A MUSICAL RECLUSE AND HIS SISTER.
Some proverb maker, I forget who, says, “God hath given to some men
wisdom and understanding, and to others the art of playing on the
fiddle.”
Professor PARK'S Dogmas of the Constitution.
The Doctor always spoke of Bingley as a melancholy example of strength
of character misapplied. But he used to say that strength of character
was far from implying strength of mind; and that strength of mind
itself was no more a proof of sanity of mind, than strength of body
was of bodily health. Both may coexist with mortal maladies, and both
when existing in any remarkable degree may oftentimes be the cause of
them.
Alas for man!
Exuberant health diseases him, frail worm!
And the slight bias of untoward chance
Makes his best virtues from the even line,
With fatal declination, swerve aside.[1]
[Footnote 1: RODERICK.]
There was another person within his circuit who had taken umbrage at
the world, and withdrawn from it to enjoy, or rather solace himself
according to his own humour in retirement; not in solitude, for he had
a sister, who with true sisterly affection accommodated herself to his
inclinations, and partook of his taste. This gentleman, whose name was
Jonathan Staniforth, had taken out a patent for a ploughing machine,
and had been deprived, unjustly as he deemed, of the profits which he
had expected from it, by a lawsuit. Upon this real disappointment,
aggravated by the sense, whether well or ill founded of injustice, he
retired to his mansion in the village of Firbeck, about ten miles
south of Doncaster, and there discarding all thoughts of mechanics,
which had been his favourite pursuit, he devoted himself to the
practice of music;—devoted is not too strong an expression. He had
passed the middle of his life before the Doctor knew him; and it was
not till some twenty years later that Miller became acquainted with
him.
“I was introduced,” says the Organist, “into a room where was sitting
a thin old Gentleman, upwards of seventy years of age, playing on the
violin. He had a long time lived sequestered from the world, and
dedicated not less than eight hours a day to the practice of music.
His shrunk shanks were twisted in a peculiar form, by the constant
posture in which he sate; and so indifferent was he about the goodness
of his instrument, that to my astonishment, he always played on a
common Dutch fiddle, the original price of which could not be more
than half a guinea; the strings were bad, and the whole instrument
dirty and covered with resin. With this humble companion, he used to
work hard every morning on the old solos of Vivaldi, Tessarini,
Corelli, and other ancient composers. The evening was reserved for
mere amusement, in accompanying an ancient sister, who sung most of
the favourite songs from Handel's old Italian Operas, which he
composed soon after his arrival in England. These Operas she had heard
on their first representation in London; consequently her performance
was to me an uncommon treat. I had an opportunity of comparing the
different manner of singing in the beginning of the century, to that
which I had been accustomed to hear. And indeed the style was so
different, that musically considered, it might truly be called a
different language. None of the present embellishments or graces in
music were used,—no _appoggiatura_,—no unadorned sustaining, or
swelling long notes; they were warbled by a continual tremulous accent
from beginning to end; and when she arrived at the period of an air,
the brother's violin became mute, and she, raising her eyes to the top
of the room, and stretching out her throat, executed her extempore
cadence in a succession of notes perfectly original, and concluded
with a long shake something like the bleating of a lamb.”
Miller's feelings during this visit were so wholly professional, that
in describing this brother and sister forty years afterwards, he
appears not to have been sensible in how affecting a situation they
were placed. Crabbe would have treated these characters finely had
they fallen in his way. And so Chancey Hare Townsend could treat them,
who has imitated Crabbe with such singular skill, and who has moreover
music in his soul and could give the picture the soft touches which it
requires.
I must not omit to say that Mr. Staniforth and his sister were
benevolent, hospitable, sensible, worthy persons. Thinkest thou,
reader, that they gave no proof of good sense in thus passing their
lives? Look round the circle of thine acquaintance, and ask thyself
how many of those whose time is at their own disposal, dispose of it
more wisely,—that is to say more beneficially to others, or more
satisfactorily to themselves? The sister fulfilled her proper duties
in her proper place, and the brother in contributing to her comfort
performed his; to each other they were as their circumstances required
them to be, all in all; they were kind to their poor neighbours, and
they were perfectly inoffensive toward the rest of the world.—They who
are wise unto salvation, know feelingly when they have done best, that
their best works are worth nothing; but they who are conscious that
they have lived inoffensively may have in that consciousness, a
reasonable ground of comfort.
The Apostle enjoins us to “eschew evil and do good.” To do good is not
in every one's power; and many who think they are doing it, may be
grievously deceived for lack of judgement, and be doing evil the while
instead, with the best intentions, but with sad consequences to
others, and eventual sorrow for themselves. But it is in every one's
power to eschew evil, so far as never to do wilful harm; and if we
were all careful never unnecessarily to distress or disquiet those who
are committed to our charge, or who must be affected by our
conduct,—if we made it a point of conscience never to disturb the
peace, or diminish the happiness of others,—the mass of moral evil by
which we are surrounded would speedily be diminished, and with it no
inconsiderable portion of those physical ones would be removed, which
are the natural consequence and righteous punishment of our misdeeds.