Part 26 (2/2)

On the occasion of a love scene between a great harpist and a lady, I have heard the following, amongst many other sentiments, expressed by the harp: First Lenordi the harpist expressed his glowing sympathy, his admiration of beauty, of goodness, his pleading to be heard, his hope that no other occupied the lady's thoughts, his despair if his prayers were not listened to, hope, expressions of eternal devotion; in short, all the possible outpourings of a loving heart. It would be too tedious to tell you all he conveyed, but he ended thus, ”Thou art pure as the dew upon the leaf of opening day ... but like to that dew wilt thy love pa.s.s away!”

Giola--the lady--took her place at the harp, and played a response expressing the following:--”Would I might believe these flattering vibrations, and the bright hopes raised within an hour to wither in a day.

”Could they but last, the skies above would pale beneath their brightness.

”Yet I would not doubt thee; thy every look makes life a dream of love.”

The player then made excuses for her seeming enthusiasm, by declaring that even inanimate matter is moved by his soul-stirring strains.

”Every flower and every tendril is moved by thee, for, like thee, they are fresh and gently gay.”...

This led eventually to a ”choice” meeting, and the marriage was attended with many interesting incidents. Their history would of itself form a curious romance!

Every one competent is educated in the meaning of the harp-sounds, and the instruction in this branch of study commences at an early age.

Certain sentences are written, and a sound is given out and repeated till the young person thoroughly understands what he has heard. Then the sentence is renewed, perhaps, in connection with another sentence, the accompanying sound is given, and in a short time the student says the word or sentence accompanying every sound, and thus he soon learns how to use these sounds, and how to vary and combine them, just as an alphabet or series of words would be used by an able writer.

When the instrument is used as a subsidiary agent, and the player accompanies his own or another's voice with words, he plays an accompaniment implying words, but not so as to attract attention from the singer. There are certain accompaniments which are adapted to anything that might be sung. These, however, the player can vary, if his talent is sufficient.

Our songs are generally spontaneous effusions, but there are songs with which certain words are permanently a.s.sociated.

The harp itself is beautiful as a work of sculptural art. Around its framework most elegant and tasteful ornaments are executed with the minutest perfection--small birds of variegated plumage perched on graceful foliage of green enamel, with flowers in their natural colours, so executed as closely to resemble nature. The birds, flowers, and foliage are connected with the chords of the harp, and conceal from view small vases or reservoirs set in the framework of the instrument. From these with every touch of the chords a beautiful fragrance is exhaled, the force or delicacy of which depends on the more powerful or gentler strains produced from the instruments.

The instant the player strikes the chords, the little birds open their wings, the flowers quiver in gentle action, and then from the vases are thrown off jets of perfume. The more strongly the chords are touched, the more powerfully does the fragrance play around.

In tender pa.s.sages the perfume gradually dies away, till it becomes so faint as to be appreciated only by the most delicate organisations. The result, however, is, that the sense is gratified, the heart touched, and the whole soul elevated. I have seen the most ardent natures calmed and rendered gentle by the divine strains of this angelic instrument.

It is said that in the angelic spheres flowers breathe music as well as fragrance, and that the sound itself has form, colour, and perfume. This belief suggested the thought of uniting them in harmonious concert for the gratification of those who had exercised the gifts accorded them by Heaven to a good end. As they had gained their position by their own merit, it was sought in every way to increase their happiness and their enjoyments. Nothing that art could produce was thought too good for them.

I loved the world. The wicked only are impatient and discontented. I knew that blessings are everywhere about us, though we are expected to exercise our intelligence to make them available; and whilst I inculcated that ”intemperance is not enjoyment,” and that ”intemperance destroyed the power of enjoyment,” I did not hesitate to tell my people that the world and the blessings everywhere abounding are given us to enjoy, and that, like guests invited to a banquet, we were neither to run riot nor to reject the good things offered us in love.

XLI.

SOCIAL INTERCOURSE.

”The contact of society is necessary for the nurture and preservation of the generous feelings implanted in us by the Great Spirit.”

In the system I inaugurated, where every man pursued his occupation with enthusiastic delight, because he was engaged in that for which nature and education had fitted him, it became necessary to enjoin recreation and amus.e.m.e.nt as a duty, particularly in the case of learned men, whose attention was concentrated on one particular subject.

Before my reign learned men had been sometimes p.r.o.ne to seclude themselves from the world, while the opulent indulged in amus.e.m.e.nts to excess, and had indeed need of laws rather to restrain than to enjoin indulgence. Now, however, few, except the ”humble” cla.s.ses (for we have no ”poor” in your sense of the word), would have sought after diversions had not my laws enjoined them as a duty.

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