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Updated: May 9, 2025
Savarin gently detained her hand, and looking earnestly into her tell-tale face, divined her secret. "It is your own, Signorina! Accept the congratulations of a very practised and somewhat fastidious critic. If the rest of what you write resembles this sentence, contribute to Rameau's journal, and I answer for its success." Rameau approached, half incredulous, half envious.
This was not a request that Isaura could refuse, though she was embarrassed and troubled by the surmise of Madame Rameau's object in asking it; accordingly she led her visitor into the adjoining room, and making an apologetic sign to the Venosta, closed the door.
"See and read it," said he; giving it to me. It was a very fine letter, written in a bold hand. It contained an opinion of Goethe's notes to "Rameau's Nephew," which exhibit French literature at that time, and which he had given Schiller to look over. I read the letter aloud to Riemer.
It was about this time that Gluck first heard Rameau's music, and the power and simplicity of it compared with the empty sensuousness of Italian opera, must have materially strengthened him in the desire to do something to reform and purify his art. Yet, in spite of good resolutions, Gluck's progress was slow.
The appearance of Gluck gave Rameau's work a veritable coup de grâce, and banished the master from the operatic stage. And for a century and a quarter, French music, particularly the music of the theater, was completely unfaithful to the racial spirit. During the greater part of the nineteenth century, Rossini and Meyerbeer dominated the operatic world.
Throughout the opera there are unmistakable traces of Rameau's influence, indeed it is plain that Gluck frankly took Rameau's 'Castor et Pollux' as his model when he sat down to compose 'Orfeo. The plot of the earlier work, the rescue of Pollux by Castor from the infernal regions, has of course much in common with that of 'Orfeo' and it is obvious that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common.
I'll concede you that point for the present. But you don't offer an opinion as to who removed Rameau's body which I think I know." "Who was it, then?" "Come, try and guess that yourself. It wasn't Goujon; I don't mind letting you know that. But it was a person quite within your knowledge of the case. You've mentioned the person's name more than once." Nettings stared blankly.
It is not too much to say that Rameau's Nephew is the most effective and masterly use of that form of discussion since Plato. Diderot's vein of realism is doubtless in strong contrast with Plato's poetic and idealising touch. Yet imaginative strokes are not wanting to soften the repulsive theme, and to bring the sordid and the foul within the sphere of art. For an example.
I took the readiest explanation of the words, since they seemed so pat, and I wouldn't let anything else outweigh that. As to the other things the evidences of Rameau's having gone off by himself well, I don't usually miss such obvious things; but I never thought of the possibility of the victim going away on the quiet and not coming back, as though he'd done something wrong.
Goujon bade her good-by, and, pointing in the direction of Rameau's rooms, said exultantly: "Dere shall be no more of the black pig for me; vit 'im I 'ave done for. Zut! I mock me of 'im! 'E vill never tracasser me no more." And he went away. The girl went to the outer door of Rameau's rooms, knocked, and got no reply.
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