Redburn. His First Voyage Part 30

"Take hold of it," said Jackson, at last, to the Greenlander; "it must go overboard. Don't stand shaking there, like a dog; take hold of it, I say! But stop"--and smothering it all in the blankets, he pulled it partly out of the bunk.

A few minutes more, and it fell with a bubble among the phosph.o.r.escent sparkles of the damp night sea, leaving a coruscating wake as it sank.

This event thrilled me through and through with unspeakable horror; nor did the conversation of the watch during the next four hours on deck at all serve to soothe me.

But what most astonished me, and seemed most incredible, was the infernal opinion of Jackson, that the man had been actually dead when brought on board the s.h.i.+p; and that knowingly, and merely for the sake of the month's advance, paid into his hand upon the strength of the bill he presented, the body-s.n.a.t.c.hing crimp had knowingly s.h.i.+pped a corpse on board of the Highlander, under the pretense of its being a live body in a drunken trance. And I heard Jackson say, that he had known of such things having been done before. But that a really dead body ever burned in that manner, I can not even yet believe. But the sailors seemed familiar with such things; or at least with the stories of such things having happened to others.

For me, who at that age had never so much as happened to hear of a case like this, of animal combustion, in the horrid mood that came over me, I almost thought the burning body was a premonition of the h.e.l.l of the Calvinists, and that Miguel's earthly end was a foretaste of his eternal condemnation.

Immediately after the burial, an iron pot of red coals was placed in the bunk, and in it two handfuls of coffee were roasted. This done, the bunk was nailed up, and was never opened again during the voyage; and strict orders were given to the crew not to divulge what had taken place to the emigrants; but to this, they needed no commands.

After the event, no one sailor but Jackson would stay alone in the forecastle, by night or by noon; and no more would they laugh or sing, or in any way make merry there, but kept all their pleasantries for the watches on deck. All but Jackson: who, while the rest would be sitting silently smoking on their chests, or in their bunks, would look toward the fatal spot, and cough, and laugh, and invoke the dead man with incredible scoffs and jeers. He froze my blood, and made my soul stand still.

XLIX. CARLO

There was on board our s.h.i.+p, among the emigrant pa.s.sengers, a rich- cheeked, chestnut-haired Italian boy, arrayed in a faded, olive-hued velvet jacket, and tattered trowsers rolled up to his knee. He was not above fifteen years of age; but in the twilight pensiveness of his full morning eyes, there seemed to sleep experiences so sad and various, that his days must have seemed to him years. It was not an eye like Harry's tho' Harry's was large and womanly. It shone with a soft and spiritual radiance, like a moist star in a tropic sky; and spoke of humility, deep-seated thoughtfulness, yet a careless endurance of all the ills of life.

The head was if any thing small; and heaped with thick cl.u.s.ters of tendril curls, half overhanging the brows and delicate ears, it somehow reminded you of a cla.s.sic vase, piled up with Falernian foliage.

From the knee downward, the naked leg was beautiful to behold as any lady's arm; so soft and rounded, with infantile ease and grace. His whole figure was free, fine, and indolent; he was such a boy as might have ripened into life in a Neapolitan vineyard; such a boy as gipsies steal in infancy; such a boy as Murillo often painted, when he went among the poor and outcast, for subjects wherewith to captivate the eyes of rank and wealth; such a boy, as only Andalusian beggars are, full of poetry, gus.h.i.+ng from every rent.

Carlo was his name; a poor and friendless son of earth, who had no sire; and on life's ocean was swept along, as spoon-drift in a gale.

Some months previous, he had landed in Prince's Dock, with his hand- organ, from a Messina vessel; and had walked the streets of Liverpool, playing the sunny airs of southern chines, among the northern fog and drizzle. And now, having laid by enough to pay his pa.s.sage over the Atlantic, he had again embarked, to seek his fortunes in America.

From the first, Harry took to the boy.

"Carlo," said Harry, "how did you succeed in England?"

He was reclining upon an old sail spread on the long-boat; and throwing back his soiled but ta.s.seled cap, and caressing one leg like a child, he looked up, and said in his broken English--that seemed like mixing the potent wine of Oporto with some delicious syrup:--said he, "Ah! I succeed very well!--for I have tunes for the young and the old, the gay and the sad. I have marches for military young men, and love-airs for the ladies, and solemn sounds for the aged. I never draw a crowd, but I know from their faces what airs will best please them; I never stop before a house, but I judge from its portico for what tune they will soonest toss me some silver. And I ever play sad airs to the merry, and merry airs to the sad; and most always the rich best fancy the sad, and the poor the merry."

"But do you not sometimes meet with cross and crabbed old men," said Harry, "who would much rather have your room than your music?"

"Yes, sometimes," said Carlo, playing with his foot, "sometimes I do."

"And then, knowing the value of quiet to unquiet men, I suppose you never leave them under a s.h.i.+lling?"

"No," continued the boy, "I love my organ as I do myself, for it is my only friend, poor organ! it sings to me when I am sad, and cheers me; and I never play before a house, on purpose to be paid for leaving off, not I; would I, poor organ?"--looking down the hatchway where it was.

"No, that I never have done, and never will do, though I starve; for when people drive me away, I do not think my organ is to blame, but they themselves are to blame; for such people's musical pipes are cracked, and grown rusted, that no more music can be breathed into their souls."

"No, Carlo; no music like yours, perhaps," said Harry, with a laugh.

"Ah! there's the mistake. Though my organ is as full of melody, as a hive is of bees; yet no organ can make music in unmusical b.r.e.a.s.t.s; no more than my native winds can, when they breathe upon a harp without chords."

Next day was a serene and delightful one; and in the evening when the vessel was just rippling along impelled by a gentle yet steady breeze, and the poor emigrants, relieved from their late sufferings, were gathered on deck; Carlo suddenly started up from his lazy reclinings; went below, and, a.s.sisted by the emigrants, returned with his organ.

Now, music is a holy thing, and its instruments, however humble, are to be loved and revered. Whatever has made, or does make, or may make music, should be held sacred as the golden bridle-bit of the Shah of Persia's horse, and the golden hammer, with which his hoofs are shod.

Musical instruments should be like the silver tongs, with which the high-priests tended the Jewish altars--never to be touched by a hand profane. Who would bruise the poorest reed of Pan, though plucked from a beggar's hedge, would insult the melodious G.o.d himself.

And there is no humble thing with music in it, not a fife, not a negro-fiddle, that is not to be reverenced as much as the grandest architectural organ that ever rolled its flood-tide of harmony down a cathedral nave. For even a Jew's-harp may be so played, as to awaken all the fairies that are in us, and make them dance in our souls, as on a moon-lit sward of violets.

But what subtle power is this, residing in but a bit of steel, which might have made a tenpenny nail, that so enters, without knocking, into our inmost beings, and shows us all hidden things?

Not in a spirit of foolish speculation altogether, in no merely transcendental mood, did the glorious Greek of old fancy the human soul to be essentially a harmony. And if we grant that theory of Paracelsus and Campanella, that every man has four souls within him; then can we account for those banded sounds with silver links, those quartettes of melody, that sometimes sit and sing within us, as if our souls were baronial halls, and our music were made by the h.o.a.rest old harpers of Wales.

But look! here is poor Carlo's organ; and while the silent crowd surrounds him, there he stands, looking mildly but inquiringly about him; his right hand pulling and twitching the ivory k.n.o.bs at one end of his instrument.

Behold the organ!

Surely, if much virtue lurk in the old fiddles of Cremona, and if their melody be in proportion to their antiquity, what divine ravishments may we not antic.i.p.ate from this venerable, embrowned old organ, which might almost have played the Dead March in Saul, when King Saul himself was buried.

A fine old organ! carved into fantastic old towers, and turrets, and belfries; its architecture seems somewhat of the Gothic, monastic order; in front, it looks like the West-Front of York Minster.

What sculptured arches, leading into mysterious intricacies!--what mullioned windows, that seem as if they must look into chapels flooded with devotional sunsets!--what flying b.u.t.tresses, and gable-ends, and niches with saints!--But stop! 'tis a Moorish iniquity; for here, as I live, is a Saracenic arch; which, for aught I know, may lead into some interior Alhambra.

Ay, it does; for as Carlo now turns his hand, I hear the gush of the Fountain of Lions, as he plays some thronged Italian air--a mixed and liquid sea of sound, that dashes its spray in my face.

Play on, play on, Italian boy! what though the notes be broken, here's that within that mends them. Turn hither your pensive, morning eyes; and while I list to the organs twain--one yours, one mine--let me gaze fathoms down into thy fathomless eye;--'tis good as gazing down into the great South Sea, and seeing the dazzling rays of the dolphins there.

Play on, play on! for to every note come trooping, now, triumphant standards, armies marching--all the pomp of sound. Methinks I am Xerxes, the nucleus of the martial neigh of all the Persian studs. Like gilded damask-flies, thick cl.u.s.tering on some lofty bough, my satraps swarm around me.

But now the pageant pa.s.ses, and I droop; while Carlo taps his ivory k.n.o.bs; and plays some flute-like saraband--soft, dulcet, dropping sounds, like silver cans in bubbling brooks. And now a clanging, martial air, as if ten thousand brazen trumpets, forged from spurs and swordhilts, called North, and South, and East, to rush to West!

Again-what blasted heath is this?--what goblin sounds of Macbeth's witches?--Beethoven's Spirit Waltz! the muster-call of sprites and specters. Now come, hands joined, Medusa, Hecate, she of Endor, and all the Blocksberg's, demons dire.

Once more the ivory k.n.o.bs are tapped; and long-drawn, golden sounds are heard-some ode to Cleopatra; slowly loom, and solemnly expand, vast, rounding orbs of beauty; and before me float innumerable queens, deep dipped in silver gauzes.

All this could Carlo do--make, unmake me; build me up; to pieces take me; and join me limb to limb. He is the architect of domes of sound, and bowers of song.

And all is done with that old organ! Reverenced, then, be all street organs; more melody is at the beck of my Italian boy, than lurks in squadrons of Parisian orchestras.

But look! Carlo has that to feast the eye as well as ear; and the same wondrous magic in me, magnifies them into grandeur; though every figure greatly needs the artist's repairing hand, and sadly needs a dusting.

His York Minster's West-Front opens; and like the gates of Milton's heaven, it turns on golden binges.

What have we here? The inner palace of the Great Mogul? Group and gilded columns, in confidential cl.u.s.ters; fixed fountains; canopies and lounges; and lords and dames in silk and spangles.

The organ plays a stately march; and presto! wide open arches; and out come, two and two, with nodding plumes, in crimson turbans, a troop of martial men; with jingling scimiters, they pace the hall; salute, pa.s.s on, and disappear.

Now, ground and lofty tumblers; jet black Nubian slaves. They fling themselves on poles; stand on their heads; and downward vanish.

And now a dance and masquerade of figures, reeling from the side-doors, among the knights and dames. Some sultan leads a sultaness; some emperor, a queen; and jeweled sword-hilts of carpet knights fling back the glances tossed by coquettes of countesses.

On this, the curtain drops; and there the poor old organ stands, begrimed, and black, and rickety.