Connecticut western news., 1898-04-21

yer ana golden weapons or the OrCuestraJ royal theater and cathedral and acad- emy of music the fortresses for the con- test for the ear. England and Egypt fought for the supremacy of the Suez canal, and the Spartans and the Persians fought for the defile at Thermopyla, but the musicians of all ages have fought for the mastery of the auditory canal and the defile of the immortal soul and the Thermopyle of struggling cadences.
 Conquest of the Ear.
 For the conquest of the ear Haydn struggled on up from the garret, where he had neither fire nor food, on and on until under the too great nervous strain of hearing his own oratorio of the Creation" performed he was carried out to die, but leaving as his legacy to the world 11S symphonies, l63 pieces for the baritone, 5 masses, oratorios, 42 German and Italian songs, 39 canons, 365 English and Scotch songs, with &C., compartment, and l, 536 pages of libret- ii. All that to capture the gate of the body that swings in from the tympanum to the "snail shell'' lying on the beach of the ocean of the immortal soul.
 To conquer the ear Handel struggled on from the time when his father would 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 au dience had left to the time when he left to all nations his unparalleled oratorios of "Esther, " Deborah, |" Sampson, "Jephthah, "Judas Maccabeus, ""Is- rael 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 rap. lures of every Easter morn.
 To conquer the ear and take this gate of the immortal soul Schubert composed his great "Serenade, writing the slaves of the music on the bill of fare in restaurant, and went on until he could leave as a legacy to the world over 1000 magnificent compositions in music. To conquer the ear and take this gate of the soul s castle Mozart strug gled on through poverty until he came to a pauper's grave, and one chilly, wet afternoon the body of him who gave to the world the Requiem" and the "G Minor Symphony" was crunch ed in on the top of two other paupers into a grave which to this day is epi- taphless.
 For the ear everything mellif1uous, from the birth hour when our earth was wrapped in swaddling clothes of light and serenaded by other worlds, from the time when Jubal thrummed the first harp and pressed key of the first or gan down to the music of this Sabbath day. Yea, for the ear the coming over lures of heaven, for whatever other part of the body may be left in the dust the ear, we know, is to come to celes- tial life; otherwise why the "harpers harping with their harps?" For the ear, carol of lark, and whistle of quail, and chirp of cricket, and dash of cascade, and roar of tides oceaniu, and doxology of worshipful assembly and minstrelsy, cherubic, seraphio and arohangelic. For the ear all Pandean pipes, all flutes, all clarinets, all hautboys, all bassoons, all bells and all organs-Luzerne and Vest minister abbey, and Freiburg, and Der lin, and all the organ pipes set across Christendom, the great Giants Cause way for the monarchs of music to pass over. For the ear, all chimes, all tick ings of chronometers, all anthems, all dirges, all glees, all choruses all lulla- bies, all orohestration. Oh, the ear, the God honored ear. grooved with divine sculpture and poised with divine grace fulness and upholstered with curtains of divine embroidery, and corridored by divine carpentry, and pillared with di- vine architecture, and chiseled in bone of divine masonry, and conquered by processions of divine marshaling! The ear A perpetual point of interrogation, asking, How? A perpetual point of apostrophe appealing to God. None but God could plan it. None but God could build it. None but God could work it. None but God could keep it. None but God could understand it. None but God could explain it. Oh, the wonders of the human earl
 A Sacred Thing.
 How surpassing sacred the human ear! You had better be careful how you let the sound of blasphemy or uncleanness step into that holy of holies. The Bible says that in the ancient temple the priest was set apart by the putting of the blood of ram on the tip of the ear, the right ear of the priest. But, my friends, we need all of us to have the sacred touch of ordination on the haIg- ing lobe of both ears and on the arches of the ears, on the eustachian tube of the ear, on the mastoid cells of the ear, on the tympanic cavity of the ear and on every thing from the outside rim of tho outside ear clear in to the point where sound steps off the auditory nerve and rolls on down into the unfathomable depths of the immortal soul. The Bible speaks of "dull ears" and of "uncir- cumcised ears' and of "itching ears" and of "rebellious ears' and of "open ears" and of those who have all the or gans of hearing and yet who seem to be deaf, for it cries to them, "He that hath ears to hear, let him hear"
 To show how much Christ thought of the human ear, he one day met man who was deaf, came up to him and put a finger of the right hand into the oritce of the left ear of the patient and put a finger of the left hand into She orifice of the right ear of the patient and agitated the tympanum and startled the bonelets and, with voice that rang clear through into the mans soul, cried, "Ephpha- thai" and the polypoid growths gave way, and the inflamed auricle cooled off, and that man who had not heard a sound for many years that night heard the wash of the waves of Galilee against the limestone shelving. To show how much Christ thought of the human ear, when the apostle Peter got mad and with one slash of his sword dropped the ear of Malchus into the dust Christ cre- ated new external ear for Malchus cor responding with the middle ear and the internal ear that no sword could clip away.
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