The Progress., 1898-04-30
THE PROGRESS.

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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, 1853 pieces
for the baritone, is masses, D orato-
rios ~ German and Italian songs. 80
canons, 800 English and Scotch songs
with accompaniment, and 1876 pages
of libretti All that to capture the
gate Of the body that swings in from
the tympanum to the snail SHELF ~
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
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
audience had left. to the time when he
left to all nations his unparalled ora
torios of Esther" Deborah, ''Sanp-
son, '.Jephthah," Judas Maccabeus,"
"I.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
raptureS 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 a restaurant, and went on
until he could leave as legacy to the
world over 900 magnificent compost
lions in music. To conquer the ear
and take this gate of the souls castle
! Mozart struggled 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 Re
QUEEN and the ''G-minor Symph ony
was crunched in on top of two other
paupers into a grave which to this day
| is epitaphlesS.
| For the ear everything mellifiuous,
from the birth hour when our earth
was wrapped in swaddling clothes of
light and serenaded by other worlds,
| from the time when Jubal thrumIned
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 Westmins ter
abbey, and Freyburg, and Berlin, and
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 ticlSlings of
| chronometers, all anthems, all dirges
all glees, all choruses, all lullabies, all
orchestrahon. 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