The head was if any thing small; and heaped with thick clusters of tendril curls, half overhanging the brows and delicate ears, it somehow reminded you of a classic vase, piled up with Falernian foliage10.
From the knee downward, the naked leg was beautiful to behold11 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 ripened12 into life in a Neapolitan vineyard; such a boy as gipsies steal in infancy13; 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, gushing14 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 gale16.
Some months previous, he had landed in Prince's Dock, with his hand-organ, from a Messina vessel17; and had walked the streets of Liverpool, playing the sunny airs of southern climes, among the northern fog and drizzle18. And now, having laid by enough to pay his passage over the Atlantic, he had again embarked19, 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 tasseled22 cap, and caressing23 one leg like a child, he looked up, and said in his broken English—that seemed like mixing the potent24 wine of Oporto with some delicious syrup:—said he, "Ah! I succeed very well!—for I have tunes20 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 aged25. 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 portico26 for what tune21 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 crabbed27 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 shilling?"
"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 rusted28, 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 breasts; no more than my native winds can, when they breathe upon a harp29 without chords."
Next day was a serene30 and delightful31 one; and in the evening when the vessel was just rippling32 along impelled33 by a gentle yet steady breeze, and the poor emigrants34, relieved from their late sufferings, were gathered on deck; Carlo suddenly started up from his lazy reclinings; went below, and, assisted by the emigrants, returned with his organ.
Now, music is a holy thing, and its instruments, however humble35, are to be loved and revered36. 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 hoofs37 are shod. Musical instruments should be like the silver tongs38, with which the high-priests tended the Jewish altars—never to be touched by a hand profane39. Who would bruise40 the poorest reed of Pan, though plucked from a beggar's hedge, would insult the melodious41 god himself.
And there is no humble thing with music in it, not a fife, not a negro-fiddle, that is not to be reverenced42 as much as the grandest architectural organ that ever rolled its flood-tide of harmony down a cathedral nave43. For even a Jew's-harp may be so played, as to awaken44 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 speculation45 altogether, in no merely transcendental mood, did the glorious Greek of old fancy the human soul to be essentially46 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 hoarest 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 twitching47 the ivory knobs at one end of his instrument.
Behold the organ!
Surely, if much virtue48 lurk49 in the old fiddles50 of Cremona, and if their melody be in proportion to their antiquity51, what divine ravishments may we not anticipate 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 turrets52, 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 chapels53 flooded with devotional sunsets!—what flying buttresses54, and gable-ends, and niches55 with saints!—But stop! 'tis a Moorish56 iniquity57; 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 gush15 of the Fountain of Lions, as he plays some thronged58 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 pensive5, morning eyes; and while I list to the organs twain— one yours, one mine—let me gaze fathoms59 down into thy fathomless60 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, triumphant61 standards, armies marching—all the pomp of sound. Methinks I am Xerxes, the nucleus62 of the martial63 neigh of all the Persian studs. Like gilded64 damask-flies, thick clustering on some lofty bough65, my satraps swarm66 around me.
But now the pageant67 passes, and I droop68; while Carlo taps his ivory knobs; and plays some flute-like saraband—soft, dulcet69, dropping sounds, like silver cans in bubbling brooks70. And now a clanging, martial air, as if ten thousand brazen71 trumpets72, 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, demons73 dire74.
Once more the ivory knobs are tapped; and long-drawn, golden sounds are heard—some ode to Cleopatra; slowly loom75, and solemnly expand, vast, rounding orbs76 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 domes77 of sound, and bowers78 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 lurks79 in squadrons of Parisian orchestras.
But look! Carlo has that to feast the eye as well as ear; and the same wondrous80 magic in me, magnifies them into grandeur81; 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 hinges.
What have we here? The inner palace of the Great Mogul? Group and gilded columns, in confidential82 clusters; fixed83 fountains; canopies84 and lounges; and lords and dames85 in silk and spangles.
The organ plays a stately march; and presto86! wide open arches; and out come, two and two, with nodding plumes87, in crimson88 turbans, a troop of martial men; with jingling89 scimiters, they pace the hall; salute90, pass 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 knights91 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.
Now, tell me, Carlo, if at street corners, for a single penny, I may thus transport myself in dreams Elysian, who so rich as I? Not he who owns a million.
And Carlo! ill betide the voice that ever greets thee, my Italian boy, with aught but kindness; cursed the slave who ever drives thy wondrous box of sights and sounds forth92 from a lordling's door!
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收听单词发音
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1
emigrant
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| adj.移居的，移民的；n.移居外国的人，移民 | |
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2
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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3
tattered
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| adj.破旧的，衣衫破的 | |
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twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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pensive
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| a.沉思的,哀思的,忧沉的 | |
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pensiveness
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| n.pensive（沉思的）的变形 | |
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7
harry
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| vt.掠夺，蹂躏，使苦恼 | |
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8
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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9
humility
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| n.谦逊，谦恭 | |
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10
foliage
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| n.叶子，树叶，簇叶 | |
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11
behold
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| v.看，注视，看到 | |
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12
ripened
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| v.成熟，使熟( ripen的过去式和过去分词 ) | |
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13
infancy
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| n.婴儿期；幼年期；初期 | |
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14
gushing
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| adj.迸出的；涌出的；喷出的；过分热情的v.喷，涌( gush的现在分词 )；滔滔不绝地说话 | |
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15
gush
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| v.喷，涌；滔滔不绝(说话)；n.喷，涌流；迸发 | |
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16
gale
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| n.大风，强风，一阵闹声（尤指笑声等） | |
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17
vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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18
drizzle
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| v.下毛毛雨；n.毛毛雨，蒙蒙细雨 | |
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19
embarked
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| 乘船( embark的过去式和过去分词 )； 装载； 从事 | |
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20
tunes
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| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
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21
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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22
tasseled
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| v.抽穗， （玉米）长穗须( tassel的过去式和过去分词 )；使抽穗， （为了使作物茁壮生长）摘去穗状雄花；用流苏装饰 | |
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23
caressing
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| 爱抚的，表现爱情的，亲切的 | |
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24
potent
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| adj.强有力的，有权势的；有效力的 | |
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25
aged
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| adj.年老的，陈年的 | |
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26
portico
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| n.柱廊，门廊 | |
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27
crabbed
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| adj.脾气坏的；易怒的；（指字迹）难辨认的；（字迹等）难辨认的v.捕蟹( crab的过去式和过去分词 ) | |
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28
rusted
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| v.（使）生锈( rust的过去式和过去分词 ) | |
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29
harp
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| n.竖琴；天琴座 | |
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30
serene
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| adj. 安详的，宁静的，平静的 | |
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31
delightful
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| adj.令人高兴的，使人快乐的 | |
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32
rippling
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| 起涟漪的，潺潺流水般声音的 | |
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33
impelled
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| v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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34
emigrants
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| n.（从本国移往他国的）移民( emigrant的名词复数 ) | |
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35
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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36
revered
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| v.崇敬，尊崇，敬畏( revere的过去式和过去分词 ) | |
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37
hoofs
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| n.（兽的）蹄，马蹄( hoof的名词复数 )v.（兽的）蹄，马蹄( hoof的第三人称单数 ) | |
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38
tongs
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| n.钳；夹子 | |
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39
profane
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| adj.亵神的，亵渎的；vt.亵渎，玷污 | |
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40
bruise
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| n.青肿，挫伤；伤痕；vt.打青；挫伤 | |
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41
melodious
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| adj.旋律美妙的，调子优美的，音乐性的 | |
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42
reverenced
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| v.尊敬，崇敬( reverence的过去式和过去分词 )；敬礼 | |
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43
nave
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| n.教堂的中部；本堂 | |
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44
awaken
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| vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起 | |
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45
speculation
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| n.思索，沉思；猜测；投机 | |
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46
essentially
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| adv.本质上，实质上，基本上 | |
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47
twitching
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| n.颤搐 | |
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48
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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49
lurk
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| n.潜伏，潜行；v.潜藏，潜伏，埋伏 | |
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50
fiddles
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| n.小提琴( fiddle的名词复数 )；欺诈；（需要运用手指功夫的）细巧活动；当第二把手v.伪造( fiddle的第三人称单数 )；篡改；骗取；修理或稍作改动 | |
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51
antiquity
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| n.古老；高龄；古物，古迹 | |
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52
turrets
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| （六角）转台( turret的名词复数 )； （战舰和坦克等上的）转动炮塔； （摄影机等上的）镜头转台； （旧时攻城用的）塔车 | |
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53
chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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54
buttresses
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| n.扶壁，扶垛( buttress的名词复数 )v.用扶壁支撑，加固( buttress的第三人称单数 ) | |
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55
niches
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| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
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56
moorish
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| adj.沼地的，荒野的，生[住]在沼地的 | |
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57
iniquity
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| n.邪恶；不公正 | |
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58
thronged
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| v.成群，挤满( throng的过去式和过去分词 ) | |
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59
fathoms
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| 英寻( fathom的名词复数 ) | |
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60
fathomless
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| a.深不可测的 | |
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61
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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62
nucleus
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| n.核，核心，原子核 | |
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63
martial
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| adj.战争的，军事的，尚武的，威武的 | |
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64
gilded
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| a.镀金的，富有的 | |
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65
bough
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| n.大树枝，主枝 | |
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66
swarm
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| n.(昆虫)等一大群；vi.成群飞舞；蜂拥而入 | |
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67
pageant
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| n.壮观的游行；露天历史剧 | |
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68
droop
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| v.低垂，下垂；凋萎，萎靡 | |
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69
dulcet
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| adj.悦耳的 | |
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70
brooks
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| n.小溪( brook的名词复数 ) | |
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71
brazen
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| adj.厚脸皮的，无耻的，坚硬的 | |
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72
trumpets
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| 喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花 | |
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73
demons
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| n.恶人( demon的名词复数 )；恶魔；精力过人的人；邪念 | |
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74
dire
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| adj.可怕的，悲惨的，阴惨的，极端的 | |
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75
loom
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| n.织布机，织机；v.隐现，(危险、忧虑等)迫近 | |
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76
orbs
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| abbr.off-reservation boarding school 在校寄宿学校n.球，天体，圆形物( orb的名词复数 ) | |
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77
domes
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| n.圆屋顶( dome的名词复数 )；像圆屋顶一样的东西；圆顶体育场 | |
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78
bowers
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| n.（女子的）卧室( bower的名词复数 )；船首锚；阴凉处；鞠躬的人 | |
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79
lurks
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| n.潜在，潜伏；（lurk的复数形式）vi.潜伏，埋伏（lurk的第三人称单数形式） | |
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80
wondrous
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| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
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81
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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82
confidential
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| adj.秘（机）密的，表示信任的，担任机密工作的 | |
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83
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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84
canopies
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| （宝座或床等上面的）华盖( canopy的名词复数 )； （飞行器上的）座舱罩； 任何悬于上空的覆盖物； 森林中天棚似的树荫 | |
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85
dames
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| n.（在英国）夫人（一种封号），夫人（爵士妻子的称号）( dame的名词复数 )；女人 | |
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86
presto
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| adv.急速地；n.急板乐段；adj.急板的 | |
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87
plumes
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| 羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物 | |
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88
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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89
jingling
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| 叮当声 | |
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90
salute
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| vi.行礼，致意，问候，放礼炮；vt.向…致意，迎接，赞扬；n.招呼，敬礼，礼炮 | |
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91
knights
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| 骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马 | |
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92
forth
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| adv.向前；向外，往外 | |
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