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.