild, one of my oldest and best friends. There were many royalties present and more dukes and duchesses than I can easily remember. During the ceremonies the Prince of Wales arose, and to my astonishment, proposed the health of his 'old and valued friend, Madame Patti.' He made such a pretty speech, and in the course of it said that he had first seen and heard me in Philadelphia in 1860, when I sang in 'Martha', and that since then his own attendance at what he was good enough to call my 'victories in the realm of song' had been among his pleasantest recollections. He recalled the fact that on one of the occasions, when the Princess and himself had invited me to Marlborough House, his wife had held up little Prince George, in whose honour we were this night assembled, and bade him kiss me, so that in after life he might say that he had 'kissed the famous Madame Patti.' And then, do you know, that whole company of royalty, nobility, and men of genius rose and cheered me and drank my health. Don't you think that any little woman would be proud, and ought to be proud, of a spontaneous tribute like that?"
It is difficult, when repeating in this way such snatches of biography, to suggest the modest tone and manner of the person whose words may be recorded. It is particularly difficult in the case of Madame Patti, who was absolutely unspoiled by praise. Autobiography such as hers must read a little fanciful to most folk; it is so far removed from the common experiences of us all and even from the extraordinary experiences of the renowned persons we hear about usually. But there was not a patch of vanity in Patti's sunny nature. Her life had been a long, unbroken record of success,—success to a degree attained by no other woman. No one else has won and held such homage; no one else had been so wondrously endowed with beauty and genius and sweet simplicity of nature,—a nature unmarred by flattery, by applause, by wealth, by the possession and exercise of power. Patti at fifty was like a girl in her ways, in her thoughts, her spirit, in her disinterestedness, in her enjoyments. Time had dimmed none of her charms, it had not lessened then her superb gifts. She said to me one day:
"They tell me I am getting to be an old woman, but I don't believe it. I don't feel old. I feel young. I am the youngest person of my acquaintance."
That was true enough, as they knew who saw Patti from day to day. She had all the enthusiasm and none of the affectations of a young girl. When she spoke of herself it was with most delicious frankness and lack of self-consciousness. She was perfectly natural.
She promised to show me the programme of that Philadelphia performance before the Prince of Wales so long ago, and the next day she put it before me. It was a satin programme with gilt fringe, and it was topped by the Prince of Wales's feathers. At that Philadelphia performance Patti made her first appearance before royalty. In the next year she made her London début at Covent Garden, as Amina in "La Somnambula." The next morning Europe rang with the fame of the new prima donna from America.
"I tried to show them that the young lady from America was entitled to a hearing," said she, as we looked over the old programmes.
"And has 'the young lady from America' kept her national spirit, or has she become so much a citizen of the world that no corner of it has any greater claim than another upon her affections?"
"I love the Italian language, the American people, the English country, and my Welsh home," she said.
"Good! The national preferences, if you can be said to own any, have reason on their side. Your parents were Italian, you were born in Spain, you made your first professional appearance in America, you first won international fame in England, and among these Welsh hills you have planted a paradise."
"How nice of you! That evening at Mr. Alfred Rothschild's, the Prince of Wales asked me why I do not stay in London during 'the season', and take some part in its endless social pleasures. 'Because, your Royal Highness,' I replied, 'I have a lovely home in Wales, and whenever I come away from it I leave my heart there.' 'After all,' said the prince, 'why should you stay in London when the whole world is only too glad to make pilgrimages to Craig-y-Nos?' Was n't that nice of him?"
I despair of conveying any impression of the naïveté with which the last five words were uttered. The tone expressed the most innocent pleasure in the world. When Patti spoke in that way she seemed to be wondering why people should say and do so many pleasant things on her account. There was an air of childish surprise in her look and voice.
I said: "All good republicans have a passion for royalty. I find that an article about a King, or a Queen, or a Prince is in greater demand in the United States than anywhere else in the world. So tell me something more about the Prince and Princess of Wales. I promise, as a zealous democrat, that no one on the far side of the Atlantic will skip a word. Have the Prince and Princess visited Craig-y-Nos?"
"No. But they were coming here a couple of years ago. See—here is the Prince's letter fixing the date. But it was followed by the death of the Duke of Clarence, their eldest son, and then for many months they lived in quiet and mourning, only appearing in their usual way just before the wedding of the Duke of York (King George V). They sent me an invitation to the wedding festivities. But alas! I could not go. I had just finished my season and was lying painfully ill with rheumatism. You heard of that? For weeks I suffered acutely. It's an old complaint. I have had it at intervals ever since I was a child. But about that royal wedding. When the Prince and Princess of Wales learned that I was too ill to accept their gracious invitation, they—well, what do you suppose they did next?"
"Something kind and graceful."
"They sent me two large portraits of themselves, bearing their autographs and fitted into great gilt frames. You shall see the portraits after dinner. They have the places of honour at Craig-y-Nos."
We had reached the coffee stage of dinner, and the cigars were being passed. The ladies did not withdraw, according to the mediæval (and shall I say popular?) habit, but the company remained unbroken, and while the gentlemen smoked, the ladies kept them in conversation. Nowadays you would say they all smoked. Presently, some one proposed Patti's health, and we all stood, singing, "For She 's a Jolly Good Fellow."
That put the ball of merriment in motion again. One of the young ladies, a goddaughter of the hostess, carolled a stanza from a popular ditty. At first I thought it audacious that any one should sing in the presence of La Diva. It seemed sacrilege. But in another instant we were all at it, piping the chorus, and Patti leading off. The fun of the thing was infectious. The song finished, we ventured another, and Patti joined us in the refrains of a medley of music-hall airs, beginning with London's latest mania, "Daisy Bell, or a Bicycle Built for Two", and winding up with Chevalier's "Old Kent Road" and the "Coster's Serenade", Coborn's "Man That Broke the Bank at Monte Carlo", and somebody else's "Daddy Would n't Buy me a Bow-Wow."
Patti turned with an arch look. "You will think our behaviour abominable."
"No, I don't. I think it jolly. Besides, it's not everybody who has heard you sing comic songs."
Her answer was a peal of laughter, and then she sat there, singing very softly a stanza of "My Old Kentucky Home", and as we finished the chorus she lifted a clear, sweet note, which thrilled us through and through and stirred us to excited applause.
"What have I done?" Patti put the question with a puzzled air.
The reply came from the adjoining library: "High E." One of our number had run to the piano.
Then I recalled what Sir Morell Mackenzie had told me a little while before he died. We were chatting in that famous room of his in Harley Street, and we happened to mention Madame Patti. "She has the most wonderful throat I have ever seen," said Sir Morell. "It is the only one I have ever seen with the vocal cords in absolutely perfect condition after many years of use. They are not strained, or warped or roughened, but as I tell you, they are perfect. There is no reason why they should not remain so ten years longer, and with care and health twenty years longer."
Remembering this, I asked Patti if she had taken extraordinary care of her voice.
"I have never tired it," said she; "I never sing when I am tired, and that means I am never tired when I sing. And I have never strained for high notes. I have heard that the first question asked of new vocalists nowadays is 'How high can you sing?' But I have always thought that the least important matter in singing. One should sing only what one can sing with perfect ease."