Then in invention, the contrivances by which the elements are harnessed and become willing servants, we take one man as an illustration. A poor uneducated country lad, with a simple knowledge of telegraphy sufficient to send messages over the wires, that is all—no college learning, no one to assist, to direct, to advise. He soon entered a field where no mortal could advise, where no mortal had been or knew aught to advise him. He became sensitive, and the secret chambers of the lightning were unlocked to him. What to other men who had devoted a life-time of study was obscure and mysterious, became to him the ABC to higher readings. He sent his voice across the continent, he recorded the sounds so that the instrument would in all after years give us back the tones of those we love; he prolonged the lightning’s lurid flash into a continuous blaze, and converted night into day; he made the current leap from the wire to the passing train and over an intangible wire from ship to ship, across leagues of sea.
True Inspiration.—Ole Bull.—What is meant by the oft-repeated assertion that great and exceptional persons are inspired? More especially in music and poetry is the influx from some foreign source distinctly marked. Ole Bull, the king of all violin players, was, by his own confession, subject to an influence beyond himself. When a boy, he was attempting, unaided, to translate into musical sounds the splendor of his ideal, a “voice” encouraged him constantly with “Bravo!” which he accepted as a sign that he was doing well. Unlike Socrates’ “demon,” instead of being always the same, it was that of many celebrated musicians. On one occasion, the voice of Handel murmured in his ear after a rendition of that composer’s “Hallelujah Chorus,” “Only shadow music sung by shadows.” “My soul asked, ‘Where, then, is the substance, Master?’” “In my world,” the voice replied, “where alone all things are real, and music is the speech.”
Paganini.—Of Paganini it was said that he not only enchanted his listeners, but played as one enchanted, losing consciousness, and throughout his performances remained as one entranced. So real were musical conceptions flashed on his mind, that they became objective, and danced before him in wild expression of rhythmic motion.
How far the ecstasy of all true musicians may account for their super-normal efforts, depends on the meaning accepted of ecstasy. It really is a state of sensitiveness to harmonious sounds, which at its best differs little from the most exalted form of clairvoyance, or, perhaps better, clair-audience.
Blind Tom.—All have heard of Blind Tom, an idiotic negro, uncouth, untaught, yet who was able to play the most intricate music, in a manner only attainable to others by years of study and practice. His improvisations were the wonder and delight of the listeners, and were dashed off with the fingers of what might truly have been regarded as an automaton. By what method could his astonishing facility of execution, delicacy of expression, and masterly touch be explained? He was never taught a lesson in music, was incapable of forming a continuous train of thought; yet no conservatory ever graduated a superior performer. We are forced to accept one of two conclusions: either that he was of himself superior to any one in musical ability, or that he derived this gift from an outside source. The first, on the face of it, appears an absurdity. He was no more the cause of the music he produced than was the piano on which he played. Both were instruments, he standing between the force and its effect.
Handel.—In the sphere of sacred music, perhaps Handel stands without a peer. So far above the ordinary level is his sublime work, that he receives not his full mead of praise; for we applaud most that which echoes some part of ourselves, and with his strains we are bowed in humility and awe. In twenty-three days he produced “The Messiah,” a work which, for vastness of conception and exquisite finish, is the grandest and most perfect choral work the world has ever known. He belonged to no school, has no imitators, for he is too far removed for imitation to be attempted. Well has it been said that the power of such souls baffles criticism. That they tower so far above the common level, and possess such exceptional mental and moral powers, leads to the supposition that they touch a thought-sphere not touched by those less sensitively endowed.
Beecher.—This great preacher, who left Plymouth pulpit vacant, a vacancy which never can be filled, is a fine illustration of these views.
The man and his inspiration were constantly struggling for mastery. He would advance, on the tide of that inspiration, to the very brink of the precipice of heterodoxy; his large heart and enthusiasm carrying him and his hearers far beyond the limits of their narrow creeds, and then recovering himself he would recoil, restate, explain and hedge against the severity of the criticism provoked. But constantly he gained ground, and carried his hearers with him. He never retreated quite as far as he advanced, and in later years the inspiring power had educated the man to its level, and he bravely and boldly stood by his words. For an entire generation he stood in his pulpit, a divine oracle, every Sunday having an audience of the entire country, and as an elevating, educating power, was immeasurable. He broke the fetters from the slave; he broke the fetters of superstition from millions, more bondsmen than the negro slave. If you were to gather up all that he has written it would make a library of itself, and yet there is little of all that he has written or spoken that has permanent value, or will endure. Its value consisted not in its enduring qualities; rather in its being tentative; steps leading upward, and of no use after once being passed over. He did not, he could not, preach the ultimate truth. The laity, as a conservative force, restrained him. Like an eagle burdened with a great weight, he carried his church and the world forward, and with every new wave of inspiration the burden grew lighter, but he never was quite free.
The limitation of the individual always stands in the path of perfect inspiration. He was forced to speak after the forms of the creeds and beliefs which he inherited, and believed by those he would instruct. Those beliefs were perishing, and his modifications did not quite grasp the whole truth, and hence must disappear. But through him a mighty influence was exerted; not such as may be likened to the avalanche which plunges down the mountain, but like the breath of spring, melting the snow and ice of winter, warming the indurated soil, and making possible the bursting forth of flowers, the prophecies of autumn fruitage.
It is remarkable that few writers have given the world more than one master-piece, and often a single short poem, out of a mass of composition, is all that remains of permanent value. Gray’s “Elegy” and “Sweet Home” are examples. The genius which could write these wonderful poems ought to have been able to write others equally perfect; yet only once did the authors touch the pure fount of inspiration. Mrs. Julia Ward Howe in such a moment wrote the “Battle Hymn of the Republic,” which, unlike anything ever before written, and unlike anything else she ever wrote, became the marching song of a nation along the pathway of justice.