Harry Edwards - Sons and Fathers

This man had once surprised him with the remark:

"If I were twenty years younger I would go to Jena and study vibration. It is the greatest force of the universe. It is the secret of creation." The more Edward dwelt upon this remark, in connection with modern results and invention, the more he was struck with it. Why go to Jena to study vibration was something that he could not fathom, nor in all probability could Abingdon. America was really the advanced line of discovery, but nevertheless he went, and with important results; and there in the old town, finding the new hobby so intimately connected with music, to which he was passionately devoted, he took up with renewed energy his neglected violin. With feverish toil he struggled along the border land of study and speculation, until he felt that there was nothing more possible for him – in Jena.

In Jena his solitary friend had been the eminent Virdow and to him he became an almost inseparable companion.

The confidence and speculations of Virdow, extending far beyond the limits of a lecture stand, carried Edward into dazzling fields. The intercourse extended through the best part of several years. On leaving Jena he was armed with a knowledge of the possibilities of the vast field he had entered upon, with a knowledge of thorough bass and harmony, and with a technique that might have made him famous had he applied his knowledge. He did not apply it!

His final stand had been Paris. Abingdon was there. Abingdon had discovered a genius and carried Edward to see him. He had been passing through an obscure quarter when he was attracted by the singular pathos of a violin played in a garret. To use his expression, "the music glorified the miserable street." Everybody there knew Benoni, the blind violinist. And to this man, awed and silent, came Edward, a listener.

No words can express the meaning that lay in the blind man's improvisations; only music could contain them. And only one man in Paris could answer! When having heard the heart language, the heart history and cravings of the player expressed in the solitude of that half-lighted garret, Edward took the antique instrument and replied, the answer was overwhelming. The blind man understood; he threw his arms about the player and embraced him.

"Grand!" he cried. "A master plays, but it is incomplete; the final note has not come; the harmony died where it should have become immortal!" And Edward knew it.

From that meeting sprang a warm friendship, the most complete that Morgan had ever known! It made the old man comfortable, gained him better quarters and broadened the horizon toward which his sun of life was setting. It would go down with some of the colors of its morning.

It became Edward's custom to take his old friend to hear the best operas and concerts, and one night they heard the immortal Cambia sing. It was a charity concert and her first appearance in many years.

When the idol of the older Paris came to the footlights for the sixth time to bow her thanks for the ovation given her, she smiled and sang in German a love song, indescribable in its passion and tenderness. It was a burst of melody from the heart of some man, great one moment in his life at least. Edward found himself standing when the tumult ceased. Benoni had sunk from his chair to his knees and was but half-conscious. The excitement had partially paralyzed him. The lithe fingers of the left hand were dead. They would never rest again upon the strings of his great violin – the Cremona to which in sickness and poverty, although its sale would have enriched him, he clung with the faith and instinct of the artist.

There came the day when Edward was ready to depart to America. He went to say good-bye, and this is what happened: The old man held Edward's hands long in silence, but his lips moved in prayer; then lifting the instrument, he placed it in the young man's arms.

"Take it," he said. "I may never meet you again. It is the one thing that I have been true to all my life. I will not leave it to the base and heartless." And so Edward, to please him, accepted the trust. He would return some day; many hours should the violin sing for the old man. As he stood he drew the bow and played one strain of Cambia's song and the blind man lifted his face in sudden excitement. As Edward paused he called the notes until it was complete. "Now again," he said, singing:

"You have found the secret," said Benoni; "the chords on the lower octaves made the song."

And so they had parted! The blind man to wait for the final summons; the young man to plunge into complications beyond his wildest dreams.

"A man," said Virdow once, "is a tribe made up of himself, his family and his friends." And this was the history in outline of the man to whom Rita Morgan handed the violin that fateful day when Gerald lay face down among the pillows of his divan.

Recognizing in the delicate and excitable organism before him the possibilities of emotion and imagination, Edward prepared to play. Without hesitation he drew the bow across the strings and began a solemn prelude to a choral. And as he played he noticed the heaving form below him grow still. Then Gerald lifted his face and gazed past the player, with an intensity of vision that deepened until he seemed in the grasp of some stupendous power or emotion. Edward played the recital; the story of Calvary, the crucifixion and the mourning women, and the march of soldiers. Finally there came the tumult of bursting storm and riven tombs. The climax of action occurred there; it was to die away into a movement fitted to the resurrection and the peaceful holiness of Christ's meeting with Mary. But before this latter movement began Gerald leaped upon the player with the quickness and fury of a tiger and by the suddenness of the onset nearly bore him to the floor. This mad assault was accompanied by a shriek of mingled fear and horror.

"Back – would you murder her?" By a great effort Edward freed himself and the endangered violin, and forced the assailant to the divan. The octoroon was kneeling by his side weeping.

"Leave him to me," she said. Stunned and inexpressibly shocked Edward withdrew. The grasp on his throat had been like steel! The marks remained.

"I have," he wrote that night in a letter to Virdow, "heard you more than once express the hope that you would some day be able to visit America. Come now, at once! I have here entered upon a new life and need your help. Further, I believe I can help you."

After describing the circumstances already related, the letter continued: "The susceptibility of this mind to music I regard as one of the most startling experiences I have ever known, and it will afford you an opportunity for testing your theories under circumstances you can never hope for again. Let me say to you here that I am now convinced by some intuitive knowledge that the assault upon me was based upon a memory stirred by the sound of the violin; that vibration created anew in the delicate mind some picture that had been forgotten and brought back again painful emotions that were ungovernable. I cannot think but that it is to have a bearing upon the concealed facts of my life; the discovery of which is my greatest object now, as in the past. And I cannot but believe that your advice and discretion will guide me in the treatment and care of this poor being, perhaps to the extent of affecting a radical change, and leave him a happier and a more rational being.

"Come to me, my friend, at once! I am troubled and perplexed. And do not be offended that I have inclosed exchange for an amount large enough to cover expenses. I am now rich beyond the comprehension of your economical German mind, and surely I may be allowed, in the interests of science, of my ward and myself to spend from the abundant store. I look for you early. In the meantime, I will be careful in my experiments. Come at once! The mind has an independent memory and you can demonstrate it. "