Kelly’s Hero

AFTER supper the young branches* of our host had a dance, and Mozart joined them. Madame Mozart told me, that great as his genius was, he was an enthusiast in dancing, and often said that his taste lay in that art, rather than in music. He was a remarkably small man, very thin and pale, with a profusion of fine fair hair, of which he was rather vain.

He gave me a cordial invitation to his house, of which I availed myself, and passed a great part of my time there. He always received me with kindness and hospitality. He was remarkably fond of punch,* of which beverage I have seen him take copious draughts. He was also fond of billiards, and had an excellent billiard table in his house. Many and many a game have I played with him, but always came off second best. He gave Sunday concerts, at which I never was missing. He was kind-hearted, and always ready to oblige; but so very particular, when he played, that if the slightest noise were made, he instantly left off.

From ‘Reminiscences of Michael Kelly, of the King's Theatre, and Theatre Royal Drury Lane, Including a Period of Nearly Half a Century; With Original Anecdotes of Many Distinguished Persons, Political, Literary, and Musical’ (1826), by Michael Kelly (1762-1826). With acknowledgments to ‘The Letters of Mozart and his Family’ (1938) by Emily Anderson (1891-1962).

* Meaning his children, an allusion to Psalm 128:4 in the Coverdale translation used in the Church of England.

* Punch is a varied mixture of alcoholic drinks and fruit juices. It was introduced to England and thence to Europe in the late seventeenth century by employees of the British East India Company. The name is believed to derive from the Hindi word paanch meaning ‘five’, an allusion to the drink’s five traditional ingredients of alcohol, sugar, fruit juice (lime or lemon), water, and spices.

Précis
Kelly went on to give a pen-portrait of Mozart, who had just turned twenty-seven, as a man of slight build who was a little fussy about his hair and outrageously talented, surpassing everyone as a musician, a dancer and even on the billards table. The great composer had a weakness for punch, but was always kindhearted and anxious to please.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate his ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

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