The Atlantic Monthly, Volume 01, No. 05, March, 1858

"Soono, you sooa, loom kis-wasti omara bukri not bring?" says Hastings Clive, whose English is apt to figure among his Hindostanee like Brahmins in a regiment of Sepoys,—that is, one Brahmin to every twenty low-caste fellows.

The Hon. Mrs. Wellesley Gough.—Wellesley dear, do listen to that darling Hastings Clive, how sweetly he prattles! What did he say then? If one could only learn that delightful Hindostanee, so that one could converse with one's dear Hastings Clive! Do tell me what he said.

The Hon. Wellesley Gough, of the Company's Bad Bargains.—Literally interpreted, my dearest Maud, our darling Hastings Clive sweetly remarked, "I say, you pig, why in thunder don't you fetch my goat into the parlor?"

The Hon. Mrs. Wellesley Gough, of the Hon. Mr. Wellesley Gough's Bad Bargains.—Oh, isn't he clever?

Hastings Clive.—Jou, you haremzeada! Bukri na munkta, nimuk-aram!

The Hon. Wellesley Gough.—My love, he says now, "Get out, you good-for-nothing rascal! I don't want that goat here."

The Hon. Mrs. Wellesley Gough.—Oh, isn't he clever?

What dreadful crime did you commit in another life, O illustrious Moonshee, that you should fall now among such thieves as this horrid Hastings Clive?

"Sahib, I know not. Hum kia kurrenge? kismut hi: What can I do? it is my fate."

Hastings Clive has a queer assortment of pets, first of which are the bushy-tailed Persian kittens, hereinbefore mentioned. When, in Yankee-land, some lovelorn Zeekle is notoriously sweet upon any Huldy of the rural maids,—when

  "His heart keeps goin' pitypat,  And hern goes pity Zeekle,"—

when she is

  "All kind o' smily round the lips,  And teary round the lashes,"—

it is usual to describe his condition by a feline figure; he is said to "cuddle up to her like a sick kitten to a hot brick." But the sick Oriental kitten, reversing the Occidental order of kitten things, cuddles up to a water-monkey, and fondly embraces the refreshing evaporation of its beaded bulb with all her paws and all her bushy tail. The Persian kitten stands high in the favor of Hastings Clive.

Hastings Clive has a whole array of parroquets and hill-mainahs, which, as they learned their small language from his peculiar scurrilous practice, are but blackguard birds at best. He also rejoices in many blue-jays, rescued from the Ganges, whereinto they were thrown as offerings to the vengeful Doorga during the barbarous pooja celebrated in her name. Very proud, too, is Hastings Clive of his pigeons,—his many-colored pigeons from Lucknow, Delhi, and Benares; an Oudean bird-boy has trained them to the pretty sport of the Mohammedan princes, and every afternoon he flies them from the house-top in flashing flocks, for Hastings Clive's entertainment.

Hastings Clive has toys, the wooden and earthen toys for which Benares was ever famous among Indian children,—nondescript animals, and as non-descript idols,—little Brahminee bulls with bells, and artillery camels, like those at Rohilcund and Agra,—Sahibs taking the air in buggies, country-folk in hackeries, baba-logue in gig-topped ton-jons. But much more various and entertaining, though frailer, are his Calcutta toys, of paper, clay, and wax,—hunting-parties in bamboo howdahs, on elephants a foot high, that move their trunks very cunningly,—avadavats of clay, which flutter so naturally, suspended by hairs in bamboo cages, that the cats destroy them quickly,—miniature palanquins, budgerows, bungalows, and pagodas, all of paper,—figures in clay of the different castes and callings, baboos, kitmudgars, washermen, barbers, tailors, street-waterers, box-wallahs, (as the peddlers are called,) nautch-girls, jugglers, sepoys, policemen, doorkeepers, dog-boys,—all true to the life, in costume, attitude, and expression.

Statedly, on his birth-day, the Anglo-Indian child is treated to a kat-pootlee nautch, and Hastings Clive has a birth-day every time he conceives a longing for a puppet-show; so that our wilful young friend may be said to be nine years, and about nineteen kat-pootlee nautches, old.

To make a birth-day for Hastings Clive, three or four tamasha-wallahs, or show-fellows, are required; these, hired for a few rupees, come from the nearest bazaar, bringing with them all the fantastic apparatus of a kat-pootlee nautch, with its interludes of story-telling and jugglery. A sheet, or table-cloth, or perhaps a painted drop-curtain, expressly prepared, is hung between two pillars in the drawing-room, and reaches, not to the floor, but to the tops of the miniature towers of a silver palace, where some splendid Rajah, of fabulous wealth and power, is about to hold a grand durbar, or levee. All the people, be they illustrious personages or the common herd, who assist in the ceremony, are puppets a span long, rudely constructed and coarsely painted, but very faithful as to costume and manners, and most dexterously played upon by the invisible tamasha-wallahs, whom the curtain conceals.

A silver throne having been wheeled out on the portico by manikin bhearers, the manikin Rajah, attended by his manikin moonshee, and as many manikin courtiers as the tamasha property-man can supply, comes forth in his wooden way, and seats himself on the throne in wooden state; a manikin hookah-badar, or pipe-server, and a manikin chattah-wallah, or umbrella-bearer, take up their wooden position behind, while a manikin punkah-wallah fans, woodenly, his manikin Highness, and the manikin courtiers dance wooden attendance around. Then manikin ladies and gentlemen come on manikin elephants and horses and camels, or in manikin palanquins, and alight with wooden dignity at the foot of the palace stairs, taking their respective orders of wooden precedence with wooden pomposities and humilities, and all the manikin forms of the customary bore. The manikin courtiers trip woodenly down the grand stairs to meet the manikin guests with little wooden Orientalisms of compliment, and all the little wooden delicacies of the season; and they conduct the manikin Sahibs and Beebees into the presence of the manikin Rajah, who receives them with wooden condescension and affability, and graciously reciprocates their wooden salaams, inquiring woodenly into the health of all their manikin friends, and hoping, with the utmost ligneous solicitude, that they have had a pleasant wooden journey: and so on, manikin by manikin, to the wooden end. Of course, much desultory tomtomry and wild troubadouring behind the curtain make the occasion musical.

The audience is complete in all the picturesqueness of mixed baba-logue. In the front row, chattering brown ayahs, gay with red sarees and nose-rings, sit on the floor, holding in their laps pale, tender babies, fair-haired and blue-eyed, lace-swaddled, coral-clasped, and amber-studded. Behind these, on high chairs, are the striplings of three years and upward, vociferous and kicking under the hand-punkahs of their patient bhearers. Tall fellows are these bhearers, with fierce moustaches, but gentle eyes,—a sort of nursery lions whom a little child can lead. On each side are small chocolate-colored heathens, in a sort of short chemises, silver-bangled as to their wrists and ankles, and already with the caste-mark on the foreheads of some of them,—shy, demure younglings, just learning all the awful significance of the word Sahib, who have been brought from mysterious homes by fond ayahs, and smuggled in through back-stairs influence, or boldly introduced by the durwan under the glorifying patronage of that terrible Hastings Clive.

Back of all are Dhobee, the washerman, and Dirzce, the tailor, and Mehter, the sweeper, and Mussalehee, the torch-boy, and Metranee, the scullion,—and all the rest of the household riff-raffry. There is much clapping of hands, and happy wah-wah-ing, wherefrom you conclude that Hastings Clive's birth-day is at least one good result of his being born at all.

The Sahib baba-logue have a lively share in several of the native festivals. The Hoolee, for instance, is their high carnival of fun, when they pelt their elders and each other with the red powder of the mhindee, and repel laughing assaults with smart charges of rose-water fired from busy little squirts. During the illumination of the Duwallee, they receive from the servants presents of fantastic toys, and search in the compounds by moonlight for the flower of the tree that never blossoms, and for the soul of a snake, whence comes to the finder good luck for the rest of his life.

These are the traditional sports of the baba-logue; but they are ingenious in inventing others, wherein, from time to time, the imitative faculty, of the native child especially, is tragically manifested.

When the Nawab, Shumsh-ud-deen, was hung at Delhi for hiring a sowar to assassinate Mr. Fraser, the British Commissioner, the country population round about were seized with the news as with the coming of a dragon or a destroying army; and the British Lion was the Bogy, the Black Douglas, in whose name poor ryots' wives scared refractory brats into trembling obedience. Not far from Delhi was a village school, where were many small boys,—so many Asiatic frogs-in-a-well,—to whom "the news of the day" was full of terrible portent. Once, when they were tired of foot-ball, and the shuttlecock had grown heavy on their hands, the cry was, "What shall we play next?" And one daring little fellow—whose father had been to Delhi with his rent, and had told how the Nawab met his kismut (his fate) so quietly, that the gold-embroidered slippers did not fall from his feet—cried, "Let us play hanging the Nawab! and I will be the Nawab; and Kama, here, shall be Kurreim Khan, the sowar; and Joota shall be Metcalfe Sahib, the magistrate; and the rest of you shall be the sahibs, and the sepoys, and the priests."

Acha, acha!—"Good, good!" they all cried. "Let us play the Nawab's kismut! let us hang the Nawab! And Mungloo—he that is more clever than all of us—he that is cunning as a Thug—Mungloo shall be the Nawab!"

So they began with the murder of the Commissioner; and he who personated Kurreim Khan, the assassin, played so naturally, that he sent the Commissioner screaming to his mother, with an arrow sticking in his arm. Then they arrested Kurreim Khan, and his accomplice, Unnia, a mehwatti, who turned king's evidence, and betrayed the sowar; and having tried and condemned Kurreim Khan, they would have hung him on the spot; but, being but a little fellow, he became alarmed at the serious turn the sport was taking, although he had himself set so sharp an example; so he took nimbly to his heels, and followed his young friend, the Commissioner.

Then Unnia told how the Nawab had paid Kurreim Khan blood-money, because Shumsh-ud-deen did so hate Fraser Sahib. Whereupon Metcalfe Sahib, a little naked fellow, just the color of an old mahogany table, sent his sepoys and had the Nawab dragged, in all his ragged breech-cloth glory, to the bar of Sahib justice. In about three minutes, the Nawab was condemned to die,—condemned to be hung by an outcast sweeper. But, in consideration of his exalted rank, they consented that he should wear his slippers, and ride to the place of execution, smoking his hookah; and Mungloo acknowledged the Sahib's magnanimity by proudly inclining his head, like a true Nawab, with a dignified "Acha!" Then two members of the court-martial, who lived nearest at hand, ran home, and quickly returned, one with his father's slippers, the other with his mother's hubble-bubble; and having tied the slippers, that were a world too big, on Mungloo's little feet, and lighted the hubble-bubble, that he might smoke, they mounted him on a buffalo, captured from the village hurkaru, who happened, just in the nick of time, to come riding by, on his way to Delhi, with the mail. And they led out the prisoner, smoking his hubble-bubble,—and looking, as Metcalfe Sahib said of the real Nawab, "as if he had been accustomed to be hanged every day of his life,"—to the place of execution, an old saul-tree with low limbs. Then, having taken the rope with which the hurkaru's mail-bag was lashed to his buffalo, they slipped a noose over the Nawab's head, made the other end fast to the lower limb of the saul-tree, and led away the buffalo.

Little Mungloo, who was cunning as a Thug, acted with surprising talent; in fact, some of the Sahibs thought he rather overdid his part, for he dropped his hubble-bubble almost awkwardly, and even kicked,—which the real Nawab had too much self-respect to do,—so that he sent one of his slippers flying one way, and the other another. But he choked, and gasped, and showed the whites of his eyes, and turned black in the face, and shivered through all his frame, so very naturally, that his admiring companions clapped their hands vehemently, and cried, Wah, wah! with all their little lungs. Wah, wah! they screamed,—Wah khoob tamasha kurta hi! Phir kello, Mungloo! Bahoot ucchi-turri nuhkul, kurte ho toom! "Bravo! Bravo! Such fun! Do it again, Mungloo,—do it again! it takes you!" Certainly Mungloo did it to the life,—for he was dead.

* * * * *

To conclude now with a specimen of the tales with which the native story-tellers entertain little heathens on street-corners.

There was once a bastard boy, the son of a Brahmin's widow; and he was excluded from a merry wedding-feast on account of his disgraceful birth. With a heart full of bitterness, he prayed to Siva for comfort or revenge; and Siva, taking pity on him, taught him the mystic mantra, or incantation, called Bijaksharam,—Shrum, hrim, craoom, hroom, hroo. So the boy went to the door of the apartment where the wedding guests were regaling themselves and making merry; and he pronounced the mantra backwards,—Hroo, hroom, craoom, hrim, shrum. Immediately the fish, and the cucumbers, and the mangoes, and the pumplenoses took the shape of toads, and jumped into the faces of the guests, and into their bosoms and laps, and on the floor. Then the boy laughed so loud, that the astonished guests knew it was he who had conjured them; so they went to the door and let him in, and set him at the head of the table. Then the boy was satisfied, and uttering the mantra aright, he conjured the toads back into the dishes again; and they all lay down in their places, and became fish, and cucumbers, and mangoes, and pumplenoses, just as if nothing had happened.

Glory to Siva!

MUSIC

The promise of the autumn has not been fulfilled; instead of the anticipated feasts, we have had but few concerts, and, as yet, no opera. Some few noteworthy incidents have occurred, however, which we desire to record. We pass over the ever welcome orchestral concerts, the quiet pleasures of our delightful chamber music, and the inspiring four-part singing of the Orpheus Club. Neither can we give the space to notice fully the début of a young singer,—a singer with a rare voice, full, flexible, and sympathetic, and who, with culture in a larger style, and with maturity of power and feeling, will be a real acquisition to our musical public. Few young performers know

"How much grace, strength, and dignity lie in repose."

They dazzle us with pyrotechnics in the finale of Com' e bello or Qui la voce, but the simple feeling of Vedrai carino is beyond their grasp. Firmly sustained tones, careful phrasing, flowing grace in the melody, and just, dramatic expression, are the great requisites; without them the brilliant flourishes of a modern cadenza astonish only for a brief period.

The appearance of Carl Formes in oratorio was something to be long remembered. The Handel and Haydn Society brought out "Elijah" and "The Creation" before immense audiences at the Music Hall. For the first time we heard "Elijah" represented by a great artist, and not by a sentimental, mock-heroic singer. He infused into the performance his own intense personality. Every phrase was charged with his own feeling. He thundered out the curses of Heaven upon idolaters; he prayed with all-absorbing devotion to the "Lord God of Abraham"; he taunted the baffled priests of Baal in grim and terrible scorn; he gently soothed the anguish of the widow; and when his career was finished, he reverently said, "It is enough; now take away my life!" The music we had heard before; we had been rapt many a time while hearing the magnificent choruses; but we never had known the dramatic power of the composer as shown in the principal rôle.

"The Creation" was performed on the following evening. Its ever fresh and cheerful melodies presented a fine contrast to the severely intellectual style of "Elijah." In rendering purely melodic phrases, Herr Formes was not so preëminent as in declamatory passages. Not always strictly in tune, not specially graceful, slow in delivery, even beyond the requirements of a dignified style, he impressed the audience rather by the volume and richness of his tones and by a certain reserved force, than by any unusual excellence in execution. Some one has said, that it makes a great difference in the force of a sentence whether or not there is a man behind it. This impression of a fulness of resources always accompanied the efforts of Herr Formes; every phrase had meaning or beauty, as he delivered it. Perhaps it is as idle to lament his deficiencies, in comparison with artists like Belletti, for instance, as to complain because the grand figures of Michel Angelo have not the delicacy of finish that marks the sweetly insipid Venus de Medici. Of the other solo performers in the oratorios it is not necessary for us to speak, save to commend the fine voice and good style of Mrs. Harwood, a rising singer, well known here, and whom the country, we hope, will know in due time.

Another concert demands our attention, in which portions of a work by an American composer were submitted to the test of public judgment. This we must consider the most important musical event of the season; for great singers, though surely not common among our English race, have not been unknown; the ability to interpret God gives freely,—the power to create, rarely. In any generation, probably not ten men arise who write new melodies; of these, only a small proportion have either the intellectual power or the aesthetic feeling to combine the subtile elements of music into forms of lasting beauty. Most of them are influenced by prevailing mannerisms, and their music is therefore ephemeral, like the taste to which it ministers. Of all the composers that have lived, probably not more than six or eight have attained to an absolutely classic rank. These few are not in relations with any temporary taste; their music might have been written to-day or a century ago, and it will be as fresh a century hence. No one of the arts has had fewer great masters. A new composer, therefore, has a right to claim our attention. If, perchance, we discover that he has the gift of genius, and is not merely a clever imitator, we cannot rejoice too much.

The work to which we allude is the opera "Omano,"—the libretto in Italian by Signor Manetta, the music by Mr. L. H. Southard. We shall not stop now to consider the question, whether American Art is to be benefited by the production of operas in the Italian tongue; it is enough to say, that, until we have native singers capable of rendering a great dramatic work, singers who can give us in English the effects which Grisi, Badiali, Mario, and Alboni produce in their own language, we must be content with the existing state of things, and allow our composers to write for those artists who can do justice to their conceptions. We hope to live to hear operas in English; but meanwhile we must have music, and, at present, the Italian stage is the only common ground.

Mr. Southard's opera is founded upon Beckford's Oriental tale, "Vathek," with such alterations as are necessary to adapt it for representation. We are told that the plot is full of dramatic situations, full of human interest, and that its scenes appeal to all the faculties, ranging through comedy, ballet, and melodrama, and leading to the awful Hall of Eblis at last. The principal characters are the Caliph Omano, baritone; Carathis, his mother, mezzo soprano; Hinda, a slave in his harem, soprano; Rustam, her lover, tenor; and Albatros, basso, a Mephistophelean spirit who tempts the Caliph on to his destruction. Selections were made from this opera, and were performed by resident artists, without the aid of stage effects or orchestral accompaniments. Only the music was given, with as much of the harmony as could be played on the grand piano by one pair of hands. There could be no severer test than this. The music is generally Italian in form, especially in the flowing grace of the cantabile passages, and in the working up of the climaxes. But we did not hear one of the stereotyped Italian cadenzas, nor did we fall into old ruts in following the harmonic progressions. The orchestral figures—the framework on which the melodies are supported—are new, ingenious, and beautiful. The duets, quartette, and quintette show great command of resources and the utmost skill in construction; we can hardly remember any concerted pieces in the modern opera where the "working up" is more satisfactory, or the effect more brilliant. How far the music exhibits an absolutely original vein of melody, it is perhaps premature to say. No composer has ever been free at first from the influence of the masters whom he most admired. To mention no later instances, it is well known that Beethoven's early works are all colored by his recollections of Mozart, and that his own peculiar qualities were not clearly brought out until he had reached the maturity of his powers. This seems to be the law in all the arts; imitation first, self-development and originality afterwards. Happy are those who do not stop in the first stage! It is certain that Mr. Southard's music pleased, and that some of the most critical of the audience were roused to a real enthusiasm. And it is to be borne in mind that the music is cast in a grand mould; it has no prettiness; it is either great in itself, or wears the semblance of greatness. On the whole, we are inclined to think that the "Diarist" in Dwight's "Journal of Music" was not extravagant in saying that no first work since the time of Beethoven has had so much of promise as the opera "Omano." We shall look with great interest for its production upon the stage with the proper accompaniments and scenic effects. It is due to the composer that this should be done. If the music we heard had been performed by a company of great artists in the Boston Theatre or in the Academy of Music, it would have been received with tumultuous applause. The singers on this occasion gained to themselves great credit by their conscientious endeavors. They generously offered their services, and sang with a heartiness that showed a warm interest in the work. One of them, at least, Mrs. J. H. Long, would have established her reputation as an accomplished artist, even if she had never appeared in public before.

We suppose our readers will agree with us in looking with eager delight to the promise of a national school of music. Every nation must create its own song. The passionate music of Italy electrifies our cooler blood, but it does not adequately express all our feelings nor in any way represent our character. We also find many of the compositions of Germany so purely intellectual that they do not touch us until we have learned to like them. If we ever have a school of music, it will be in harmony with our rapidly developing characteristics. But it must grow up on our own soil; exotics never flourish long under strange skies. We think that many things point to this country as the place where music will achieve new triumphs. We are not bound by old traditions, we have few prejudices to unlearn, and we are able to see merit in more than one school. The same audience that becomes almost intoxicated with the excitement of the Italian opera will listen with the fullest, serenest pleasure to the majestic symphonies of Beethoven or to the sublime choruses of Handel. The devotees of the various European schools have none of this catholicity. A very accomplished Italian musician used frankly to say, that a symphony always put him to sleep; and as for the songs of Franz and other recent German composers, he would rather hear the filing of saws with an accompaniment of wet fingers on a window-pane. The Germans, on the other hand, have an equal contempt for Italian music. For them, Donizetti is melodramatic, Bellini puerile and silly, and even Rossini (who has written as many melodies as any composer, save Mozart) is only fit to compose for hand-organs. The American musical public can and do render to both schools the justice they deny each other,—and this because we appreciate the aim and direction of both. The tendency of modern German music is more and more in what we might call a mathematical direction; the Teutonic listener examines the structure of a movement as he would a geometrical proposition; he notices the connection and dependence of the several parts, and at the end, if he like it, he thinks Q.E.D.; his pleasure is quiet, but sincere. The Italian, on the other hand, makes everything subordinate to feeling; for him the music must sparkle with pleasure, burn with passion, or lighten with rage; borne upon the tide of emotion, the under-current of harmony is a matter of little moment; there may be symmetry of structure, and learning in the treatment of themes; if so, well; if not, their absence is not noticed as an essential defect.