Lives of Poor Boys Who Became Famous

Stopping for a time at Mannheim, he attempted to gain the position of tutor to the elector's children, but was disappointed. Here he fell in love with Aloysia Weber, a pretty girl of fifteen, whose father, a prompter at the National Theatre, earned only two hundred dollars yearly for the support of his wife and six children. The girl had a fine voice; and Mozart, blinded by love, asked no higher joy than to write operas in which she might be the star. The good old father, who had spent all his life in helping his son to win fame, was nearly heart-broken when he learned of this foolish affection, and wrote him tenderly but firmly: "Off with you to Paris; get the great folks on your side; aut Cæsar, aut nihil. From Paris, the name and fame of a man of great talent goes through the whole world."

The young man, carrying out his childish motto, "God first, and then papa," reluctantly started for Paris. Here he did not meet with great success, for scores of applicants waited for every position. His loving mother soon died, perhaps from over economy in her cold, dark lodgings; and the young musician took his lonely way back to Salzburg, begging his father's consent to his stopping at Mannheim to see the Webers. Finding that Aloysia had gone upon the stage at Munich, he hastened to see her. She had been offered a good salary. Meantime Mozart had won no new laurels at Paris. He was small in stature, and poor; and the girl who wept at his departure a few months previously professed now scarcely to have seen his face before. The young lover, cut to the heart, yet proud, seated himself at the piano, and played,

"I leave the girl gladly who cares not for me,"

and then hastened away to Salzburg. Aloysia married a comedian, and lived a most unhappy life, gaining some fame from singing the music which Mozart wrote for her.

He remained at home for a year and a half, till called to Munich to write the opera "Idomeneo," and later to Vienna. Here, unfortunately, he met the Webers again, and, their father having died, he boarded in their house, and gave lessons to Constance, a younger sister of Aloysia. She was a plain, good-hearted girl, without much energy, but with a great appreciation of her gifted teacher. The result came naturally; he fell in love with the penniless girl, and, despite the distress of his aged father at his choice, married her when he was twenty-six and she eighteen.

Henceforward there was no hope of any thing save the direst poverty. To marry without love is a grave mistake; to marry simply for love is sometimes a mistake equally grave. He could of course do nothing now for his aged father or sister. Unsteady employment, a rapidly-increasing family, and a wife ill most of the time, made the struggle for existence ten times harder than before his marriage. Once when he had prepared to visit his father for the first time after the wedding, and had waited months for the necessary funds, he was arrested for a debt of fifteen dollars, just as he was stepping into the carriage.

The Emperor Joseph said to him one day, "Why did you not marry a rich wife?" With dignity Mozart at once replied, "Sire, I trust that my genius will always enable me to support the woman I love"; but unfortunately it did not. He wrote after his marriage: "The moment we were made one, my wife as well as myself began to weep, which touched every one, even the priest, and they all cried when they witnessed how our hearts were moved." How little they dreamed that they should weep more seriously when hunger stared their six children in the face!

From the time of his marriage till his death, nine years, says Rev. Mr. Haweis, "his life can be compared to nothing but a torch burning out rapidly in the wind." It was a period of incessant, astonishing labor. He dedicated six quartets to his dear friend Joseph Haydn, who said, "Mozart is the greatest composer who has ever lived"; wrote "Figaro" when he was twenty-nine, which had the greatest popularity, "Don Giovanni" at thirty-one, and the "Flauto Magico" gratis, for the benefit of the theatre director, who was in want. The two latter creations were hailed with delight. Goethe wrote to Schiller later of "Don Giovanni," "That piece stands entirely alone; and Mozart's death has rendered all hope of any thing like it idle."

Whenever he appeared at the theatre, he was called upon the stage from all parts of the house; yet all this time he could not earn enough to live. He received only a hundred dollars from his "Don Giovanni," and less for the others. He gave lessons every hour he could spare, concerts in the open air, borrowed from his friends, scrimped himself, to send money to his sick wife at Baden, pawned his silver plate to make one more unsuccessful journey to win the aid of indifferent princes, and fainted often at his tasks after midnight. Still he wrote to "the best and dearest wife of my heart," "If I only had a letter from you, all would be right," and promised her to work harder than ever to earn money.

When Constance was at home with him, if he left her in the morning before she awakened, he would leave a note for her with the words, "Good-morning, my darling wife. I shall be at home at – o'clock precisely." Once when she had been ill for eight months, and Mozart was composing beside her as she slept, suddenly a noisy messenger entered. Alarmed lest his wife should be disturbed, he rose hastily, when the penknife in his hand fell, and buried itself in his foot. Without a word escaping his lips, he left the room, a surgeon was called, and, though lame for some time, the wife was not told of the accident.

His compositions found few purchasers, for the people generally could not comprehend them. Publishers' shops were closed to him, unless he would write in the popular style. "Then I can make no more by my pen," he said bitterly, "and I had better starve and go to destruction at once." So poor had his family become, that, with no fuel in the house, he and his wife were found by a friend, waltzing to keep warm.

About this time a sepulchral-looking man called to ask that a "Requiem" be written on the death of the wife of an Austrian nobleman, who was to be considered the author, and thus his intense grief be shown, though manifested through a lie. Mozart consulted with his wife, as was his custom, and, as she indorsed it, he accepted the commission for fifty dollars. Overworked, harassed by debts which he could not pay, hurt at the jealousies and intrigues of several musicians, disappointed at the reception of his new opera at Prague, his hopeful nature forsook him, and he told Constance that the "Requiem" would be written for himself.

In the midst of this wretchedness their sixth child was born. The poor wife forgot her own sorrows, and prevailed upon him to give up work for a time; but the active brain could not rest, and he wrote as he lay on his sick-bed. On the day before he died, Dec. 4, 1791, at two o'clock, he persisted in having a portion of the "Requiem" sung by the friends who stood about his bed, and, joining with them in the alto, burst into tears, saying, "Did I not say that I was writing the 'Requiem' for myself?" Soon after he said, "Constance, oh that I could only hear my 'Flauto Magico!'" and a friend playing it, he was cheered.

A messenger now arrived to tell him that he was appointed organist at St. Stephen's Cathedral, a position for which he had longed for years; but it came too late. Death was unwelcome to him. "Now must I go," he said, "just as I should be able to live in peace; I must leave my family, my poor children, at the very instant in which I should have been able to provide for their welfare." Cold applications were ordered by the physicians for his burning head; he became delirious for two hours, and died at midnight, only thirty-five years old. Constance was utterly prostrated, and threw herself upon his bed, hoping to die also.

Mozart's body was laid beside his piano, and then, in a pouring rain, buried in a "common grave," in the plainest manner possible, with nobody present except the keepers of the cemetery. Weeks after, when the wife visited the spot, she found a new grave-digger, who could not tell where her beloved husband was buried, and to this day the author of fourteen Italian operas, seventeen symphonies, and dozens of cantatas and serenades, about eight hundred compositions in all, sleeps in an unknown grave. The Emperor Leopold aided her in a concert to raise fifteen hundred dollars to pay her husband's debts, and provide a little for herself. Eighteen years afterward she married the Danish councillor, Baron von Missen, who educated her two sons, four other children having died. Salzburg waited a half-century before she erected a bronze statue to her world-renowned genius, in the Square of St. Michael; and, seventy years after his death, Vienna built him a monument in the Cemetery of St. Mark. History scarcely furnishes a more pathetic life. He filled the world with music, yet died in want and sorrow.

DR. SAMUEL JOHNSON

In a quaint old house in Lichfield, England, now used as a draper's shop, Samuel Johnson, son of a poor bookseller and bookbinder, was born. Here, as in Westminster Abbey, a statue is erected to his memory. Near by is the schoolhouse where Addison and Garrick studied.

When Samuel was two and a half years old, diseased with scrofula, his good mother, with ten dollars sewed in her skirt so that nobody could steal it, took him to London that, with two hundred others, he might be touched by Queen Anne, and thus, as superstitious people believed, be healed. On this journey she bought him a silver cup and spoon. The latter he kept till his dying-day, and parted with the cup only in the dire poverty of later years.

The touch of the Queen did no good, for he became blind in one eye; with the other he could not see a friend half a yard off, and his face was sadly disfigured. Being prevented thus from sharing the sports of other boys, much time was spent in reading. He was first taught at a little school kept by Widow Oliver, who years after, when he was starting for Oxford, brought him a present of gingerbread, telling him he was the best scholar she ever had. After a time he studied Latin under a master who "whipped it into him." The foolish teacher would ask the boy the Latin word for candlestick, or some unexpected thing, and then whip him, saying, "This I do to save you from the gallows!"

Naturally indolent, Samuel had to struggle against this tendency. He had, however, the greatest ambition to excel, and to this he attributed his later success. He was also inquisitive, and had a wonderful memory. When he wore short dresses, his mother gave him the Prayer-Book one day, and, pointing to the Collect, said, "You must get this by heart." She went up stairs, but no sooner had she reached the second floor than she heard him following. He could repeat it perfectly, having looked it over but twice. He left school at sixteen, spending two years at home in helping his parents, and studying earnestly. One day, his father, being ill, asked him to go to a neighboring town and take his place in selling books at a stall on market-day. He was proud, and did not go. Fifty years afterward, in his greatness, then an old man, he went to this stall, and, with uncovered head, remained for an hour in the rain where his father had formerly stood, exposed to the sneers of the bystanders and the inclemency of the weather. It showed the repentance of a noble soul for disobedience to a parent.

At nineteen, he entered Pembroke College, Oxford, where he acted as servant. He used to go daily to his friend Taylor, and get lectures second-hand, till his feet, showing through his worn-out shoes, were perceived by the students, and he ceased going. A rich young man secretly put a pair of new shoes at his door, which he indignantly threw out of the window. He was willing to work and earn, but would not receive charity. At the end of three years he became so poor that he was obliged to leave college, his father dying soon after.

After various experiences, he sought the position of usher at a school, but was refused because it was thought that the boys would make fun of his ugliness. He finally obtained such a place, was treated with great harshness, and left in a few months. Strange to say, the poor, lonely scholar, only twenty-six, now fell in love with a widow forty-eight years old. After obtaining his mother's consent, he married her, and the union proved a most happy one. With the little money his wife possessed, he started a school, and advertised for pupils; but only three came, and the school soon closed. In despair he determined to try London, and see if an author could there earn his bread. In that great city he lived for some time on nine cents a day. One publisher to whom he applied suggested to him that the wisest course would be to become a porter and carry trunks.

A poem written at this time, entitled "London," for which he received fifty dollars, one line of which was in capital letters,

"SLOW RISES WORTH BY POVERTY DEPRESSED,"

attracted attention; and Pope, who was then at the height of his fame, asked Dublin University to give to the able scholar the degree of M.A., that he might thus be able to take the principalship of a school, and earn three hundred dollars a year; but this was refused. Out of such struggles come heroic souls.

When he was forty, he published the "Vanity of Human Wishes," receiving seventy-five dollars, asserted by many to be the most impressive thing of its kind in the language. The lines, show his struggles. A drama soon after, played by the great actor, David Garrick, brought him nearly a thousand dollars; but the play itself was a failure. When asked by his friends how he felt about his ill success, he replied, "Like the monument," meaning that he continued firm and unmoved, like a column of granite. Fame was coming at last, after he had struggled in London for thirteen years – and what bitterness they had brought!

"There mark what ills the scholar's life assail,Toil, envy, want, the patron, and the jail,"

For two years he worked almost constantly on a paper called the "Rambler." When his wife said that, well as she had thought of him before, she had never considered him equal to this, he was more pleased than with any praise he ever received. She died three days after the last copy was published, and Johnson was utterly prostrated. He buried himself in hard work in his garret, a most inconvenient room; but he said, "In that room I never saw Mrs. Johnson." Her wedding-ring was placed in a little box, and tenderly kept till his death.

Three years afterward, his great work, his Dictionary, appeared, for which he received eight thousand dollars; but, as he had been obliged to employ six assistants for seven years, he was still poor, but now famous. The Universities of Oxford and Dublin, when he no longer needed their assistance, hastened to bestow their degrees upon him. Even George III. invited him to the royal palace, – a strange contrast to a few years before, when Samuel Johnson was under arrest for a debt of thirty dollars! When asked by Reynolds how he had obtained his accuracy and flow of language in conversation, he replied, "By trying to do my best on every occasion and in every company." About this time his aged mother died, and in the evenings of one week, to defray her funeral expenses, he wrote "Rasselas," and received five hundred dollars for it. He wrote in his last letter to her, "You have been the best mother, and I believe the best woman, in the world. I thank you for your indulgence to me, and beg forgiveness of all that I have done ill, and of all that I have omitted to do well." His last great work was "The Lives of the Poets."

He received now a pension of fifteen hundred dollars a year, for his valuable services to literature, but never used more than four hundred dollars for himself. He took care of a blind woman of whom he said, "She was a friend to my poor wife, and was in the house when she died, she has remained in it ever since," of a mother and daughter dependent upon an old family physician, and of two men whom nobody else would care for. Once when he found a poor woman on the street late at night, he took her home, and kept her till she was restored to health. His pockets were always filled with pennies for street Arabs; and, if he found poor children asleep on a threshold, he would slip money into their hands that, when they awakened, they might buy a breakfast. When a servant was dying who had been in the family for forty-three years, he prayed with her and kissed her, the tears falling down his cheeks. He wrote in his diary, "We kissed and parted – I humbly hope to meet again, and part no more." He held, rightly, that Christianity levels all distinctions of rank.

He was very tender to animals. Once, when in Wales, a gardener brought into the house a hare which had been caught in the potatoes, and was told to give it to the cook. Dr. Johnson asked to have it placed in his arms; then, taking it to the window, he let it go, shouting to it to run as fast as possible. He would buy oysters for his cat, Hodge, that the servants, from seeing his fondness for it, might be led to treat it kindly.

He died at the age of seventy-five, such men as Burke and Reynolds standing by his bedside. Of the latter, he begged that he would "read his Bible, and never paint on Sundays." His last words were to a young lady who had asked his blessing: "God bless you, my dear!" He was buried with appropriate honors in Westminster Abbey, and monuments are erected to him in St. Paul's Cathedral, and at Lichfield. The poor boy, nearly blind, became "the brightest ornament of the eighteenth century."

OLIVER GOLDSMITH

On a low slab in a quiet spot, just north of the Church of Knight Templars, in London, are the simple words, "Here lies Oliver Goldsmith." The author of the "Vicar of Wakefield" needs no grander monument; for he lives in the hearts of the people.

Oliver Goldsmith was born in Pallas, Ireland, in 1728, the son of a poor minister, who, by means of tilling some fields and assisting in a parish outside his own, earned two hundred dollars a year for his wife and seven children! When about six years old, Oliver nearly died of smallpox, and his pitted face made him an object of jest among the boys. At eight he showed great fondness for books, and began to write verses. His mother pleaded for a college education for him, but there seemed little prospect of it. One day, when a few were dancing at his uncle's house, the little boy sprang upon the floor and began to dance. The fiddler, to make fun of his short figure and homely face, exclaimed, "Æsop!" The boy, stung to the quick, replied: —

"Heralds, proclaim aloud! all saying,'See Æsop dancing and his monkey playing;'"

when, of course, the fiddler became much chagrined.

All his school life Oliver was painfully diffident, but a good scholar. His father finally earned a better salary, and the way seemed open for college, when, lo! his sister, who had the opportunity of marrying a rich man, was obliged – so thought the public opinion of the day – to have a marriage portion of $2,000, and poor Oliver's educational hopes were blasted. He must now enter Trinity College, Dublin, as a sizar (servant), wear a coarse black gown without sleeves, a red cap, – the badge of servitude, – sweep the courts, carry dishes, and be treated with contempt, which nearly crushed his sensitive nature.

A year and a half later his father died, and his scanty means ceased from that source. To keep from starving he wrote ballads, selling them to street musicians at $1.25 apiece, and stole out at night to hear them sung. Often he shared this pittance with some one more wretched than himself. One cold night he gave his blankets to a person with five children, and crawled into the ticking of his bed for warmth. When a kind friend, who often brought him food, came in the morning, he was obliged to break in the door, as Goldsmith could not extricate himself from his bed.

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