THE HARP.
"Music….the emanation of the concentrated light of the soul….The language of the angels."
The harp is our principal musical instrument. We have one that is portable and in form like a lyre; but our great harp is much larger than yours, differently constructed, and far more effective, combining, as it does, in its tones all the delicacy, expression, and oneness of a single executant, with the brilliancy and power of a combined body of performers.
It rests on a ball firmly placed on a massive pedestal, which is easily moved from one place to another by means of small wheels. The ball on which the harp rests revolves in a socket, so that the instrument can easily be placed in the position the performer desires, and then, by means of a bolt, fixed firmly in its place. No support from the executant is needed. The harp does not rest upon him in any way, and he has, at the same time, entire power over every part.
The instrument is divided into fourths, that is, into four sets of chords. The first only of these four sets is touched by the player, but on any of the first set being intoned, each corresponding string of the three other sets, all of which are stouter and more powerful than the set played upon, resounds in harmony.
The power given out by the three sets of strings is proportioned to the sound produced on the first set by the performer, as the force of an echo is stronger or weaker according as the sound producing it is increased or diminished in volume.
In the framework of the harp there are conducting strings of electricity, which unite all the rest with the first set and with each other. The electricity is generated by a liquid contained in a small tube, and is set in motion by the movement of the strings of the first set of chords. The tube can be placed in or removed from the instrument with the greatest ease; without it, the first set alone responds to the player's touch.
The musician has the power of varying and depressing the notes of the instrument in a marvellous manner, so as to produce instantaneously the most delicate or the most powerful sounds, with endless modulations and variety of tone. I have heard echoes and responses given out as though the music had been breathed from a great distance;—the gentlest whispers were alternated with all the force of a band of music.
I could not, without much expenditure of time and labour, and without explaining our science of music, which is altogether different to yours, convey to you an adequate notion of the effect produced by a skilful player. I have seen a multitude turned away from evil designs by the exquisite playing of the harpist—their passions calmed, their thoughts raised from earth to heaven.
By the aid of little knobs on the instrument, the diapason can be changed to an extent that you would not credit, for it has reference to a system different to yours. The compass and extent of sound given by our harps is very considerably higher than the notes produced by your violins, and deeper than the lowest notes given by your contrabassi.
We do not count by octaves, but by touching twos or threes different characters of sounds are produced, indicated by names such as—gaiety, joy, melancholy, truthfulness, fickleness in some things, fickleness in all things, an exalted mind, poetry, domestic peace, hatred, jealousy, morbid sensibility, pardon, receiving again into favour, flowers, decay of health, sickness, returning health, love in a gentle degree, love in a sublime degree, doubting, also trusting love, loneliness, disappointment, ambition.
These and many other sentiments are expressed by strains that go directly to the soul, and without the need of words. As all in Montalluyah understand the language the music is intended to convey, the player, without opening his lips, can express himself on the harp as clearly as by discourse; and two persons playing can hold a conversation.
As you have certain sounds responding to do, re, mi, &c., so have we certain sounds and harmonies that convey certain expressions; for instance: "I esteem you;" "I feel you in the pulsations of my blood," i.e. "I love you." Or perhaps the vibrations of the same harmony would be varied so as to be higher or lower, sharp or flat; and the player would convey that he felt the presence of his beloved in the appropriate vibration of his nerves.
In another harmony, he would compare the admired object to some beautiful soft bird like the Zudee, or a pet like the Kamouska.[1]
[Footnote 1: See p. 145.]
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 pass 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 associated.
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 passages 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.