Books › Biographical notice of Nicolo Paganini, With and analysis of his compositions and a sketch of the history of the violin, 1876 › scan 68
Scan 68
Biographical notice of Nicolo Paganini, With and analysis of his compositions and a sketch of the history of the violin, 1876
4 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1I slew my mistress; but they do not state how I effected my bloody purpose. Some assert I used a dagger—others that, desirous of witnessing her agony, I used poison. Each has settled it in accordance with his own fancy. Why should not lithographers have the same privilege? I will relate what occurred to me at Padua, nearly fifteen years since. I had played at a concert with great success. The next day, seated at the table d'hôte (I was the sixtieth) my entrance in the room passed unobserved. One of the guests spoke of the great effect I had produced the previous evening. His neighbour concurred in all that was said, and added, 'There is nothing surprising in Paganini's performance—he acquired his talent while confined in a dungeon during eight years, having only his Violin to soften the rigours of his confinement. He was condemned for having, coward-like, stabbed one of my friends, who was his rival.' As you may imagine, every one was shocked by the enormity of my crime. I then addressed myself to the person who was so well acquainted with my history, and requested to know when and where this had taken place. Every eye was directed towards me. Judge the surprise when they recognised the principal actor in this tragical history! The narrator was embarrassed. It was no longer his friend who had been assassinated. He heard—it had been affirmed—he believed; but it was not improbable he had been deceived. This is how an artist's reputation is trifled with, because indolent people will never comprehend that one may study at liberty as well as under lock and key.
3"A still more ridiculous report, at Vienna, tested the credulity of some enthusiasts. I had played the variations entitled "Le Streghe" (the Witches), and they produced some effect. One individual, who was represented to me as of a sallow complexion, melancholy air, and bright eye, affirmed that he saw nothing surprising in my performance, for he had distinctly seen, while I was playing my variations, the devil at my elbow directing my arm and guiding my bow. My resemblance to him was a proof of my origin. He was clothed in red—had horns on his head—and carried his tail between his legs. After so minute a de-
The computer misreads some letters and numbers. Where a name matters to you, read the scan.