The L'Anse sentinel. (L'Anse, L.S., Mich.) 18??-current, 1898-04-30

eulogy the ear. That voice capable of
producing IL, 500, 1se, 044, AIS sounds. and
all that variety made, not for the re-
galement of beast or bird, bat for the
human ear.
About IS years ago, in Venice, lay
down in death one whom many con-
sidered the greatest musical composer
of the century. Struggling on up from
six years OF age when he was left faith
erless, Wagner rose through the oblo-
guy of the world, and Outlines all ma
tons seemingly against him, until he
gained the favor of a king, and won
the enthusiasm of the opera houses of
Europe and America. Struggling all
the way on to 70 years of age, to con-
quer the worlds ear. In that same at
tempt to master the human ear and
gain supremacy over this gate of the
immortal soul, great battles were
fought by Mozart, Gluck and Weber,
and by Beethoven and Meyerbeer, by
Rossini and by all the roll of German
and Italian and French composers,
some of them in the battle leaving
their blood on the keynotes and the
musical scores. Great battle fought
organ-pipe, with trumpet, with cor
net-a-piston, with all ivory and brazen
and silver and golden weapons of the
orchestra; royal theater and cathedral
and academy of music the fortresses
for the contest for the ear. England
and Egypt ought for the supremacy of
the Suez canal, and the Spartans and
the Persans fought for the defile of
Thermopylae; but the musicians Of all
ages have fought for the mastery of the
auditory canal and the detile of the i'm
mortal soul and the Thermopylae of
struggling cadences.
For the conquest of the ear Haydn
struggled on up from the garnet where
he had neither fire nor food, on and on
until under the too great nervous strain
of hearing his own Grafton of the
Creation" performed, he was carried
out to die, but leaving as his legacy to
the world lis symphonies, 1863 pieces
for the baritone, is masses, 5 orato-
rios, AZ German and Italian songs, 80
canons, 365 English and Scotch songs
with accompaniment, and 1886 pages
of libretti. All that to capture the
gate of the body that swings in from
the tympanum to the ''snail SHELF ly-
ing on the beach of the ocean of the
immortal soul.
To conquer the ear, Handel strug-
gled on from the time when his father
woLld not let him go to school lest he
learn the gamut and become musician,
and from the time when he was allowed
in the organ loft just to play after the
audience had left, to the time when he
left to all nations his unparalleled ora
torios of Esther" Deborah" "Samp-
son, "Jephthah," Judas Maccabeus,"
Israel in Egypt" and the Messiah"
the soul of the great German composer
still weeping in the Dead March of our
great obsequies and triumphing in the
rapturcs of every Easter morn.
TO conquerer the ear and take this
gate of the immortal soul, Schubert
composed his great "Serenade," writ
ing the slaves of the music on the bill
of fare in restaurant, and went on
until he could leave as n legacy to the
world over 1000 magnificent compost
tions in music. To conquer the ear
and take this gate of the souls castle
Mozart struggled on through poverty
until he came to pauper's grave, and
one chilly, wet afternoon the body of
him who gave to the world the RE
QUEEN and the "G-minor Symphony"
was crunched in on top of two other
paupers into grave which to this day
is epitaphless.
} For the ear everything mellihuous,
!, from the birth hour when our earth
was wrapped in swaddling clothes OF
|, ~ Ill 1. I
from the time when Jubal thrummed
. the first harp and pressed key of the
! first organ, down to the music of this
Sabbath day. Yea, for the ear the
coming overtures of Heaven, for what
ever other part of the body may be left
in the dust, the ear, we know, is to
come to celestial life; otherwise, why
the ''harpers harping with their harps?'
For the ear, carol of lark, and whistle
of quail, the chirp of cricket, and dash
of cascade, and roar of tides oceanic,
and doxology of worshipful assem-
bly, and minstrelsy, cherubic, seraphic
and archangeiic. For the ear all Pan
dean pipes, all flutes, all clarinets, all
hautboys, all bassoons, all bells, and
all organs-Luzerene and Westminster
| uhu ouiS ohu DCiiih, dho
J all the organ pipes set across Christen'
dom, the great Giants Causeway for
the monarchs of music to pass over.
For the ear, all chimes, all ticklings OF
chronometers, all anthems, all dirges
: all glees, all choruses, all lullabies, all
orchestration. Oh, the ear, God hon
ored the ear, grooved with Divine
sculpture and poised with Divine
, gracefulness and upholstered with
: curtains of Divine embroidery
, and corridored by Divine car
, pentry, and pillared with Divine archi
lecture, and chiselled in bone of Divine
} masonry, and conquered by professions
of Divine marshalling. The ear! A
J perpetual point Of interrogation, ask
ing how? perpetual point of apos
trophe appealing to God. None but
J God could plan it. None but God could
build it. None but God could work 1T.
, None but God could keep it. None but
} God could understand it. None but
, God could explain it. Oh, the wonders
of the human ear.
How surprisingly sacred the human
Vo,, had haitian ha al hour