Lives of Poor Boys Who Became Famous. Sarah K. Bolton
who cares not for me,"
and then hastened away to Salzburg. Aloysia married a comedian, and lived a most unhappy life, gaining some fame from singing the music which Mozart wrote for her.
He remained at home for a year and a half, till called to Munich to write the opera "Idomeneo," and later to Vienna. Here, unfortunately, he met the Webers again, and, their father having died, he boarded in their house, and gave lessons to Constance, a younger sister of Aloysia. She was a plain, good-hearted girl, without much energy, but with a great appreciation of her gifted teacher. The result came naturally; he fell in love with the penniless girl, and, despite the distress of his aged father at his choice, married her when he was twenty-six and she eighteen.
Henceforward there was no hope of any thing save the direst poverty. To marry without love is a grave mistake; to marry simply for love is sometimes a mistake equally grave. He could of course do nothing now for his aged father or sister. Unsteady employment, a rapidly-increasing family, and a wife ill most of the time, made the struggle for existence ten times harder than before his marriage. Once when he had prepared to visit his father for the first time after the wedding, and had waited months for the necessary funds, he was arrested for a debt of fifteen dollars, just as he was stepping into the carriage.
The Emperor Joseph said to him one day, "Why did you not marry a rich wife?" With dignity Mozart at once replied, "Sire, I trust that my genius will always enable me to support the woman I love"; but unfortunately it did not. He wrote after his marriage: "The moment we were made one, my wife as well as myself began to weep, which touched every one, even the priest, and they all cried when they witnessed how our hearts were moved." How little they dreamed that they should weep more seriously when hunger stared their six children in the face!
From the time of his marriage till his death, nine years, says Rev. Mr. Haweis, "his life can be compared to nothing but a torch burning out rapidly in the wind." It was a period of incessant, astonishing labor. He dedicated six quartets to his dear friend Joseph Haydn, who said, "Mozart is the greatest composer who has ever lived"; wrote "Figaro" when he was twenty-nine, which had the greatest popularity, "Don Giovanni" at thirty-one, and the "Flauto Magico" gratis, for the benefit of the theatre director, who was in want. The two latter creations were hailed with delight. Goethe wrote to Schiller later of "Don Giovanni," "That piece stands entirely alone; and Mozart's death has rendered all hope of any thing like it idle."
Whenever he appeared at the theatre, he was called upon the stage from all parts of the house; yet all this time he could not earn enough to live. He received only a hundred dollars from his "Don Giovanni," and less for the others. He gave lessons every hour he could spare, concerts in the open air, borrowed from his friends, scrimped himself, to send money to his sick wife at Baden, pawned his silver plate to make one more unsuccessful journey to win the aid of indifferent princes, and fainted often at his tasks after midnight. Still he wrote to "the best and dearest wife of my heart," "If I only had a letter from you, all would be right," and promised her to work harder than ever to earn money.
When Constance was at home with him, if he left her in the morning before she awakened, he would leave a note for her with the words, "Good-morning, my darling wife. I shall be at home at – o'clock precisely." Once when she had been ill for eight months, and Mozart was composing beside her as she slept, suddenly a noisy messenger entered. Alarmed lest his wife should be disturbed, he rose hastily, when the penknife in his hand fell, and buried itself in his foot. Without a word escaping his lips, he left the room, a surgeon was called, and, though lame for some time, the wife was not told of the accident.
His compositions found few purchasers, for the people generally could not comprehend them. Publishers' shops were closed to him, unless he would write in the popular style. "Then I can make no more by my pen," he said bitterly, "and I had better starve and go to destruction at once." So poor had his family become, that, with no fuel in the house, he and his wife were found by a friend, waltzing to keep warm.
About this time a sepulchral-looking man called to ask that a "Requiem" be written on the death of the wife of an Austrian nobleman, who was to be considered the author, and thus his intense grief be shown, though manifested through a lie. Mozart consulted with his wife, as was his custom, and, as she indorsed it, he accepted the commission for fifty dollars. Overworked, harassed by debts which he could not pay, hurt at the jealousies and intrigues of several musicians, disappointed at the reception of his new opera at Prague, his hopeful nature forsook him, and he told Constance that the "Requiem" would be written for himself.
In the midst of this wretchedness their sixth child was born. The poor wife forgot her own sorrows, and prevailed upon him to give up work for a time; but the active brain could not rest, and he wrote as he lay on his sick-bed. On the day before he died, Dec. 4, 1791, at two o'clock, he persisted in having a portion of the "Requiem" sung by the friends who stood about his bed, and, joining with them in the alto, burst into tears, saying, "Did I not say that I was writing the 'Requiem' for myself?" Soon after he said, "Constance, oh that I could only hear my 'Flauto Magico!'" and a friend playing it, he was cheered.
A messenger now arrived to tell him that he was appointed organist at St. Stephen's Cathedral, a position for which he had longed for years; but it came too late. Death was unwelcome to him. "Now must I go," he said, "just as I should be able to live in peace; I must leave my family, my poor children, at the very instant in which I should have been able to provide for their welfare." Cold applications were ordered by the physicians for his burning head; he became delirious for two hours, and died at midnight, only thirty-five years old. Constance was utterly prostrated, and threw herself upon his bed, hoping to die also.
Mozart's body was laid beside his piano, and then, in a pouring rain, buried in a "common grave," in the plainest manner possible, with nobody present except the keepers of the cemetery. Weeks after, when the wife visited the spot, she found a new grave-digger, who could not tell where her beloved husband was buried, and to this day the author of fourteen Italian operas, seventeen symphonies, and dozens of cantatas and serenades, about eight hundred compositions in all, sleeps in an unknown grave. The Emperor Leopold aided her in a concert to raise fifteen hundred dollars to pay her husband's debts, and provide a little for herself. Eighteen years afterward she married the Danish councillor, Baron von Missen, who educated her two sons, four other children having died. Salzburg waited a half-century before she erected a bronze statue to her world-renowned genius, in the Square of St. Michael; and, seventy years after his death, Vienna built him a monument in the Cemetery of St. Mark. History scarcely furnishes a more pathetic life. He filled the world with music, yet died in want and sorrow.
DR. SAMUEL JOHNSON
In a quaint old house in Lichfield, England, now used as a draper's shop, Samuel Johnson, son of a poor bookseller and bookbinder, was born. Here, as in Westminster Abbey, a statue is erected to his memory. Near by is the schoolhouse where Addison and Garrick studied.
When Samuel was two and a half years old, diseased with scrofula, his good mother, with ten dollars sewed in her skirt so that nobody could steal it, took him to London that, with two hundred others, he might be touched by Queen Anne, and thus, as superstitious people believed, be healed. On this journey she bought him a silver cup and spoon. The latter he kept till his dying-day, and parted with the cup only in the dire poverty of later years.
The touch of the Queen did no good, for he became blind in one eye; with the other he could not see a friend half a yard off, and his face was sadly disfigured. Being prevented thus from sharing the sports of other boys, much time was spent in reading. He was first taught at a little school kept by Widow Oliver, who years after, when he was starting for Oxford, brought him a present of gingerbread, telling him he was the best scholar she ever had. After a time he studied Latin under a master who "whipped it into him." The foolish teacher would ask the boy the Latin word for candlestick, or some unexpected thing, and then whip him, saying, "This I do to save you from the gallows!"
Naturally indolent, Samuel had to struggle against this tendency. He had, however, the greatest ambition to excel, and to this he attributed his later success. He was also inquisitive, and had a wonderful memory. When he wore short dresses, his mother gave him the Prayer-Book one day, and, pointing to the Collect, said, "You must get this by heart." She went up stairs, but no sooner had she reached the second floor than