France -- History -- Revolution, 1789-1799 -- Fiction; Napoleon I, Emperor of the French, 1769-1821 -- Fiction
When the enemy had been routed, they had immediately returned to
Strasbourg and gone to their hotel, while the Propagande continued their
debate, although the peril had ceased. This was the reason why Euloge
Schneider, who was so particular to admonish others to punctuality, was
half an hour late himself.
Charles had profited by this delay to become acquainted with the other
three guests who were to be at table with him. They, on their side,
having been notified by Schneider, welcomed kindly the boy who had been
sent to him to be made into a scholar, and to whom they had each
resolved to give an education according to their individual knowledge
and principles.
These men were three in number, as we have said; their names were
Edelmann, Young, and Monnet.
Edelmann was a remarkable musician, the equal of Gossec in church music.
He had also set the poem of "Ariadne in the Isle of Naxos" to music for
the stage, and the piece was played in France, in 1818 or 1820. He was
small, with a melancholy countenance. He always wore spectacles, which
seemed to have grown to his nose; he dressed in a brown coat, which was
always buttoned from top to bottom with copper buttons. He had cast in
his lot with the Revolutionary party with the violence and fanaticism of
an imaginative man. When his friend Diedrich, mayor of Strasbourg, was
accused of moderation by Schneider and succumbed in the struggle, he
bore witness against him, saying: "I shall mourn for you because you are
my friend, but you are a traitor, therefore you must die."
As for the second of the trio, Young, he was a poor shoemaker, within
whose coarse exterior Nature, as sometimes happens by caprice, had
concealed the soul of a poet. He knew Latin and Greek, but composed his
odes and satires only in German. His well-known Republicanism had made
his poetry popular, and the common people would often stop him on the
street, crying, "Verses! Verses!" Then he would stop, and mounting upon
some stone, or the edge of a well, or some adjacent balcony, would fling
his odes and satires to the skies like burning, flaming rockets. He was
one of those rarely honest men, one of those revolutionists who acted in
all good faith, and who, blindly devoted to the majesty of the popular
principle, thought of the Revolution only as the means of emancipation
for all the human race, and who died like the ancient martyrs, without
complaint, and without regret, convinced of the future triumph of their
religion.
Public-domain text, read in full here on John Shaqi.
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