Chapter 49

CARLO

There was on board our ship, among the emigrant passengers, a rich-cheeked, chestnut-haired Italian boy, arrayed in a faded, olive-hued velvet jacket, and tattered trowsers rolled up to his knee. He was not above fifteen years of age; but in the twilight pensiveness of his full morning eyes, there seemed to sleep experiences so sad and various, that his days must have seemed to him years. It was not an eye like Harry’s tho’ Harry’s was large and womanly. It shone with a soft and spiritual radiance, like a moist star in a tropic sky; and spoke of humility, deep-seated thoughtfulness, yet a careless endurance of all the ills of life.

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 foliage.

From the knee downward, the naked leg was beautiful to behold 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 ripened into life in a Neapolitan vineyard; such a boy as gipsies steal in infancy; 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, gushing 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 gale.

Some months previous, he had landed in Prince’s Dock, with his hand-organ, from a Messina vessel; and had walked the streets of Liverpool, playing the sunny airs of southern climes, among the northern fog and drizzle. And now, having laid by enough to pay his passage over the Atlantic, he had again embarked, 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 tasseled cap, and caressing one leg like a child, he looked up, and said in his broken English—that seemed like mixing the potent wine of Oporto with some delicious syrup:—said he, “Ah! I succeed very well!—for I have tunes 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 aged. 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 portico for what tune 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 crabbed 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 rusted, 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 harp without chords.”

Next day was a serene and delightful one; and in the evening when the vessel was just rippling along impelled by a gentle yet steady breeze, and the poor emigrants, 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 humble, are to be loved and revered. 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 hoofs are shod. Musical instruments should be like the silver tongs, with which the high-priests tended the Jewish altars—never to be touched by a hand profane. Who would bruise the poorest reed of Pan, though plucked from a beggar’s hedge, would insult the melodious god himself.

And there is no humble thing with music in it, not a fife, not a negro-fiddle, that is not to be reverenced as much as the grandest architectural organ that ever rolled its flood-tide of harmony down a cathedral nave. For even a Jew’s-harp may be so played, as to awaken 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?