The death of Gessler was the signal for a general uprising. The oath-bound men of Rutli saw that this was their great opportunity. They called to their countrymen to follow them to freedom or death.
Gessler"s crowning act of tyranny--his inhuman punishment of Tell--had roused the spirit of rebellion in the hearts of even the meekest and most submissive of the peasants. Gladly, then, did they respond to the call of the leaders of the insurrection.
The legend says that on New Year"s Eve, 1308, Stauffacher, with a chosen band of followers, climbed the mountain which led to Landenberg"s fortress castle of Rotzberg. There they were a.s.sisted by an inmate of the castle, a young girl whose lover was among the rebels.
She threw a rope out of one of the windows of the castle, and by it her countrymen climbed one after another into the castle. They seized the bailiff, Landenberg, and confined him in one of the dungeons of his own castle. Next day the conspirators were reinforced by another party who gained entrance to the castle by means of a clever ruse. Landenberg and his men were given their freedom by the peasants on condition that they would quit Switzerland forever.
The castle of Uri was attacked and taken possession of by Walter Furst and William Tell, while other strongholds were captured by Arnold of Melchthal and his a.s.sociates.
Bonfires blazed all over the country. The dawn of Switzerland"s freedom had appeared. The reign of tyranny was doomed. William Tell was the hero of the hour, and ever since his name has been enshrined in the hearts of his countrymen as the watchword of their liberties. Even to this day, as history tells us, the Swiss peasant cherishes the belief that "Tell and the three men of Rutli are asleep in the mountains, but will awake to the rescue of their land should tyranny ever again enchain it."
Lamartine, to whose story of William Tell the writer is indebted, commenting on the legend says: "The artlessness of this history resembles a poem; it is a pastoral song in which a single drop of blood is mingled with the dew upon a leaf or a tuft of gra.s.s. Providence seems thus to delight in providing for every free community, as the founder of their independence, a fabulous or actual hero, conformable to the local situation, manners, and character of each particular race.
To a rustic, pastoral people, like the Swiss, is given for their liberator a n.o.ble peasant; to a proud, aspiring race, such as the Americans, an honest soldier. Two distinct symbols, standing erect by the cradles of the two modern liberties of the world to personify their opposite natures: on the one hand Tell, with his arrow and the apple; on the other, Washington, with his sword and the law."
"WESTWARD HO!"
When the current serves, the unseen monitor that directs our affairs bids us step aboard our craft, and, with hand firmly grasping the helm, steer boldly for the distant goal.
Philip D. Armour, the open-handed, large-hearted merchant prince, who has left a standing memorial to his benevolence in the Armour Inst.i.tute at Chicago, heard the call to put to sea when in his teens.
It came during the gold fever, which raged with such intensity from 1849 to 1851, when the wildest stories were afloat of the treasures that were daily being dug out of the earth in California. The brain of the st.u.r.dy youth, whose Scotch and Puritan blood tingled for some broader field than the village store and his father"s farm in Stockbridge, New York, was haunted by the tales of adventure and fortune wafted across the continent from the new El Dorado. "I brooded over the difference," he says, "between tossing hay in the hot sun and digging gold by handfuls, until, one day, I threw down the pitchfork, went to the house, and told mother that I had quit that kind of work."
Armour was nineteen years old when he determined to seek his fortune in California. His determination once formed, he lost no time in carrying it out. As much of the journey across the plains was to be made on foot, he first provided himself with a pair of stout boots. Then he packed his extra clothing in an old carpetbag, and with a light heart bade his family good-by.
He had induced a young friend, Calvin Gilbert, to accompany him in his search for fortune. The two youths joined the motley crowd of adventurers who were flocking from all quarters to the Land of Promise, and set out on their journey.
Tramping over the plains, crossing rivers in tow-boats and ferryboats, and riding in trains and on wagons when they could, the adventurers, after many weary months, reached their destination. During the journey young Armour became sick, but was tenderly nursed back to health by his companion.
"I had scarcely any money when I arrived at the gold fields," said Armour, "but I struck right out and found a place where I could dig, and in a little time I struck pay dirt."
He entered into partnership with a Mr. Croarkin, and, with characteristic energy, kept digging and taking his turn at the rude housekeeping in the shanty which he and his partner shared. "Croarkin would cook one week," he says, "and I the next, and we would have a clean-up Sunday morning We baked our own bread, and kept a few hens, too, which supplied us with fresh eggs."
The young gold hunter, however, did not find nuggets as "plentiful as blackberries," but he found within himself that which led him to a bonanza far exceeding his wildest dreams of "finds" in the gold fields.
He discovered his business ability; he learned how to economize, how to rely upon himself, even to the extent of baking his own bread.
THREE GREAT AMERICAN SONGS AND THEIR AUTHORS
THE STAR-SPANGLED BANNER
"Poetry and music," says Sir John Lubbock, "unite in song. From the earliest ages song has been the sweet companion of labor. The rude chant of the boatman floats upon the water, the shepherd sings upon the hill, the milkmaid in the dairy, the plowman in the field. Every trade, every occupation, every act and scene of life, has long had its own especial music. The bride went to her marriage, the laborer to his work, the old man to his last long rest, each with appropriate and immemorial music."
It is strange that Lubbock did not mention specifically the power of music in inspiring the soldier as he marches to the defense of his country, or in arousing the spirit of patriotism and kindling the love of country, whether in peace or war, in every bosom. "Let me make the songs of a country," Fletcher of Saltoun has well said, "and I care not who makes its laws."
Not to know the words and the air of the national anthem or chief patriotic songs of one"s country is considered little less than a disgrace. To know something of their authors and the occasion which inspired them, or the conditions under which they were composed, gives additional interest to the songs themselves.
Francis Scott Key, author of "The Star-spangled Banner," one of the, if not the most, popular of our national songs, was born in Frederick County, Maryland, on August 1, 1779. He was the son of John Ross Key, an officer in the Revolutionary army.
Young Key"s early education was carried on under the direction of his father. Later he became a student in St. John"s College, from which inst.i.tution he was graduated in his nineteenth year. Immediately after his graduation he began to study law under his uncle, Philip Barton Key, one of the ablest lawyers of his time. He was admitted to the bar in 1801, and commenced to practice in Fredericktown, Maryland, where he won the reputation of an eloquent advocate. After a few years" practice in Fredericktown, he removed to Washington, where he was appointed district attorney for the District of Columbia.
Young Key was as widely known and admired as a writer of hymns and ballads as he was as a lawyer of promise. But the production of the popular national anthem which crowned him with immortality has so overshadowed the rest of his life work that we remember him only as its author.
The occasion which inspired "The Star-spangled Banner" must always be memorable in the annals of our country. The war with the British had been about two years in progress, when, in August, 1814, a British fleet arrived in the Chesapeake, and an army under General Ross landed about forty miles from the city of Washington.
The army took possession of Washington, burnt the capitol, the President"s residence, and other public buildings, and then sailed around by the sea to attack Baltimore. The fleet was to bombard Fort McHenry, while the land forces were to attack the city.
The commanding officers of the fleet and land army, Admiral c.o.c.kburn and General Ross, made their headquarters in Upper Marlboro, Maryland, at the house of Dr. William Beanes, whom they held as their prisoner.
Francis Scott Key, who was a warm friend of Dr. Beanes, went to President Madison in order to enlist his aid in securing the release of Beanes. The president furnished Key with a vessel, and instructed John L. Skinner, agent for the exchange of prisoners, to accompany him under a flag of truce to the British fleet.
The British commander agreed to release Dr. Beanes, but would not permit Key and his party to return then, lest they should carry back important information to the American side. He boastingly declared, however, that the defense could hold out only a few hours, and that Baltimore would then be in the hands of the British.
Skinner and Key were sent on board the Surprise, which was under the command of Admiral c.o.c.kburn"s son. But after a short time they were allowed to return to their own vessel, and from its deck they saw the American flag waving over Fort McHenry and witnessed the bombardment.
All through the night the furious attack of the British continued. The roar of cannon and the bursting of sh.e.l.ls was incessant. It is said that as many as fifteen hundred sh.e.l.ls were hurled at the fort.
Shortly before daybreak the firing ceased. Key and his companions waited in painful suspense to know the result. In the intense silence that followed the cannonading, each one asked himself if the flag of his country was still waving on high, or if it had been hauled down to give place to that of England. They strained their eyes in the direction of Baltimore, but the darkness revealed nothing.
At last day dawned, and to their delight the little party saw the American flag still floating over Fort McHenry. Key"s heart was stirred to its depths, and in a glow of patriotic enthusiasm he immediately wrote down a rough draft of "The Star-spangled Banner."
On his arrival in Baltimore he perfected the first copy of the song, and gave it to Captain Benjamin Eades, of the 27th Baltimore Regiment, saying that he wished it to be sung to the air of "Anacreon in Heaven."
Eades had it put in type, and took the first proof to a famous old tavern near the Holliday Street Theater, a favorite resort of actors and literary people of that day. The verses were read to the company a.s.sembled there, and Frederick Durang, an actor, was asked to sing them to the air designated by the author. Durang, mounting a chair, sang as requested. The song was enthusiastically received. From that moment it became the great popular favorite that it has ever since been, and that it will continue to be as long as the American republic exists.
Key died in Baltimore on January 11, 1843. A monument was erected to his memory by the munificence of James Lick, a Californian millionaire.
The sculptor to whom the work was intrusted was the celebrated W. W.
Story, who completed it in 1887. The monument, which is fifty-one feet high, stands in Golden Gate Park, San Francisco. It is built of travertine, in the form of a double arch, under which a bronze statue of Key is seated. A bronze figure, representing America with an unfolded flag, supports the arch.
On the occasion of the unveiling of this statue, the New York Home Journal contained an appreciative criticism of Key as a poet, and the following estimate of his greatest production.
"The poetry of the "Star-spangled Banner" has touches of delicacy for which one looks in vain in most national odes, and is as near a true poem as any national ode ever was. The picture of the "dawn"s early light" and the tricolor, half concealed, half disclosed, amid the mists that wreathed the battle-sounding Patapsco, is a true poetic concept.
"The "Star-spangled Banner" has the peculiar merit of not being a tocsin song, like the "Ma.r.s.eillaise." Indeed, there is not a restful, soothing, or even humane sentiment in all that stormy shout. It is the scream of oppressed humanity against its oppressor, presaging a more than quid pro quo; and it fitly prefigured the sight of that long file of tumbrils bearing to the Place de la Revolution the fairest scions of French aristocracy. On the other hand, "G.o.d Save the King," in its original, has one or two lines as grotesque as "Yankee Doodle" itself; yet we have paraphrased it in "America," and made it a hymn meet for all our churches. But the "Star-spangled Banner" combines dignity and beauty, and it would be hard to find a line of it that could be improved upon."
Over the simple grave of Francis Scott Key, in Frederick, Maryland, there is no other monument than the "star-spangled banner." In storm and in sunshine, in summer and in winter, its folds ever float over the resting place of the man who has immortalized it in verse. No other memorial could so fitly commemorate the life and death of this simple, dignified, patriotic American.
"A sweet, n.o.ble life," says a recent writer, "was that of the author of our favorite national hymn--a life of ideal refinement, piety, scholarly gentleness. Little did he think that his voice would be the storm song, the victor shout, of conquering America to resound down and down the ages!"
THE STAR-SPANGLED BANNER
Oh! say, can you see, by the dawn"s early light, What so proudly we hailed at the twilight"s last gleaming?
Whose broad stripes and bright stars through the perilous fight, O"er the rampart we watched, were so gallantly streaming, And the rocket"s red glare, the bombs bursting in air, Gave proof through the night that our flag was still there, Oh! say, does that star-spangled banner yet wave O"er the land of the free and the home of the brave?