Such Is Life (55 page)

Strange phenomena follow the footsteps of Night. It has long been observed that avalanches and landslips occur most frequently about midnight, and especially on moonless midnights, when the sun and moon are in conjunction at the nadir. This is the time when mines cave in; when loose bark falls from trees; when limbs crash down from old, dead timber; when snow-laden branches break; when all ponderable bodies, of relatively slight restraint, are most apt to lose their hold. This may be definitely and satisfactorily accounted for by the mere operation of Newton's Law. At the time, and under the conditions, specified, the conjoined attraction of sun and moon—an attraction sufficient to sway millions of tons of water, in the spring tides—is superadded to the centric gravity of the earth, the triple force, at the moment of midnight, tending toward the nadir, or downward. So that, when these midnight phenomena are most observable at one point of the globe, they will be least likely to make mid-day manifestation at the antipodes to that point.

And, though changes of the moon—as copiously proved by meteorological statistics—have no relation whatever to rainfall, the illuminated moon, on rising, will rarely fail to clear a clouded sky. This singular influence is exercised solely by the cold light of that dead satellite producing an effect which the sunlight, though two hundred times as intense, is altogether powerless to rival in kind. When we can explain the nature of this force adherent to moonlight, and to no other light, we may inquire why, in all ages and in all lands, the verdict of experience points to moonlight as a factor in the production and aggravation of lunacy. An empirical hypothesis, of course; but in the better sense, as well as in the worse. For the perturbing influence of moonlight, if it be a myth, is about the most tenacious one on earth. This anomalous form of Force may or may not be observable in asylums, where the patients are not directly subjected to it; but anyone who has lived in the back country, camping out with all sorts and conditions of oddities, need not be accounted credulous if he holds the word ‘lunatic' to rest on a sounder derivation than ‘ill-starred,' or ‘disastrous.'

But the sub-tropical moonlight—strong, chaste, and beautiful as its ideal queen—soothes and elevates the well-balanced mind. I took from my pack-saddle the double-tongued jews-harp I always carry; and, sitting on the floor with my back against the door-post, unbound the instrument from its square stick, and began to play.
It is not the highest class of music, I am well aware; and this paragraph is dictated by no shallow impulse of self-glorification. But I never had opportunity to master any more complicated instrument; and even if I had, it wouldn't be much use, for I know only about three tunes, and these by no means perfectly.

So I played softly and voluptuously, till my scanty repertory was exhausted, and then drifted into a tender
capriccio
. I noticed Alf move uneasily on his bed; but, knowing the effect of music on my own mind, and remembering Moriarty's and Montgomery's independent panegyrics on the boundary man's skill, I felt put on my mettle, and performed with a power and feeling which surprised myself.

“Do you like music?” asked Alf, at length.

“Like it!” I repeated. “I would give one-fourth of the residue of my life to be a good singer and musician. As it is, I'm not much of a player, and, still less of a vocalist; but I'll give you a song if you like. How sweetly everything sounds to-night.” Bee-o-buoy-bee-o-buoy-bee-o-buoy—

“Do you like jews-harp music?” interrupted Alf, sitting up on the bed.

“Not if I could play any better instrument—such as the violin, or the concertina; though I should in any case avoid the piano, for fear of flattening the ends of my fingers. Still, the jews-harp is a jews-harp; and this is the very best I could find in the market. Humble as it looks, and humble as it undeniably is, it has sounded in every nook and corner of Riverina. Last time I took it out, it was to give a poor, consumptive old blackfellow a treat; and now, you see, I tune, to please a peasant's ear, the harp a king had loved to hear.” Bee-o-buoy-bee-o-buoy-bee-o-bee-o-bee-o-buoy—

“I'll give you a tune on the violin, if you like,” exclaimed my companion, rising to his feet.

“Thank-you, Alf.”

I carefully re-packed my simple instrument, while the boundary man took from its case a dusky, dark-brown violin. Then he turned down the lamp till a mere bead of flame showed above the burner, resumed his seat by the table, and, after some preliminary screwing and testing, began to play.

Query: If the relation of moonlight to insanity is a thing to be derided, what shall we say of the influence of music on the normal mind? Is it not equally unaccountable in operation, however indisputable in effect? Contemplate music from a scientific standpoint—that is, merely as a succession of sound-waves, conveyed from the
instrument to the ear by pulsations of the atmosphere, or of some other intervening medium. Music is thus reduced to a series of definite vibrations, a certain number of which constitute a note. Each separate note has three distinct properties, or attributes. First, its intensity, or loudness, which is governed by the height, depth, amplitude—for these amount to the same thing—of the waves produced in the medium. Second, the timbre, or quality, which is regulated by the shape, or outline, of these waves. Third, the pitch, high or low, which is controlled by the distance from crest to crest of the sound-waves—or, as we say, from node to node of the vibrations.

To the most sensitive human ear, the highest limit of audibleness is reached by sound-waves estimated at twenty-eight-hundredths of an inch from node to node—equal to 48,000 vibrations per second. The extreme of lowness to which our sense of hearing is susceptible, has been placed at 75 feet from node to node—or 15 vibrations per second. This total range of audibleness covers 12 octaves; running, of course, far above and far below the domain of music. The extreme highness and lowness of sounds which convey musical impression are represented, respectively, by 2,000 and by 30 vibrations per second—or by sound-waves, in the former case, of 6½ inches, and in the latter, of 37½ feet.

Therefore, there are not only sounds which by reason of highness or lowness are unmusical, but, beyond these, others to which the tympanum of the human ear is insensible. Nature is alive with such sounds, each carrying its three distinct properties of intensity, timbre and pitch; but whilst this muddy vesture of decay doth grossly close us in, we can no more hear them than we can hear the ‘music of the spheres'—apt term for that celestial harmony of motion which guides the myriad orbs of the Universe in their career through Space. But, to take an illustration from the visual faculty: any sound beyond the highest limit of audibleness would resemble a surface lined so minutely and closely as to appear perfectly plain; whilst a sound too low in pitch to be heard would be represented by superficial undulations of land or water so vast in extent that the idea of unevenness would not occur. We have fairly trustworthy evidence that whales communicate with each other by notes so low in pitch—by sound-vibrations so long in range, so few per second—that no human ear can detect them. Bats, on the other hand, utter calls so high—producing such rapid pulsations—as to be equally inaudible to us.

Unison of musical notes is attained when the respective numbers
of pulsations per second admit a low common-divisor. For instance, the note produced by 60 vibrations per second will chord with one produced by 120—each node of the former coinciding with each alternate node of the latter. 60 and 90 will also chord; 60 and 70 will produce discord; 60 and 65, worse discord. And so on. The science of musical composition lies in the management of sound-pulsation, and is governed by certain rigid mathematical laws—which laws the composer need not understand.

Air-movement may, of course, take place without sound-vibration, for air is only incidentally a sound-conductor. Earth, metal, water, and especially wood (along the grain), are better media than the atmosphere, for transmission of sound. But sound may be transmitted without vibration of intervening sound-media. The electric current, passing along the telephone wire, picks up the sound waves at one end, and instantaneously deposits them, in good order and condition, at the other end—say, a couple of hundred miles away.

So that the brilliant pianist of the concert hall; the cornet-player of the ‘Army' ring; the blind fiddler at the corner; the mother, singing her angel-donation to sleep; Clancy, thundering forth something concerning his broken heart, whilst tailing up the stringing cattle; the canary in its cage; the magpie on the fence—are each setting in motion the complex machinery of music, and with about equal scientific knowledge of what they are doing. To the philosophic mind, however, they are not playing or singing; they are producing and controlling sound-vibrations, arbitrarily varied in duration and quality; a series of such pulsations constituting a note; a series of notes constituting an air. These vibrations are diffused from the instrument or the lips, at a speed varying with temperature, media, and other conditions; they ripple, spread, percolate, everywhere; they penetrate and saturate all solids and gases, yet are palpable corporeally only to the tympanum of the ear, and mechanically (as yet) only to the diaphragm of the phonograph.

Such, however, is the scientific analysis of music. Spoken language appeals by the same process, but with very different effect. No one can understand a language which he has not previously learned, word by word; and the verbal appeal, however imaginative or spiritual, comes in concrete form—that is, in the nature of information. Spoken words inform the emotional side of our nature, through the intellectual; whereas music, operating outwardly in the same manner, speaks over the head of intellect to an inborn sense which ceases not to receive as a little child. And herein lies its mystery.

For the music thus impassively anatomised by Science is a voice from the Unseen, pregnant with meaning beyond translation. A mere ripple of sound-vibration, called into existence by human touch; a creation, vanishing from its birth, elusive, irreclaimable as a departing soul, yet strong to sway heart and hand as the tornado sways the pliant pine. It is a language peculiar to no period, race, or caste. Ageless and universal, it raises to highest daring, or suffuses with tenderness, to-day and here, as once on Argo's deck, or in the halls of Persepolis. Purely material in origin and analysis, easily explicable in mere physical operation, its influence is one of the things that are not dreamt of in the philosophy of Science. Why should a certain psychological effect ensue upon certain untranslatable sounds being placed in a given relation to each other, and not when the same sounds are placed in another relation?—and why should that effect be always upward? Why should the composer be perforce a prophet of the sphere above earth's murky horizon—the musician his interpreter—charged with embassy of peace, and fortitude, and new-born ardour, to the troubled, and weary, and heavy-laden? Has ingenuity never distilled from music any spirit of evil?

None. Euterpe alone of the Muses defies seduction. Harmony is intrinsically chaste. There is no secular music; all music is sacred. Whatever the song the Sirens sang, its music was pure; and no less pure were the notes which breathed from Nero's lute, whilst the blaze of ten thousand homes glutted his Imperial lust for spectacle. Divorce the unworthy song, stay the voluptuous dance, and the music suffers no clinging defilement; the redeemed melodies, stainless as fresh-fallen snow, may be wedded to songs of gallant aspiration or angelic sympathy, which shall raise the soul awhile above earth's sordid infection, disclosing the inextinguishable affinity of the divine part of man's dual nature with the dream-like possibility of Eden-purity, and fearless faith, and love unspeakable.

The story of the Thracian lyre soothing the horrors of the underworld, and melting to relentment its gloomy king—the story of the shepherd-minstrel's harp chasing the shapeless penumbra of looming insanity from the first Hebrew brow crowned in Jehovah's despite—the story of the mighty prophet Elisha, fettered to earth by wrath and scorn till, at his own command, the music swelled, and his enfranchised spirit rose on its viewless wings to behold the veiled Future already woven from the tangled skein of the troubled Present—the thousand-fold story of music's magic and mystery,
stretches back into the forgotten Past, and onward into the imagined Future.

Onward into the fathomless eternity; for though ‘the heaven of each is but what each desires'—though the Aryan heaven be a place of gradation and precedence, a realm to reign in—though the heaven of the Jewish apostle-seer burn with the gold and sparkle with the gems dear to his race—though the paradise of the sun-scorched Arab be dark with shade of evergreen trees, and cool with ripple of never-failing streams—yet is the universal art so intertwined with ideal bliss that no heaven of conscious enjoyment has been pictured by belated humanity but music rings for ever there. For alas! what else of mundane achievement can fancy conceive as reproduced in regions of eternal perfection, or transplanted thither? Science is of the earth; ever bearing sad penalty, in toil of mind and body—and what art, save music, has man dedicated to Deity-worship, without disappointment and loss? Doubtfully, Architecture; and for such consecration we have found no more expressive name than ‘frozen music.'

This unknown anchorite's playing was both a mystery and a revelation. I had never before heard anything to compare with it, nor do I expect ever to hear the like again. Talent, taste, feeling, were there, all in superlative degree, and disclosed with the unassuming confidence of power; whilst long and loving practice in solitude had averted a certain artificiality which, in the judgment of the unitiated, generally accompanies musical skill. His was no triumphant mastery of a complicated and perplexing score; he was a sympathetic interpreter, a life-breathing, magic-lending exponent of his composer's revelations, now his own. Solitary practice, with no one but himself to please, would unavoidably give a distinct character to his performance, and this character was evident from the first; it was melancholy—a weary, wistful melancholy, beyond repining or tears, beyond impatience or passion; it was the involuntary record of a gentle heart breaking slowly under discipline untempered by one ray of earthly hope.