Chapter VIII: Rehearsal of the Opera

"Good news, pet," said Cecil, dancing into the room one afternoon. "Moscheles, whom I meet sometimes, you know, at Hester Mason's, has looked over my opera, and likes it very much; he has even proposed that we should have a sort of private rehearsal of it at his house next week, and has undertaken to secure the singers, and Bunn is to be there to hear it."

"That is good news, indeed."

"Yes, we shall be rich now. It has given me fresh courage: I feel I can finish _Nero_."

"Mama has been here to-day with Rose, and has brought us thirty pounds. She is very ill--very ill indeed, and the physicians don't know what is the matter. Rose and Violet are already busy with the baby linen, and Rose insists upon being godmother."

"With all my heart! I'm so happy, petkin!" and he danced about the room like a schoolboy on receiving intelligence of a half-holiday.

"We must move away from this hole at once, pet. We will take comfortable apartments somewhere."

"Let us rather wait awhile: the opera is not accepted yet, you know."

"But it will be, and it must succeed--I feel it must."

The gleam of hope which now shone on his prospects made Cecil almost another man. He worked steadily at "Nero," and finished it before the hearing of his opera took place. It was sent to the Academy. When it took its place in the Exhibition it would infallibly excite a sensation: crowds would gaze enraptured on it: critics would proclaim its merits in all the journals, and some nobleman of taste would become the proud purchaser. Their prospects were brilliant. Happy dreams of young ambition in its first struggles with circumstance! How many a sad spirit have ye not soothed and strengthened!

The hearing of his opera took place. Moscheles himself presided at the piano, playing the accompaniments and overture with his exquisite skill. Henry Phillips, Wilson, Stretton, and a certain prima donna, who shall be nameless, were the singers, Cecil undertaking some of the minor parts. The choruses were omitted; only the solos and concerted pieces were executed, but they gave general satisfaction.

Private rehearsals, like private readings, are, however, always successful, and a little excellence produces a great effect on friendly auditors. The singer thought so great by his friends, whose success at parties is so brilliant, finds to his cost that concert rooms and audiences are not so easily pleased. Bunn had experience enough of such matters to be aware of all this, and though he saw a chance of success with the opera, he was rather guarded in his language. On the whole, however, he was disposed to give the work a trial.

That satisfied Cecil. He thought, the first step gained, the victory was his. Experience came with its bitter lesson to undeceive him. In the dramatic world, success is only purchased by a series of hard-won battles. In no province of human endeavour has a man to endure more thankless labour; in no province is luck more potent. To write a play or an opera is the smallest of the artist's difficulties. Once written, he has to get the manager's acceptance: few things more arduous than that, if the artist be not already celebrated. Cecil had by a fortunate accident achieved this feat. A manager had listened to and approved of his work. In his innocence, Cecil imagined the day was his own. He knew nothing of actors and singers. The prima donna absolutely declined to perform her part; so did the second tenor. And their reasons? Their reasons were simply these:--

The heroine of the opera was a Miss Hopkins, daughter of a vulgar cheesemonger. H. Phillips was willing to play the cheesemonger, but the prima donna would not play the daughter. She had been used to play spangled princesses, with feathers in her hair; or picturesque peasants, with short petticoats and striped stockings; and the idea of her appearing as a cheesemonger's daughter, minus spangles, feathers, short petticoats, and striped stockings! In vain it was represented to her that the opera was a comic opera; she did not wish to excite laughter, but sentiment; and she was dogged in her resolution.

The second tenor was a sentimental warbler. He not only objected to Wilson playing the best part, he also objected to his own part us "out of his line."

Owing to the beautiful arrangements of our dramatic system, the "stars" have not only absolute right to dictate to authors and composers, but also, in effect to dictate to managers. They would all cut down a play or an opera to single parts if they could; and while ludicrously sensitive to their own reputation, are remorselessly indifferent to the author's, as well as to the manager's purse.

What would Shakspeare, Jonson, Moliere, or Calderon say, could they rise from their graves to witness our beautiful dramatic system? How is it some Churchill does not take the whip in hand to lash this miserable arrogance of the stage? While vanity, pretension, and injustice, in other shapes, are laughed at and exposed, why do they escape when they appear in the preposterous demands of actors, singers, and dancers?

In his indignation, Cecil wrote a satire. Unfortunately he was not a Churchill: his satire was violent, but weak, and weak because of its violence. Besides, he was fighting his own cause; _indignatio fecit versum_, and the public only saw an angry author smarting from imaginary or exaggerated injuries.

Cecil's discouragement may be imagined. He who at no time was able to contend manfully against obstacles, was the last person to rise with the occasion and vanquish opposition by determined will.

To complete his discouragement the Exhibition had opened, and no wondering crowds collected round his "Nero." Very few of the critics noticed it, and they noticed it coldly or contemptuously. One who recognised a certain grandeur in the idea, was pitiless in his criticism of the execution; which he pronounced "crude," "chalky," "opaque," "slovenly," and "incorrect."

Cecil sneered at the "envy" and "ignorance" of the critics, as authors usually sneer at those who do not admire them; though why a man who does not paint, should be "envious" of a man who paints badly, I have not yet discovered. Vauvenargues has an admirable remark: "Un versificateur ne connait point de juge compétent de ses écrits: si on ne fait pas de vers on ne s'y connait pas; si on en fait on est son rival." How constantly do painters illustrate this remark!

Cecil parodied Coriolanus, and to his critics said "I banish you." He wrapped himself up in his own greatness, and waited the impartial judgment of enlightened judges. By impartial, he meant favourable: that is the meaning of the word in every artist's lexicon. No one, it would seem, was enlightened enough, for no one talked about "Nero;" above all, no one thought of purchasing it. The "envy" of critics seemed to have been shared by connoisseurs and noblemen.

There is something really tragic in certain conditions to which men of superior faculties are daily subject, in their efforts to cut a pathway for themselves through the crowded avenues of fame. Fancy the poor poet unable to find a publisher, and unable to print his work himself. He cannot now, as heretofore, stand up in the market-place, and so get a hearing. The press is the only possible mode of proclaiming to the world, that which the poet feels will rouse that world to rapture, and will make him a sort of demigod. Fancy the young barrister sitting in his chambers day after day, in fruitless expectation of a brief. He cannot offer his services: he must wait till they be demanded. He can _do_ nothing; but must sit there day after day, day after day, seeing little chance of being required, yet forced to remain there on the chance. Fancy also the painter who sees persons crowding the Exhibition, passing over his work, to look out for the works of favourite artists, giving handsome sums for various pictures, yet making no offer for his. Day after day this is renewed, till the last hope ends with the closing of the Exhibition, and he is then forced to congratulate himself, if the dealers will give him a small sum for what he considers _a chef-d'œuvre_.

The parent who has seen and reflected upon this, and yet educates his son as an artist, because it is a "fine thing" to be an artist; the parent who suffers his self-love to blind him to his child's want of a decided genius, and chooses to call an ordinary aptitude "genius," is with selfish vanity destroying that child's future hopes of success in life. Music, painting, and sculpture, are arts founded on instincts so strong, and so unmistakeable in their early manifestation that unless the child very early exhibits extraordinary faculty for the arts, the parent should take Nature's warning; and not endeavour by cultivation to raise that flower which only grows wild in the secret spots Nature herself selects.