The Mirror of Literature, Amusement, and Instruction. Volume 17, No. 477, February 19, 1831

But while increasing in celebrity, and rising still higher, if that were possible, in the estimation of the public, his health was rapidly waning, amidst his anxious and multiplied duties. "Would to God," says he in a letter written shortly afterwards—"Would to God that I were a tailor, for then I should have a Sunday's holiday!" Meantime a cough, the herald of consumption, tormented him, and "the slow minings of the hectic fire" within began to manifest themselves more visibly in days and nights of feverish excitement. It was in the midst of this that he accepted the task of composing an opera for Covent Garden Theatre. His fame, which had gradually made its way through the North of Germany (where his Freyschütz was played in 1823) to England, induced the managers to offer him liberal terms for an opera on the subject of Oberon, the well-known fairy tale on which Wieland has reared his fantastic, but beautiful and touching comic Epos. He received the first act of Planché's manuscript in December, 1824, and forthwith began his labours, though he seems to have thought that the worthy managers, in the short time they were disposed to allow him, were expecting impossibilities, particularly as the first step towards its composition, on Weber's part, was the study of the English language itself, the right understanding of which, Weber justly considered as preliminary to any attempt to marry Mr. Planché's ephemeral verses to his own immortal music. These exertions increased his weakness so much, that he found it necessary to resort to a watering-place in the summer of 1825. In December he returned to Berlin, to bring out his Euryanthe there in person. It was received, as might have been anticipated, with great applause, though less enthusiastically than the Freyschütz, the wild and characteristic music of which, came home with more intensity to the national mind. After being present at two representations, he returned to his labours at Oberon.

The work, finally, having been completed, Weber determined himself to be present at the representation of this his last production. He hoped, by his visit to London, to realize something for his wife and family; for hitherto, on the whole, poverty had been his companion. Want had, indeed, by unceasing exertion, been kept aloof, but still hovering near him, and threatening with the decline of his health, and his consequent inability to discharge his duties, a nearer and a nearer approach. Already he felt the conviction that his death was not far off, and that his wife and children would soon be deprived of that support which his efforts had hitherto afforded them. His intention was to return from London by Paris, where he expected to form a definitive arrangement relative to an opera which the Parisians had long requested from him.

On the 2nd of March he left Paris for England, which he reached on the 4th amidst a heavy shower of rain—a gloomy opening to his visit. The first incident, however, that happened after his arrival, showed how highly his character and talents were appreciated. Instead of requiring to present himself as an alien at the Passport Office, he was immediately waited upon by the officer with the necessary papers, and requested to think of nothing but his own health, as everything would be managed for him. On the 6th he writes to his wife from London:

"God be thanked! here I sit, well and hearty, already quite at home, and perfectly happy in the receipt of your dear letter, which assures me that you and the children are well; what more or what better could I wish for? After sleeping well and paying well at Dover, we set out yesterday morning in the Express coach, a noble carriage, drawn by four English horses, such as no prince need be ashamed of. With four persons within, four in front, and four behind, we dashed on with the rapidity of lightning, through this inexpressibly beautiful country: meadows of the loveliest green, gardens blooming with flowers, and every building displaying a neatness and elegance which form a striking contrast to the dirt of France. The majestic river, covered with ships of all sizes (among others, the largest ship of the line, of 148 guns), the graceful country houses, altogether made the journey perfectly unique."

He took up his residence with Sir George Smart, where everything that could add to his comfort, or soothe his illness, had been provided by anticipation. He found his table covered with cards from visiters who had called before his arrival, and a splendid pianoforte in his room from one of the first makers, with a request that he would make use of it during his stay.

"The whole day," he writes to his wife, "is mine till five—then dinner, the theatre, or society. My solitude in England is not painful to me. The English way of living suits mine exactly; and my little stock of English, in which I make tolerable progress, is of incalculable use to me.

"Give yourself no uneasiness about the opera (Oberon), I shall have leisure and repose here, for they respect my time. Besides, the Oberon is not fixed for Easter Monday, but some time later; I shall tell you afterwards when. The people are really too kind to me. No king ever had more done for him out of love; I may almost say they carry me in their arms. I take great care of myself, and you may be quite at ease on my account. My cough is really a very odd one; for eight days it disappeared entirely; then, upon the 3rd (of March) a vile spasmodic attack returned before I reached Calais. Since that time it is quiet again. I cannot, with all the consideration I have given it, understand it at all. I sometimes deny myself every indulgence, and yet it comes. I eat and drink every thing, and it does not come. But be it as God will.

"At seven o'clock in the evening we went to Covent Garden, where Rob Roy, an opera after Sir Walter Scott's novel, was played. The house is handsomely decorated, and not too large. When I came forward to the front of the stage-box, that I might have a better look of it, some one called out, Weber! Weber is here!—and although I drew back immediately, there followed a clamour of applause which I thought would never have ended. Then the overture to the Freyschütz was called for, and every time I showed myself the storm broke loose again. Fortunately, soon after the overture, Rob Roy began, and gradually things became quiet.—Could a man wish for more enthusiasm, or more love? I must confess that I was completely overpowered by it, though I am of a calm nature, and somewhat accustomed to such scenes. I know not what I would have given to have had you by my side, that you might have seen me in my foreign garb of honour. And now, my dear love, I can assure you that you may be quite at ease, both as to the singers and the orchestra. Miss Paton is a singer of the first rank, and will play Reiza divinely; Braham not less so, though in a totally different style. There are also several good tenors; and I really cannot see why the English singing should be so much abused. The singers have a perfectly good Italian education, fine voices, and expression. The orchestra is not remarkable, but still very good, and the choruses particularly so. In short, I feel quite at ease as to the fate of Oberon."

The final production of the drama, however, was attended with more difficulty than he had anticipated. He had the usual prejudices to overcome, particular singers to conciliate, alterations to make, and repeated rehearsals to superintend, before he could inspire the performers with the proper spirit of the piece.

"Braham," says he, "in another of his confidential letters to his wife," (29th March, 1826) "begs for a grand scena instead of his first air, which, in fact, was not written for him, and is rather high. The thought of it was at first quite horrible; I could not hear of it. At last I promised, when the opera was completed, if I had time enough, it should be done; and now this grand scena, a confounded battle piece and what not, is lying before me, and I am about to set to work, yet with the greatest reluctance. What can I do? Braham knows his public, and is idolized by them. But for Germany I shall keep the opera as it is. I hate the air I am going to compose (to-day I hope) by anticipation. Adieu, and now for the battle. * * * * So, the battle is over, that is to say, half the scene. To-morrow shall the Turks roar, the French shout for joy, the warriors cry out victory!"

The battle was, indeed, nearly over with Weber. The tired forces of life, though they bore up gallantly against the enemy, had long been wavering at their post, and now in fact only one brilliant movement remained to be executed before they finally retreated from the field of existence. This was the representation of Oberon, which for a time rewarded him for all his toils and vexations. He records his triumph with a mixture of humility, gratitude, affection, and piety.

"12th April, 1826.

"My best beloved Caroline! Through God's grace and assistance, I have this evening met with the most complete success. The brilliancy and affecting nature of the triumph is indescribable. God alone be thanked for it! When I entered the orchestra, the whole of the house, which was filled to overflowing, rose up, and I was saluted with huzzas, waving of hats and handkerchiefs, which I thought would never have done. They insisted on encoring the overture. Every air was interrupted twice or thrice by bursts of applause. * * * So much for this night, dear life. From your heartily tired husband, who, however, could not sleep in peace until he had communicated to you this new blessing of heaven. Good-night."

But his joy was interrupted by the gradual decline of his health. The climate of London brought back all those symptoms which his travelling had for a time alleviated or dissipated. After directing twelve performances of his Oberon in crowded houses, he felt himself completely exhausted and dispirited.—His melancholy was not abated by the ill success of his concert, which, from causes which we cannot pretend to explain, was no benefit to the poor invalid. His next letters are in a desponding tone.

"17th April, 1826.

"To-day is enough to be the death of any one. A thick, dark, yellow fog overhangs the sky, so that one can hardly see in the house without candles. The sun stands powerless, like a ruddy point, in the clouds. No: there is no living in this climate. The longing I feel for Hosterwitz, and the clear air, is indescribable. But patience,—patience,—one day rolls on after another; two months are already over. I have formed an acquaintance with Dr. Kind, a nephew of our own Kind. He is determined to make me well. God help me, that will never happen to me in this life. I have lost all hope in physicians and their art. Repose is my best doctor, and henceforth it shall be my sole

"To-morrow is the first representation of my (so called) rival's opera, 'Aladdin.' I am very curious to see it. Bishop is a man of talent, though of no peculiar invention. I wish him every success. There is room enough for all of us in the world."

"30th May.

"Dearest Lina, excuse the shortness and hurry of this. I have so many things on hand, writing is painful to me—my hands tremble so. Already too impatience begins to awaken in me. You will not receive many more letters from me. Address your answer not to London, but to Frankfort—poste restante. You are surprised? Yes, I don't go by Paris. What should I do there—I cannot move—I cannot speak–all business I must give up for years. Then better, better, the straight way to my home—by Calais, Brussels, Cologne, and Coblentz, up the Rhine to Frankfort—a delightful journey. Though I must travel slowly, rest sometimes half a day, I think in a fortnight, by the end of June, I shall be in your arms.

"If God will, we shall leave this on 12th June, if heaven will vouchsafe me a little strength. Well, all will go better if we are once on the way—once out of this wretched climate. I embrace you from my heart, my dear ones—ever your loving father Charles."

This letter, the last but one he ever wrote, shows the rapid decline of his strength, though he endeavours to keep up the spirits of his family by a gleam of cheerfulness. His longing for home now began to increase till it became a pang. On the 6th of June he was to be present at the Freyschütz, which was to be performed for his benefit, and then to leave London for ever. His last letter, the thirty-third he had written from England, was dated the second of June. Even here, though he could scarcely guide the pen, anxious to keep up the drooping spirits of his wife, he endeavours to speak cheerfully, and to inspire a hope of his return.

"As this letter will need no answer, it will be short enough. Need no answer! Think of that! Furstenau has given up the idea of his concert, so perhaps we shall be with you in two days sooner—huzza! God bless you all and keep you well! O were I only among you! I kiss you in thought, dear mother. Love me also, and think always of your Charles, who loves you above all."

On Friday the 3rd of June, he felt so ill, that the idea of his attending at the representation of "Der Freyschütz" was abandoned, and he was obliged to keep his room. On Sunday evening, the 5th, he was left at eleven o'clock in good spirits, and at seven next morning was found dead upon his pillow, his head resting upon his hand, as though he had passed from life without a struggle. The peaceful slumber of the preceding evening seemed to have gradually deepened into the sleep of death.

He was interred on the 21st, with the accustomed solemnities of the Catholic Church, in the chapel at Moorfields, the Requiem of Mozart being introduced into the service. In person, Weber is described as having been of the middle height, extremely thin, and of dark complexion. His countenance was strikingly intelligent, his face long and pale, his forehead remarkably high, his features prominent, his eyes dark and full. His usual look was one of calm placid thought, an expression which was increased in some degree by spectacles, which he wore on account of his shortness of sight. The force and acuteness of his mind were indicated in the occasional brilliancy of the expression of his countenance; the habitual patience and mildness of his disposition, in its permanent look of placidity and repose.—From an interesting paper in No. XIII. of the Foreign Quarterly Review.

DIRGE

The moon was a-waning,
The tempest was over;
Fair was the maiden,
And fond was the lover;
But the snow was so deep,
That his heart it grew weary,
And he sunk down to sleep,
In the moorland so dreary.

Soft was the bed
She had made for her lover,
White were the sheets
And embroider'd the cover;
But his sheets are more white,
And his canopy grander,
And sounder he sleeps
Where the hill foxes wander.

Alas, pretty maiden,
What sorrows attend you!
I see you sit shivering,
With lights at your window;
But long may you wait
Ere your arms shall enclose him,
For still, still he lies,
With a wreath on his bosom.

How painful the task
The sad tidings to tell you!—
An orphan you were,
Ere this misery befell you;
And far in yon wild,
Where the dead-tapers hover,
So cold, cold and wan,
Lies the corpse of your lover.

    The Ettrick Shepherd.

MANNERS & CUSTOMS OF ALL NATIONS

PREPARATIONS OF MILK, PARTICULARLY OF MARES' MILK, USED BY THE KALMUCK

TARTARS

The ordinary drink of the Kalmucks, and which forms an essential part of their food, consists of various preparations of the milk supplied by their cattle. The mares yield milk as well as the cows; and, for several reasons, they prefer the former. When fresh, this milk has a taste of onions, which is very repulsive; but, in proportion as it sours, if the operation is performed with cleanliness, it becomes more liquid than the other, acquires an agreeable vinous taste, and neither forms cream nor coagulates. In this state, it furnishes a wholesome and refreshing drink, and which, when in sufficient quantity, froths in a remarkable degree. The cow's milk, on the contrary, both on account of the cheesy matter which it contains and its disagreeable taste, becomes unpleasant to drink when it sours; and, in persons not accustomed to it, induces colics and diarrhoeas, although the Kalmucks themselves experience no inconvenience from it, unless they have neglected to boil it. This they do, in the first place, and never use it until it has undergone this operation, without which they would be exposed to the inconveniences with which sour milk affects Europeans. In like manner, the Kalmucks do not relish water that has not been boiled. Poor persons, to prevent their being reduced to the necessity of drinking it pure, mix it with their milk, in the proportion of a third part or half, in order to make the most of the latter as a drink.

The milk is therefore heated as soon as it is withdrawn from the animal; and, when warm, it is poured into a large skin bottle, with which the poorest hut is furnished, and in which there is always a remnant of sour milk sufficient to sour the new milk, after it has been stirred with a stick kept for the purpose. Those bottles are never washed or cleaned: they are therefore always incrusted with cheese and dirt, and the smell admitted by them is sufficient to show what they contain. But it is precisely in this that the secret for making the milk undergo the vinous fermentation consists. If it be intended to sour milk in empty or new bottles, all that is necessary is to put into them the least drop of the milk-brandy to be presently described, or a little of the curdled milk that is found in the stomach of young lambs.

All the preparations of milk are comprehended under the name of Tchigan. The drinks prepared from pure mare's milk (the Koumys of the Tartars), are named Gunna Tchigan, or Horse Tchigan; those into which mares' milk and cow's milk enter are called Besrek;—sour cows' milk is named Airek; and all kinds of fresh milk, Ussoun.