Fourth Reader: The Alexandra Readers. John Dearness
and from the instant that his fingers began to wander along the keys, the very tone of the instrument began to grow sweeter and more equal.
The brother and sister were silent with wonder and rapture. The former laid aside his work; the latter, with her head bent slightly forward, and her hands pressed tightly over her breast, crouched down near the end of the harpsichord, as if fearful lest even the beating of her heart should break the flow of those magical, sweet sounds. It was as if we were all bound in a strange dream, and feared only to wake.
Suddenly the flame of the single candle wavered, sank, flickered, and went out. Beethoven paused, and I threw open the shutters, admitting a flood of brilliant moonlight. The room was almost as light as before, and the illumination fell strongest upon the piano and player. But the chain of his ideas seemed to have been broken by the accident. His head dropped upon his breast; his hands rested upon his knees; he seemed absorbed in meditation. It was thus for some time.
At length the young shoemaker rose, and approached him eagerly, yet reverently. “Wonderful man!” he said, in a low tone; “who and what are you?”
The composer smiled as only he could smile, benevolently, indulgently, kindly. “Listen!” he said, and he played the opening bars of the Sonata in F.
A cry of delight and recognition burst from them both, and exclaiming, “Then you are Beethoven!” they covered his hands with tears and kisses.
He rose to go, but we held him back with entreaties.
“Play to us once more—only once more!”
He suffered himself to be led back to the instrument. The moon shone brightly in through the window and lit up his glorious, rugged head and massive figure. “I shall improvise a sonata to the moonlight!” looking up thoughtfully to the sky and stars. Then his hands dropped on the keys, and he began playing a sad and infinitely lovely movement, which crept gently over the instrument like the calm flow of moonlight over the dark earth.
This was followed by a wild, elfin passage in triple time—a sort of grotesque interlude, like the dance of sprites upon the sward. Then came a swift, breathless, trembling movement, descriptive of flight and uncertainty, and vague, impulsive terror, which carried us away on its rustling wings, and left us all in emotion and wonder.
“Farewell to you!” said Beethoven, pushing back his chair and turning towards the door—“farewell to you!”
“You will come again?” asked they, in one breath.
He paused and looked compassionately, almost tenderly, at the face of the blind girl. “Yes, yes,” he said, hurriedly; “I shall come again, and give the young lady some lessons. Farewell! I shall soon come again!”
They followed us in silence more eloquent than words, and stood at their door till we were out of sight and hearing.
“Let us make haste back,” said Beethoven, “that I may write out that sonata while I can yet remember it.”
We did so, and he sat over it till long past day-dawn. And this was the origin of that “Moonlight Sonata” with which we are all so fondly acquainted.—Anonymous.
Go to the ant, thou sluggard;
Consider her ways, and be wise:
Which having no chief, overseer, or ruler,
Provideth her meat in the summer,
And gathereth her food in the harvest.
—From “The Book of Proverbs.”
THE FLIGHT OF THE BIRDS
Whither away, Robin,
Whither away?
Is it through envy of the maple leaf,
Whose blushes mock the crimson of thy breast,
Thou wilt not stay?
The summer days were long, yet all too brief
The happy season thou hast been our guest:
Whither away?
Whither away, Bluebird,
Whither away?
The blast is chill, yet in the upper sky
Thou still canst find the color of thy wing,
The hue of May.
Warbler, why speed thy southern flight? ah, why,
Thou too, whose song first told us of the spring?
Whither away?
Whither away, Swallow,
Whither away?
Canst thou no longer tarry in the north,
Here, where our roof so well hath screened thy nest?
Not one short day?
Wilt thou—as if thou human wert—go forth
And wander far from them who love thee best?
Whither away?
—Edmund Clarence Stedman.
THE MINSTREL BOY
The minstrel boy to the war is gone,
In the ranks of death you’ll find him;
His father’s sword he has girded on,
And his wild harp slung behind him.
“Land of song!” said the warrior bard,
“Though all the world betrays thee,
One sword, at least, thy rights shall guard,
One faithful harp shall praise thee!”
The minstrel fell, but the foeman’s chain
Could not bring his proud soul under;
The harp he loved ne’er spoke again,
For he tore its chords asunder;
And said, “No chains shall sully thee,
Thou soul of love and bravery!
Thy songs were made for the pure and free,
They shall never sound in slavery!”
—Thomas Moore.
THE GOOD SAXON KING
Alfred the Great was a young man three and twenty years of age when he became king of England. Twice in his childhood he had been taken to Rome, where the Saxon nobles were in the habit of going on pilgrimages, and once he had stayed for some time in Paris. Learning, however, was so little cared for in those days that at twelve years of age he had not been taught to read, although he was the favorite son of King Ethelwulf.
But like most men who grew up to be great and good, he had an excellent mother. One day this lady, whose name was Osburga, happened, as she sat among her sons, to read a book of Saxon poetry. The art of printing was not known until long after that period. The book, which was written, was illuminated with beautiful, bright letters, richly painted. The brothers admiring it very much, their mother said, “I shall give it to that one of you who first learns to read.” Alfred sought out a tutor that very day, applied himself to learn with great diligence, and soon won the book. He was proud of it all his life.
Charles