138.—CHERUBINI AS A REVOLUTIONARY FIDDLER.
We have read of the Englishman who, knowing the temper of the French people and French weather, instructed his valet, when they were in Paris, to bring him each morning information on two points; first, what kind of weather there was, and second, what form of government. This is not so much overdrawn as one might at first think, for in the last hundred years France has seen at least ten changes in its form of government. The first of these changes was accompanied by such an outpouring of blood as the world has never before or since seen in a civilized country. But, as is frequently the case, the horrible was accompanied by the ludicrous. The following incident was more enjoyable to the beholder or to the reader than to the main actor, not less a musical personage than Cherubini.
Once, during the exciting days of 1792, Cherubini ventured to take a ramble on the streets, and as a result was soon in the hands of a mob. They knew him to be a musician, and insisted that the talent with which he had delighted the king and court should now be displayed for their gratification. Cherubini refused to satisfy them, whereupon murmurs of "Royalist, Royalist," were heard, and that meant a speedy exit from this world for Cherubini.
Another kidnapped musician, seeing the danger the great composer was in, thrust a violin into his hands and persuaded him that his only safety was in playing for them. The whole day these musicians had to play for the revolutionary and blood-thirsty mob, and at last were mounted on some casks in a public square, and made to play till the riotous feasters had devoured an impromptu banquet and had dispersed at a late hour.
