| The Kabouters And The Bells
HAT A SIGHT! There were at least a hundred bells, of all sizes, like as in a family; where there are daddy, mother, grown ups, young sons and daughters, little folk and babies, whether single, twins or triplets. Big bells, that could scarcely be put inside a hogshead, bells that would go into a barrel, bells that filled a bushel, and others a peck, stood in rows. From the middle, and tapering down the row, were scores more, some of them no larger than cow-bells. Others, at the end, were so small, that one had to think of pint and gill measures.
Besides all these, there were stacks of iron rods and bars, bolts, nuts, screws, and wires and yokes on which to hang the bells.
One party of the strongest of the kabouters had been busy in the forest, close to a village, where some men, ordered to do so by a foreign teacher, had begun to cut down some of the finest and most sacred of the grand old trees. They had left their tools in the woods; but the "kabs," at night, seized their axes and before morning, without making any noise, they had levelled all but the holy trees. Those they spared. Then, the timber, all cut and squared, ready to hold the bells, was brought to the mouth of the mine.
Now in Dutch, the name for bell is "klok." So a wise and gray-bearded gnome was chosen by the high sounding title of klokken-spieler, or bell player, to test the bells for a carillon. They were all hung, for practice, on the big trestles, in a long row. Each one of these frames was called a "hang," for they were just like those on which fishermen's nets were laid to dry and be mended.
So when all were ready, washed, and in their clean clothes, every one of the kabouter families, daddies, mothers, and young ones, were ranged in lines and made to sing. The heavy male tenors and baritones, the female sopranos and contraltos, the trebles of the little folks, and the squeaks of the very small children, down to the babies' cooing, were all heard by the gnomes, who were judges. The high and mighty klokken-spieler, or master of the carillon, chose those voices with best tone and quality, from which to set in order and regulate the bells.
It was pitiful to see how mad and jealous some of the kabouters, both male and female, were, when they were not appointed to the first row, in which were some of the biggest of the males, and some of the fattest of the females. Then the line tapered off, to forty or fifty young folks, including urchins of either sex, down to mere babies, that could hardly stand. These had bibs on and had to be held up by their fond mothers. Each one by itself could squeal and squall, coo and crow lustily; but, at a distance, their voices blended and the noise they made sounded like a tinkle.
All being ready, the old gnome bit his tuning fork, hummed a moment, and then started a tune. Along the line, at a signal from the chief gnome, they started a tune.
In the long line, there were, at first, booms and peals, twanging and clanging, jangling and wrangling, making such a clangor that it sounded more like an uproar than an opera. The chief gnome was almost discouraged.
But neither a gnome nor a kabouter ever gives up. The master of the choir tried again and again. He scolded one old daddy, for singing too low. He frowned at a stalwart young fellow, who tried to drown out all the rest with his bull-like bellow. He shook his finger at a kabouter girl, that was flirting with a handsome lad near her. He cheered up the little folks, encouraging them to hold up their voices, until finally he had all in order. Then they practiced, until the master gnome thought he had his scale of notation perfect and gave orders to attune the bells. To the delight of all the gnomes, kabouters and elves, that had been invited to the concert, the rows of bells, a hundred or more, from boomers to tinklers, made harmony. Strung one above the other, they could render merriment, or sadness, in solos, peals, chimes, cascades and carillons, with sweetness and effect. At the low notes the babies called out "cow, cow;" but at the high notes, "bird, bird."
So it happened that, on the very day that the bishop had his great church built, with a splendid bulb spire on the top, and all nicely furnished within, but without one bell to ring in it, that the kabouters planned a great surprise.
It was night. The bishop was packing his saddle bags, ready to take a journey, on horseback, to Rheims. At this city, the great caravans from India and China ended, bringing to the annual fair, rugs, spices, gems, and things Oriental, and the merchants of Rheims rolled in gold. Here the bishop would beg the money, or ask for a bell, or chimes.
Suddenly, in the night, while in his own house, there rang out music in the air, such as the bishop had never heard in Holland, or in any of the seventeen provinces of the Netherlands. Not even in the old lands, France, or Spain, or Italy, where the Christian teachers, builders and singers, and the music of the bells had long been heard, had such a flood of sweet sounds ever fallen on human ears. Here, in these northern regions, rang out, not a solo, nor a peal, nor a chime, nor even a cascade, from one bell, or from many bells; but, a long programme of richest music in the air--something which no other country, however rich or old, possessed. It was a carillon, that is, a continued mass of real music, in which whole tunes, songs, and elaborate pieces of such length, mass and harmony, as only a choir of many voices, a band of music, or an orchestra of many performers could produce.
To get this grand work of hanging in the spire done in one night, and before daylight, also, required a whole regiment of fairy toilers, who must work like bees. For if one ray of sunshine struck any one of the kabouters, he was at once petrified. The light elves lived in the sunshine and thrived on it; but for dark elves, like the kabouters, whose home was underground, sunbeams were as poisoned arrows bringing sure death; for by these they were turned into stone. Happily the task was finished before the eastern sky grew gray, or the cocks crowed. While it was yet dark, the music in the air flooded the earth. The people in their beds listened with rapture.
"Laus Deo" (Praise God), devoutly cried the surprised bishop. "It sounds like a choir of angels. Surely the cherubim and seraphim are here. Now is fulfilled the promise of the Psalmist: 'The players on instruments shall be there.'"
So, from this beginning, so mysterious to the rough, unwise and stupid teachers, but, by degrees, clearer to the tactful ones, who were kind and patient, the carillons spread over all the region between the forests of Ardennes and the island in the North Sea. The Netherlands became the land of melodious symphonies and of tinkling bells. No town, however poor, but in time had its carillon. Every quarter of an hour, the sweet music of hymn or song, made the air vocal, while at the striking of the hours, the pious bowed their heads and the workmen heard the call for rest, or they took cheer, because their day's toil was over. At sunrise, noon, or sunset, the Angelus, and at night the curfew sounded their calls.
It grew into a fashion, that, on stated days, great concerts were given, lasting over an hour, when the grand works of the masters of music were rendered and famous carillon players came from all over the Netherlands, to compete for prizes. The Low Countries became a famous school, in which klokken-spielers (bell players) by scores were trained. Thus no kingdom, however rich or great, ever equalled the Land of the Carillon, in making the air sweet with both melody and harmony.
Nobody ever sees a kabouter nowadays, for in the new world, when the woods are nearly all cut down, the world made by the steam engine, and telegraph, and wireless message, the automobile, aeroplane and submarine, cycle and under-sea boat, the little folks in the mines and forests are forgotten. The chemists, miners, engineers and learned men possess the secrets which were once those of the fairies only. Yet the artists and architects, the clockmakers and bellfounders, who love beauty, remember what their fathers once thought and believed. That is the reason why, on many a famous clock, either in front of the dial or near the pendulum, are figures of the gnomes, who thought, and the kabouters who wrought, to make the carillons. In Teuton lands, where their cousins are named kobolds, and in France where they are called fÈe, and in England brownies, they have tolling and ringing of bells, with peals, chimes and cascades of sweet sound; but the Netherlands, still, above all others on earth, is the home of the carillon.