It is proper, and farther curious, to observe, that this man lodged at the farm-house where the bull was kept; and that, as he frequently played upon the fiddle, in an evening, to amuse the family, he had observed the bull, (who always attended the cows home to be milked,) constantly endeavoured to get as near as possible to that part of the house where he happened to be playing, and always appeared to listen, with the greatest attention, which, fortunately struck him with the idea of having recourse to his fiddle, and, in all probability, preserved his life.
THE DYING MAN AND THE PIANO.
Died lately, aged 85, Mr. William Anthony de Luc. His passion for music was so predominant, in his latter days, that a piano forte was placed by his bedside, on which his daughter played a great part of the day. The evening of his death, seeing her father ready to sink into a slumber, she asked him, “Shall I play any more?”—“Keep playing,” said he, “keep playing!”—He slept, but awoke no more! Mr. W. A. de Luc had explored many volcanic countries, whence he had brought choice specimens of their productions, in which his cabinet was, perhaps, the richest in Europe.
THE POWER OF MUSIC ON ANIMALS, IN THE WEST OF ENGLAND.
The style of driving an ox-team in Devonshire is remarkable, indeed, cannot pass unnoticed by a stranger. The language, though in a great degree peculiar to the country, does not arrest the attention, but the tone, or rather tune, in which it is delivered. It resembles, with great exactness, the chantings, or recitative of the cathedral service. The plowboy chants the counter-tenor, with unabated ardour, through the day; the plowman, throwing in, at intervals, his hoarser notes. It is understood that this chanting march, which may sometimes be heard at a considerable distance, encourages and animates the team, like the music of a marching army, or the song of the rowers.
TWO INSTANCES OF THE SURPRISING EFFECTS OF MUSIC, AS RELATED IN THE HISTORY OF THE ROYAL ACADEMY OF SCIENCES, AT PARIS.
A famous musician, and great composer, was taken ill of a fever, which gradually increased, till the 7th day, when he was seized with a violent delirium, almost constantly accompanied by cries, tears, terrors, and a perpetual watchfulness. The third day of his delirium, one of those natural instincts, which makes, as it is said, sick animals seek out for the herbs that are proper for their case, set him upon desiring earnestly to hear a little concert in his chamber. His physician could hardly be prevailed upon to grant his request. Some cantatas, however, were sung to him. On hearing the first modulations, his countenance became serene, his eyes sparkled with joy, his convulsions absolutely ceased, he shed tears of pleasure, and was then possessed with a sensibility for music, which he never had before, nor after his perfect recovery. He had no fever during the whole concert, but, when it was over, he relapsed into his former condition. The use of a remedy, of which the success had been so unexpected, and yet so fortunate, was continued. The fever and delirium were always suspended during the concerts, and music was become so necessary to the patient, that, at night, he obliged a female relation, who sometimes sat up with him, to sing, and even to dance, and who, found some difficulty in gratifying him in such a point of complaisance. One night, among others, having none but his nurse to attend him, who could sing nothing better than some wretched country ballads, was obliged to take up with them, and even appeared satisfied, and found some benefit from the same. At length, ten days of music entirely cured him, without any other assistance, than being bled in the foot, which was prescribed for him as necessary. This account was communicated to the Academy, by Monsieur Dodart, who had it well authenticated. He does not pretend that it may serve as an example or rule, in all similar cases, but observes, it is curious to notice, how musical sounds could have restored the spirits to their natural course, in a man who had so long been habituated to music.
The second instance of the extraordinary effect of music, is related of a dancing-master of Alais, in the province of Languedoc. Being once over fatigued, in Carnival time, by the exercise of his profession, he was seized with a violent fever, and, on the fourth or fifth day, fell into a lethargy, which continued upon him for a considerable time. On recovering out of it, he was seized with a furious and mute delirium, wherein he made continual efforts to jump out of the bed; threatened, with a shaking of the head, and an angry countenance, those that hindered him, and even all that were present; and he, besides, obstinately refused, though without speaking a word, all the remedies that were presented to him. One of the assistants bethought himself, that music, perhaps, might compose so disordered an imagination. Accordingly, he proposed it to his physician, who did not disapprove the thought, but feared the ridicule that might take place, should the patient happen to die during the performance of such a remedy. A friend of the dancing-master being present, who seemed regardless of the physician’s measures, and who knew how to play on the violin, seeing the patient’s hang up in the chamber, laid hold of it, and played directly to him, the airs that were most familiar to him. He was cried out against, as a greater madman than the poor sick prisoner in bed, and some were going to make him desist, when the patient immediately jumped up, and appeared agreeably surprised, and specified, by the motion of his head, the pleasure he felt. By degrees, he appeared so much recovered, that those who held his arms, being sensible of the effects the violin had on him, remitted something of their force in keeping him down, and at last yielded to the motions he was desirous to give them, when, in so doing, they found his furious fits quite abated. In short, in a quarter of an hour’s time, the patient fell into a profound sleep, and shortly after was perfectly recovered.
INTERESTING PARTICULARS OF MONSIEUR MOZART.
“Mozart, the celebrated German musician, was born at Salzburg, in the year 1756. His father was also a musician of some eminence, but not to be compared with the son, of whom we have the following account, in one of the Monthly Miscellanies, taken by Mr. Busby, from some biographical sketches, of two eminent German professors.