Tone Deaf

HE was much liked by Bennett’s friends, he paid his calls upon them with a polite regularity, and always knew where to find a late dinner — for he was a bit of a gourmet — when there happened to be none at his own house. There was, however, one of his master’s best friends of whom he lived in terror. When Bennett came home from a concert, Pug would rush to the front door to meet him; but if Joachim,* with violin-case in hand, also appeared on the threshold, he instantly turned tail and made a bolt for the kitchen. After supper, Joachim would go to the top of the kitchen-stairs and begin to play, while poor Pug’s pathetic howls would respond from the furthermost recesses of the basement. But the criticism was acute in more senses than one, for Pug paid very little attention to violinists of a less exalted order. The king of them could alone make him crouch.

From ‘The Life of William Sterndale Bennett’ (1907), by his son J.R. Sterndale Bennett.

* Joseph Joachim (1831-1907), even to this day probably the greatest violinist of all. Bennett came to know Joachim in 1844, through Mendelssohn. The thirteen-year-old Hungarian prodigy was due to visit his uncle, a merchant, in London, and Mendelssohn entrusted him with a letter for Bennett. “Of all the young talents that now go through the world” Mendelssohn confided in his letter “I know none that is to be compared to this Violin-player.”

Précis
Pug would take pot luck with Bennett’s friends when his master was out, but preferred to be at home whenever Bennett returned from a concert — unless Bennett brought home Joseph Joachim. Pug would then bury himself in the basement: Joachim was the greatest violinist of his age, yet strangely enough the only one Pug could not bear to hear.
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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