Part 10

In a late work on Magyarland, by a lady Fellow of the Carpathian Society, I find more on Hungarian gypsy music, which is so well written that I quote fully from it, being of the opinion that one ought, when setting forth any subject, to give quite as good an opportunity to others who are in our business as to ourselves. And truly this lady has felt the charm of the Tsigan music and describes it so well that one wishes she were a Romany in language and by adoption, like unto a dozen dames and damsels whom I know.

"The Magyars have a perfect passion for this gypsy music, and there is nothing that appeals so powerfully to their emotions, whether of joy or sorrow. These singular musicians are, as a rule, well taught, and can play almost any music, greatly preferring, however, their own compositions. Their music, consequently, is highly characteristic. It is the language of their lives and strange surroundings, a wild, weird banshee music: now all joy and sparkle, like sunshine on the plains; now sullen, sad, and pathetic by turns, like the wail of a crushed and oppressed people,--an echo, it is said, of the minstrelsy of the hegedosok or Hungarian bards, but sounding to our ears like the more distant echo of that exceeding bitter cry, uttered long centuries ago by their forefathers under Egyptian bondage, and borne over the time-waves of thousands of years, breaking forth in their music of to-day."

Here I interrupt the lady--with all due courtesy--to remark that I cannot agree with her, nor with her probable authority, Walter Simson, in believing that the gypsies are the descendants of the mixed races who followed Moses out of Egypt. The Rom in Egypt is a Hindoo stranger now, as he ever was. But that the echo of centuries of outlawry and wretchedness and wildness rises and falls, like the ineffable discord in a wind-harp, in Romany airs is true enough, whatever its origin may have been. But I beg pardon, madam,--I interrupted you.

"The soul-stirring, madly exciting, and martial strains of the Racoczys--one of the Revolutionary airs--has just died upon the ear. A brief interval of rest has passed. Now listen with bated breath to that recitative in the minor key,--that passionate wail, that touching story, the gypsies' own music, which rises and falls on the air. Knives and forks are set down, hands and arms hang listless, all the seeming necessities of the moment being either suspended or forgotten,--merged in the memories which those vibrations, so akin to human language, reawaken in each heart. Eyes involuntarily fill with tears, as those pathetic strains echo back and make present some sorrow of long ago, or rouse from slumber that of recent time. . . .

"And now, the recitative being ended, and the last chord struck, the melody begins, of which the former was the prelude. Watch the movements of the supple figure of the first violin, standing in the centre of the other musicians, who accompany him softly. How every nerve is en rapport with his instrument, and how his very soul is speaking through it! See how gently he draws the bow across the trembling strings, and how lovingly he lays his cheek upon it, as if listening to some responsive echo of his heart's inmost feeling, for it is his mystic language! How the instrument lives and answers to his every touch, sending forth in turn utterances tender, sad, wild, and joyous! The audience once more hold their breath to catch the dying tones, as the melody, so rich, so beautiful, so full of pathos, is drawing to a close. The tension is absolutely painful as the gypsy dwells on the last lingering note, and it is a relief when, with a loud and general burst of sound, every performer starts into life and motion. Then what crude and wild dissonances are made to resolve themselves into delicious harmony! What rapturous and fervid phrases, and what energy and impetuosity, are there in every motion of the gypsies' figures, as their dark eyes glisten and emit flashes in unison with the tones!"

The writer is gifted in giving words to gypsy music. One cannot say, as the inexhaustible Cad writes of Niagara ten times on a page in the Visitors' Book, that it is indescribable. I think that if language means anything this music has been very well described by the writers whom I have cited. When I am told that the gypsies' impetuous and passionate natures make them enter into musical action with heart and soul, I feel not only the strains played long ago, but also hear therein the horns of Elfland blowing,--which he who has not heard, of summer days, in the drone of the bee, by reedy rustling stream, will never know on earth in any wise. But once heard it comes ever, as I, though in the city, heard it last night in the winter wind, with Romany words mingled in wild refrain:--

"Kamava tute, miri chelladi!"

II. AUSTRIAN GYPSIES IN PHILADELPHIA.

It was a sunny Sunday afternoon, and I was walking down Chestnut Street, Philadelphia, when I met with three very dark men.

Dark men are not rarities in my native city. There is, for instance, Eugene, who has the invaluable faculty of being able to turn his hand to an infinite helpfulness in the small arts. These men were darker than Eugene, but they differed from him in this, that while he is a man of color, they were not. For in America the man of Aryan blood, however dark he may be, is always "off" color, while the lightest-hued quadroon is always on it. Which is not the only paradox connected with the descendants of Africans of which I have heard.

I saw at a glance that these dark men were much nearer to the old Aryan stock than are even my purely white readers. For they were more recently from India, and they could speak a language abounding in Hindi, in pure old Sanskrit, and in Persian. Yet they would make no display of it; on the contrary, I knew that they would be very likely at first to deny all knowledge thereof, as well as their race and blood. For they were gypsies; it was very apparent in their eyes, which had the Gitano gleam as one seldom sees it in England. I confess that I experienced a thrill as I exchanged glances with them. It was a long time since I had seen a Romany, and, as usual, I knew that I was going to astonish them. They were singularly attired, having very good clothes of a quite theatrical foreign fashion, bearing silver buttons as large as and of the shape of hen's eggs. Their hair hung in black ringlets down their shoulders, and I saw that they had come from the Austrian Slavonian land.

I addressed the eldest in Italian. He answered fluently and politely. I changed to Ilirski or Illyrian and to Serb, of which I have a few phrases in stock. They spoke all these languages fluently, for one was a born Illyrian and one a Serb. They also spoke Nemetz, or German; in fact, everything except English.

"Have you got through all your languages?" I at last inquired.

"Tutte, signore,--all of them."

"Isn't there one left behind, which you have forgotten? Think a minute."

"No, signore. None."

"What, not one! You know so many that perhaps a language more or less makes no difference to you."

"By the Lord, signore, you have seen every egg in the basket."

I looked him fixedly in the eyes, and said, in a low tone,--

"Ne rakesa tu Romanes miro prala?"

There was a startled glance from one to the other, and a silence. I had asked him if he could not talk Romany. And I added,--

"Won't you talk a word with a gypsy brother?"

That moved them. They all shook my hands with great feeling, expressing intense joy and amazement at meeting with one who knew them.

"Mishto hom me dikava tute." (I am glad to see you.) So they told me how they were getting on, and where they were camped, and how they sold horses, and so on, and we might have got on much farther had it not been for a very annoying interruption. As I was talking to the gypsies, a great number of men, attracted by the sound of a foreign language, stopped, and fairly pushed themselves up to us, endeavoring to make it all out. When there were at least fifty, they crowded in between me and the foreigners, so that I could hardly talk to them. The crowd did not consist of ordinary people, or snobs. They were well dressed,--young clerks, at least,--who would have fiercely resented being told that they were impertinent.

"Eye-talians, ain't they?" inquired one man, who was evidently zealous in pursuit of knowledge.

"Why don't you tell us what they are sayin'?"

"What kind of fellers air they, any way?"

I was desirous of going with the Hungarian Roms. But to walk along Chestnut Street with an augmenting procession of fifty curious Sunday promenaders was not on my card. In fact, I had some difficulty in tearing myself from the inquisitive, questioning, well-dressed people. The gypsies bore the pressure with the serene equanimity of cosmopolite superiority, smiling at provincial rawness. Even so in China and Africa the traveler is mobbed by the many, who, there as here, think that "I want to know" is full excuse for all intrusiveness. Q'est tout comme chez nous. I confess that I was vexed, and, considering that it was in my native city, mortified.