Page:Papers on Literature and Art (Fuller).djvu/236

50 The feeling naturally given by an expression so facile of the identity and universality of all thought, every thought, is beautifully expressed in this anecdote of Haydn.

When about to compose a symphony he was in the habit of animating his genius by imagining some little romance. An interesting account of one of these is given in Bombet’s life of Haydn, p. 75.

“But when his object was not to express any particular affection, or to paint any particular images, all subjects were alike to him, ‘The whole art consists,’ said he, ‘in taking up a subject and pursuing it.’ Often when a friend entered as he was about to compose a piece, he would say with a smile, ‘Give me a subject,’——‘Give a subject to Haydn! who would have the courage to do so?’ ‘Come, never mind,’ he would say, ‘give me anything you can think of,’ and you were obliged to obey.”

“Many of his astonishing quartettes exhibit marks of this (piece of dexterity, the French Chevalier is pleased to call it.) They commence with the most insignificant idea, but, by degrees, this idea assumes a character; it strengthens, increases, extends itself, and the dwarf becomes a giant before our wondering eyes.”

This is one of the high delights received from a musical composition more than from any other work of art, except perhaps the purest effusions of lyric poetry, that you feel at once both the result and the process. The musician enjoys the great advantage of being able to excite himself to compose by his instrument. This gives him a great advantage above those who are obliged to execute their designs by implements less responsive and exciting. Bach did not consider his pupils as at all advanced, till they could compose from the pure mental harmony, without the outward excitement of the instrument; but, though in the hours of inspiration the work grows of itself, yet the instrument must be of the greatest use to multiply and prolong these hours. We find that all these great composers were continually at the piano. Haydn seated himself there the first thing in the morning, and Beethoven, when so completely deaf, that he could neither tune