Kitabı oku: «Blackwood's Edinburgh Magazine, Volume 59, No. 364, February 1846», sayfa 7

SOMETHING MORE ABOUT MUSIC

We mused on music some while ago; and as the subject still haunts us – very much after the manner of an obstinate ghost that refuses to be laid, even by the choicest Latin – we are strongly disposed to try the effect of giving it full swing for once; and in idle mood, too idle to oppose ourselves to its tyranny, letting it carry us whither it will, in the hope that, in return for our complacence, it may in future suffer us to conduct our meditations according to our own pleasure, and give that sad and serious thought, which their merits demand, to the gravities of this life – to corn-laws and poor-laws, (of all sorts!) and the Irish question, and the debates to which all these give occasion, in reading which we have already worn out we know not how many pairs of spectacles, and one pair of excellent eyes; and last, not least, to the marchings and counter-marchings of the House of Commons, in which we are deeply interested.

With such a course of study before us, we are disposed to make the most of our holiday; and should we chance to be a little too frisky, it must be borne in mind that retribution is at hand, and that we shall speedily become as solemn as ever a fool in the land, as dull as an owl bathing its eyes in the morning sunshine, which – having overslept itself – it takes for the full moon, and dismal enough to satisfy the most ardent advocate of the religious duty of being miserable, – eschewing laughter as we would the tax-gatherer, and refreshing our oppressed spirits alone with serious jokes, and such merriment as may be presented to us under the sanction and recommendation of a college of dissenting divines!

But our harp will be a mingled one, for so is our theme; having a sympathy alike for our mirthful and sorrowful moments, which it alike spiritualizes; striking the light, gleesome chord to the one, and attuning the soul to more ethereal joy; while by its soft influence it tones down the harshness of bitter, unavailing sorrow, and woos the heart, misanthropizing under the pangs of grief or unrequited love – pent up in its own solitude, unpitied and uncared for – and filled with dark thoughts, and sad sounds, and tones of plaintive winds, sighing through the cypress and doleful yew with mournful melody around the resting-place of the loved and lost, to submissive lamentings, and slow stealing tears that assuage its aching anguish and tranquillize the spirit, leading it to the hope of a brighter future, in whose dawning beams it will, ere-long, show like "the tender grass, clear-shining after rain" – more glistening and beautiful for the invigorating dews of the cloud which had overhung it, and beneath whose gloom its beauty faded away – for very trouble!

How often have we found that hard, bitter mood into which the mind under the pressure of suffering which is irremediable, and which has to be borne alone, is so apt to decline – feeling the harder and the bitterer for the careless, galling gaiety of all around – softened, subdued, yea, utterly broken up by the sweet notes of "some old familiar strain," that steal on the willing ear, freshening and exhilarating the spirit like a breezy morning in June, when it seems a sin to be wretched; the twittering birds on dancing boughs crying shame on us, for what is not only wrong, but, as we begin to feel, needless – not to say foolish; and we return from our stroll, wondering what in the world we have done with that load on our chest with which we began our walk – ending in a regular ramble – and which it then seemed incumbent on us, nay, a sacred duty, to pant under for the term of our natural lives; relieving ourselves by such sighs and groans as appeared to us the appropriate forms of expression for all human beings under the sun – made on purpose to be unhappy; we especially, fulfilling the end of our creation. And as we mark the change that has passed upon us – the bounding circulation in place of flagging energies – full, calm breathing, instead of the slow, short respiration of sadness – with reverent heart we bless nature, and, may we say also, nature's great Architect, all-merciful, all-loving!

Such on us is frequently the effect of music; the heaviness of heart, caused by the weary rubs of this rough world, or the result of a temperament that has a constitutionally jarring string in it, is as it were drawn out, and sweetness and calm-breathing tranquillity infused in its stead; while our nerves become as the harmonious strings of a harp, that respond in sympathy with the master chords of one with which it is in unison, and whereon the fresh breeze of morning lightly plays, calling forth sounds of joy and gladness. Therefore do we love it, with a warmth of affection that may perchance appear extravagant to those whose robust, well-balanced minds, clothed with strong, healthy, unsusceptible bodies – people who are always in good spirits, unless there be a reason for the contrary – may render them independent of such external influences, for we must acknowledge, that we do at times express this our affection in somewhat unmeasured phrase, as one who stays not accurately to calculate, and weigh with cool precision, the virtues of a friend, thus laying ourselves open to the unmitigated condemnation of those who soar above, (or sink below!) such sympathies.

Be it so! We are not about to enter into any vindication of ourselves; we shall not even attempt to convince these dull souls, that it is possible for elevated feeling, and repose and tenderness of mind, to be indebted for their origin to such insignificant and material sources as catgut and brass wire – and that they are not therefore to be undervalued; though by way of illustration of the influence of matter over spirit, we would remind them of their own humane and charitable feelings after dinner, compared with the fierce, nay, atrocious sentiments, which their consciences convict them of having entertained, before the pangs of their raging hunger had been appeased by that inestimable mollifier of men's hearts and tempers. For the cause of their insensibility to such impressions – a natural incapacity for receiving them – it is vain to seek a remedy, however willing we might be to apply one; but where cure is impracticable, palliatives are frequently admissible, and we would suggest that one may be found in this case, in the patients' treating the unhappy privation under which they labour with greater tenderness than has been their wont, throwing over it that veil of oblivion and charity with which they so gracefully conceal their other defects, instead of obtruding it on public observation, under the singular misconception of its being an admirable feature in their character, a something of which a man ought to be proud. Conduct like this, they may rest assured, will not fail of being appreciated and rewarded by the corresponding delicacy with which all, who are not utterly barbarous, invariably treat him who, by the deprecating humility with which he seeks to conceal his deficiencies, betrays his painful cognisance of their existence.

We are aware that this is a turning of the tables upon them which they may not be disposed to admire – to be placed at the bar, when they expected a seat on the Bench, and were just smoothing down their ermine, and adjusting their wigs, in order to enter on their duties with the greater impressiveness and dignity; but they must believe us when we tell them, that we, too, have an opinion on this subject, to which we must be permitted to attribute as high authority as they possibly can to their own; and that, tried by this standard, they, being found wanting, would inevitably have been brought up for judgment, but for a merciful leaning, (sanctioned by legal precedent,) which prompts us rather to try the salutary effect of admonition and good counsel, than to proceed at once to inflict extreme penalties on the offenders – in short, that we are not in a hanging humour, or they should swing for it!

Grim, rough Luther, laying about him with his ponderous mace, and making giant Pope tremble in the deepest recesses of his stronghold, lest he should grow utterly savage with his perpetual warfare – albeit a "Holy war" – humanized and spiritualized himself with his lute – (who does not sympathize with his unfailing "Deus noster refugium," that divine stay of his stout heart that trembled not at men or devils!) Ken, undaunted opponent of the tyranny of a king – meek sufferer for that monarch's lawful rights, rose at day-dawn, or so soon as the first brief slumber had recruited his exhausted frame, to give thanks unto the King of kings in strains that, handed down to us, yet thrill the heart by their fervent piety, and plain, vigorous verse, and animate it to a stricter more manly rectitude. Herbert – saintliest of men and priests – after his sacred toils, refreshed his spirit with "divine music;" the more melodious to his ear, that his heart was teeming with the harmony of that "good-will towards man," which seeks and finds its due expression in active exertions on their behalf – disdaining not the lowliest occasion of serving with hearty zeal the lowliest of his neighbours. Rest assured, then, O reader! whosoever thou art, that it is not for thee to pretend to despise it!

Ponder the rather on the power of that art, that could soothe the perturbed soul of Israel's wrath-sent king – mad and moody – and even expel the evil spirit that goaded him; and on its dignity– for prophets of old, when the Divine inspiration came upon them, revealing to their purified eyes the "vision of the Almighty," uttered their "dark sayings upon the harp."

What a plague it sometimes is to be hag-ridden by a tune, racing through one's head, with a never-ending always-beginningness, as though a thousand imps were singing it in one's ears. Wherever you may be, whomsoever with, whatsoever doing, still ring on those incessant tones of perchance the merriest of all jigs, till – it is Sunday morning, and you are preparing for church – you leave your house with the entire and miserable conviction, that, seated in your pew in the very face of the congregation-genteel sinners in silks, and satins, and feathers – you will betray your long-concealed suffering by giving vent to that interminable "Rory O'More," the moment you open your lips for the emission of "All people that on earth do dwell;" so ensuring your rapid transfer to the street, under the escort of the man with the parti-coloured coat and black wand, whose Sabbath duties of jerking the Sunday scholars, and rapping their heads with that authoritative cane, are unceremoniously interfered with on your behalf. Misery and disgrace stare you in the face, and all through an undue titillation of that part of your sensorium that takes cognisance of musical sounds; a titillation not to be subdued by endeavouring to direct your attention from it to the very gravest of all subjects; nor propitiated even by audibly chanting the offending strain, previously retiring into the furthest corner of your coal-cellar, to prevent your unwilling profanity on shocking the strictly conscientious ears of your household. This is bad – and yet it is but a mild form of this morbid affection, which, in its most intense degree, torments the sufferer from fever, (or one stunned by some sudden and violent grief,) when certain sounds, words, or tunes, accidentally determined, thrill through the head with the steadiness and vehement action of the piston of a steam-engine – beat, beat, beat! – every note seeming to fall on the excited brain like the blow of a hammer; while, as the fever and pain increase, the more rapidly and heavily do those torturing notes pursue their furious chase. We well remember, under an attack of disorder in the neighbourhood of the brain, causing severe suffering, lying – we know not how long, it might be a thousand years for any thing we knew – singing over and over again in our mind, for we were speechless with pain, the 148th psalm, which we had just chanced to hear sung, in Brady and Tate's version, to a new and somewhat peculiar tune. Oh, how those "dreadful whales" and "glittering scales" did quaver and quiver in our poor head! Lying like a log – for pain neither permitted us to stir nor groan – still rattled on, hard and quick, the rumbling bass and shrill tenor of that most inappropriately jubilant composition – "cherubim and seraphim," "fire, hail, and snow," succeeding each other with a railway velocity that there was no resisting; no sooner had we got to "stands ever fast," than round again we went to the "boundless realms of joy," and so on, on, on, through each dreary minute of those dreary hours, an infinity, or perchance but twenty-four, according as time is computed by clocks or by agonised human beings. It made a capital Purgatory; one which we have even deemed every way adequate to those slight delinquencies of which we may have been guilty, and which are appointed, as it is understood, to be expiated in this way.

At times some simple air, or even a single chord of unusual, but apparently obvious harmony, will haunt us with a peculiar sweetness, producing a soothing, gentle sadness, as though we listened to distant bells, whose music is borne in surges on the breeze that sways the golden corn on a sunny Sabbath, when our pathway lies through the undulating fields, already "white unto the harvest;" where the pleasant rustling of the ripened grain, as it is stirred by the soft wind, is sweet and soothing; and the gay poppy, and other less obtrusive, though not less beautiful wild-flowers, bloom at our loitering feet. In the power of exciting such feeling, what can equal our old English ballads? There is an inexpressible charm in these, and we would almost give our fingers to be able to describe that indescribable something, which constitutes their peculiar fascination and power over the imagination. Most plain, most artless, does their composition appear; like the natural out-breathing of the heart in its sunny moments; and yet – as with all earthly brightness – with a trace of cloud on that sunshine. They are redolent of the "olden time;" and as they fall softly on the ear, the antique hall, with its groined roof, and mullioned window, glowing with rich heraldic devices, through which the many-tinted lights fall tenderly on arch and pillar, and elaborately fretted walls, studded with ancestral armour, rises up before us; and with the melting tones of the lute, mingles the low, clear voice of a gentle maiden, whose small foot and brocaded train are just seen from behind yonder deeply sculptured oaken screen. What innocence is in that voice! and how expressive are the chords that accompany it – less elaborate and fantastic, perchance, than might win favour in our vitiated ears; but natural, harmonious, full, and in exquisite subordination to the air, which they fill up and enrich, instead of overpowering with misplaced beauty.

And now a movement of the singer reveals still more of the quaint, beautiful costume, with its heavy, yet graceful folds, while – aha! what else do we see? – a plumed hat thrown carelessly on the ground; the armed heel, glittering rapier, and slashed sleeve, just visible, betokening that its owner is not far off, and that the lady fair has not, as we had thought, been wasting her sweetness, either of voice or countenance, on that comfortable-looking pet dog or caged linnet. Sing on, pretty one! for well do gallant knights love to hear their stern deeds sung by innocent lips; and right well, to listen to the strain that tells how the heart of "lady-bright" is won by noble daring. But what means that sudden break in the song, and the confused sweep of the strings, as though the lute had slipped from its owner's grasp; while the masculine paraphernalia which we had just discovered disappears altogether behind that most impervious and curiosity-mocking screen? No great harm done, or that light laugh had not escaped the lips so suddenly silenced; and the offending cavalier is doubtless forgiven on the spot, as they amicably retreat to that deep oriel, framed apparently for the express purpose of excluding intrusionists like ourselves, who would fain follow, where, it is evident, we are marvellously little wanted! Well, well! – maidens will be maidens, we trow, and lovemaking in the olden time is, we suppose, after all, vastly like the same performance by more modern actors. Leave we them to their light-heartedness: – and yet we could linger long in this ancient chamber, so calm, so cool, so repose-breathing, – the shrill twitter of the swallow the only sound now heard amid its silence; the fleecy clouds, throwing that rich interior into alternate light and shade, as they sail lazily along the deep blue sky – the only moving objects, save the long wreaths of ivy, that, green as the tender buds of spring, tap lightly against the casement, as they are swayed by the impulses of the summer breeze. Beyond, is an old-fashioned garden – a pleasance, as it would be called – and truly is it one; with its trim walks, its terraces, and moss-grown urns, around which luxuriant creepers are entwined – its impervious hedges – its close-shorn lawn, decked with appropriate statues, and its yew-trees, clipped into fantastic shapes; while the ivy-covered walls that bound it, afford a shelter from the blasts that too often allay the sunshine of our northern climate, and render it a spot where 'tis sweet to saunter, in idle or quiet contemplative mood, at glowing sunset; or chaster beauty of summer evening, when the pure, cold moon mingles her passionless lustre with the gorgeous hues that still linger around the portals of the west – bright train of the departing monarch that has passed to the sway of a new hemisphere!

"With quaint oak-carving lined and ceiled;"

Here could we linger in genial meditation, while from the dark pannelled walls look down upon us lovely countenances of those who, centuries ago, have called this home– portraits whose calm, meek dignity so far transcends the more active style in which it too often pleases us moderns to glare from our gilt frames, "looking delightfully with all our might, and staring violently at nothing;" costume and truth being utterly outraged, – the roturier's wife mapped in the ermine of the duchess, and perchance dandling on her maternal lap what appears to be a dancing dog in its professional finery, but which, on closer inspection, turns out to be an imp of a child, made a fool of by its mother and milliner; and my lady – in inadequate garments, and a pair of wings, flourishing as some heathen divinity or abstract virtue! Look at those girlish features, just mantling into fairest womanhood, with their sweet serious look, exhibiting all the self-possession of simplicity; the drapery and other accessories natural, and in perfect keeping with the unpretending character of the whole; and then turn to some recent "portrait of a lady," with what toleration you may. Contrast for one moment that fine ancestral face, dignified and unmoved as the mighty ocean slumbering in his strength, with the eager visage of one of the latest "batch," (cooked, without much regard to the materials, for some ministerial exigency,) who would appear to be standing in rampant defence of his own brand-new coronet, emulative of the well-gilt lion which supports that miracle of ingenuity rather than research, his brightly emblazoned coat-of-arms; whose infinitude of charges and quarterings do honour to the inventive genius of the Herald's Office, and are enough to make the Rouge Dragon of three centuries ago claw out the eyes of the modern functionary.

But, oh dear, dear! where are our ballads all this while? Drifted sadly to leeward, we fear, according to a bad habit of ours, of letting any breeze, from whatever point of the compass it may chance to blow, fill our sails, and float us away before it, utterly unmindful of our original purpose and destination. Thus have we, to the tune of an old Hall and its garniture, sailed away from that which we were aiming – trying to find out, and describe the peculiar fascination of our loved old ballads; flattering ourselves, perhaps, that we were escaping a difficulty which we feared to meet.

There is a quaint cheerfulness in them, toned down with a shade – the shadow of a shade – of the most touching melancholy, effected, we can scarcely tell how, by an exquisitely felicitous, though but slight introduction of the minor key, perchance but a single note or chord. But that suffices, and it is as a sudden vision of our home, far off among the mountains, or in the "happy valley" of our fathers, passing before us in the gay crowded city, bringing plaintive thoughts of remembered joys, and quietude, and childish innocence. Old ballads are like April skies, all smiles and tears, sunshine and swift-flitting clouds, that serve but to heighten the loveliness they concealed for a while. They are like, – nay, we despair; none but our own Shakspeare can express what we should vainly puzzle ourselves to describe, the essence of the "old and antique song."

"Mark it, Cesario; it is old and plain;

The spinsters and the knitters in the sun

And the free maids that weave their thread with bones,

Do use to chaunt it; it is silly sooth,

And dallies with the innocence of love,

Like the old age."

Ay! like gray eld fondling sunny childhood, gazing on the wavy hair, and pure brow, and calm yet kindling eye, with a fond sad pleasure; for in that young exulting spirit he sees the sure inheritor of his own fading honours, the usurper of his strength, and influence, and worship, rapidly passing away from his feeble grasp; and as he gazes, though his lips pour willing benedictions on the unconscious supplanter, there lingers in his heart the sorrowful, "He shall increase, but I shall decrease."

Something akin in their sad soothing effect, are the waits, (dear reader, you do not need to be told what these are? Wordsworth has immortalized them;) simple, rude, and inharmonious as they would be in the clear, truth-telling daylight, but strange, witching, and half unearthly, when heard between the pauses of some fantastic dream in the deep midnight; when,

"All around,

The stars are watching with their thousand eyes;"

those same stars that peered down on this earth, in "earnest gaze," on the first act of that most awful drama, when, in "the winter wild, the heaven-born child" – Him in whom all nations of the world were blessed – was placed in his rude cradle at Bethlehem: in commemoration of whose advent – and this is one secret of their pathos, waking high thoughts in the soul, too long brooding over and degrading itself with the mean cares and hopes of this life – the humble musicians make night tuneful, "scraping the chords with strenuous hand."

A blessing on them as they go, softening our hard, unloving hearts! In our childhood it was one of our most cherished pleasures to lie – half-sleeping, half-waking – listening to them, as the sounds, at times discordant enough, though of that we recked not, rose and fell in pleasing cadence, as the winter wind rose and fell, wafting the notes that, faint and fainter still, at last died away in the distance.

We and our room-companion were under a solemn engagement, each to other, to waken the little sleepy thing beside him, when the more watchful became aware of the approach of the itinerant minstrels; and woe to the one who had forgotten this duty! It would have required no little "music" to soothe the "savage breast" of the aggrieved one; for – as we are pathetically reminded by the old song – "Christmas comes but once a-year," and so often, but no more, did we know that our chance of hearing this seductive harmony occurred. Hence our wrath, if through the neglect, the "breach of promise" of another, so solemnly pledged, we missed it. And even now, dear as is the oblivion of night and dreamless sleep to the spirit, harassed and world-worn, that in outgrowing its child-like feelings and happiness, has, alas! also out-grown what its increase of worldly wisdom can hardly make amends for – the child-like purity, and intense enjoyment of simple pleasures, which marked its earlier years – even now, weary and dull-hearted as we are become, we would not willingly lose this delight of our happier days, although it fall on the still darkness like wail for a departed friend, unsealing the fount of mournful memories, whose bitter waters gush from their stricken rock; sad as are its associations, they are of that sadness whereby the "heart is made better."

What think ye of the drum as a musical instrument? Is there not something magnificent in it, albeit suggestive of a distant wheelbarrow on rough paving-stones, or heavily laden cart in the distance? This latter, by the way, – we appeal with confidence to any musical soul present for confirmation of our assertion – being decidedly its equal, in effect, any day; as in our happy infancy we found out to our sorrow, from being frequently deceived by its dull booming, which our vivid imagination at once pronounced to be its parchment representative; as we writhed and wriggled with agony on our unhonoured bench (selected, and adhered to, for constancy was our forte, chiefly on account of its being out of the reach of the cane, and commanding a good view of the street) in a perfect fever, poor little soul, to squirl away books and slates, and scamper after the soldiers. Scarlet has been said to be like the sound of a trumpet; surely then a drum must be taken as the exponent of that ferocious mixture yclept thunder and lightning, erst dear to country bumpkins, and rendered classical by Master Moses Primrose's coat. It can scarcely be described as music, but rather as sound with an idea in it – the connecting link between mere noise and musical expression. Kettle-drums,

 
"Whose sullen dub,
Is like the hooping of a tub,"
 

we hate; and never see them in a concert-room without heartily wishing they and their tatooer might tumble, helter-skelter, from their topmost perch into the very lowest depth, if there be one lower than another, of the orchestra; and thereby sustain such a compound fracture, attended by loss of substance, as should put it out of their power, for that night at least, to torture our fastidious ears. Being of a melancholy temperament, we are unfortunately, at times, subject to most ludicrous fancies; and as these ungainly instruments loom on our disgusted eye, we cannot, for the life of us, help imagining them moulds for a couple of enormous gooseberry puddings; and we verily pant at the idea of the sea of melted butter, or yellow cream, requisite to mollify their acidity – and then we laugh like a hyena at the nightmareish vision, and so are disgraced, for it is at a "serious opera: " therefore, we repeat it, do we hate them, cordially and perseveringly. They are horrid things, and ought to be excommunicated. And when employed in military bands – why, a horse looks a complete fool between a couple of these gigantic basins, each with its long tag-rag of unmeaning velvet, beplastered and bedizened with lace and gold, streaming from it; and the unlucky performer perched between them, exactly like an old market-woman, bolstered up between a brace of paniers or milk-pails; – any thing but a fierce dragoon, or most chivalrous hussar. But peace be to the kettle-drums, – ay, peace be to them, say we! and may our ears never again be subjected to the torture of hearing Handel's massive chorus, or Beethoven's fearfully dramatic harmony, disfigured by their most abominable bangs, or villanous rumble-grumble.

Now all this is rank nonsense – we are fully aware of it; and it is a most foolish, unjust prejudice of ours against drums – kettle or otherwise, as it may please Apollo – which are most respectable members of musical society, and good – very good – in their way; were it only as a foil to the enchanting, inspiriting, maddening strains of the horn, the shrill pipe, the regal trumpet, and the various other instruments of our military music, of which we are more passionate admirers, almost ready to follow the drum ourselves. Oh, the supreme delight of having one's arms and legs shot off to such soul-elevating sounds, to the tune of Rule Britannia, and somebody or other's march! "Britons strike home" thrills through the air, and you scarcely feel that you are spitted by a Polish lancer; a flourish of trumpets, and enter a troop of horse, that trot briskly over you as you lie smashed by a round-shot, but heedless of the exhibition of their unceremonious heels to your injuries, for are you not sustained by that "point of war" – mercilessly beaten at your elbow, without the slightest regard to the effect it may have on your cracked head, for which you are indebted to the last trooper who spurred his charger over you: who would care for his vulgar limbs under such excitement? But if this part of our military economy be intended to inspire cowards with courage, and string them up to a disregard of all the chances of warfare, in the way of bullet and sabre, why —why is not so valuable an idea carried out to the full extent of its requirement, and a military band instituted for the comfort and encouragement of the patients (every whit as nervous as if they were under arms) of Guy's Hospital? Why should not the case of poor bedfast wretches in cap and gown, and pale faces, meet with as much consideration as that of your clodpole in scarlet and an 'Albert hat?' (Heaven forgive the prince for making such simpletons of our handsome Englishmen!) Look to it, ye governors of such institutions, and look to it, ye charitable and humane, who empty your purses into the blandly presented plate to buy shoes and stockings for the kangaroos. Consider the case of your afflicted countrymen, and relieve the plethora of your coffers by providing them music, every way equal to that enjoyed by troops going into action; music so entrancing that an arm or leg whipped off shall, under its influence, be no object to them; and let them drink down their odious physic to such masterly compositions of the first artists as shall sweeten the bitterest potion, and elicit a chorus of blessings on the taste and liberality of their munificent benefactors. But we fear that our pleading will be vain – Englishmen, poor, sick, and suffering, are intolerably uninteresting; not to be named on the same day with the happy possessors of woolly locks, flat noses, and copper-coloured skins; these being personal qualifications calculated to excite the intense sympathies of the many whose charity neither begins nor ends "at home." Yet, in the spirit of the little girl, who, on the denial of her request that she might be married, substituted the more modest one of a piece of bread and butter; if unsuccessful in this particular, we will be content to lower our tone, and, in place of the luxury we have recommended, simply require all whom it may concern to give the poor – their own! – honest wages for their honest labour.