“Are you satisfied?” asked Mr. Seymour; “if not, I will proceed to tell you how Palma, a Neapolitan, induced a creditor who came to arrest him, not only to remit his debt, but to contribute a sum for his support. I will also relate an anecdote of Farinelli the actor, who having a pathetic air to sing on the stage to a tyrant who had taken him prisoner, the person who performed the part of the tyrant, and was to have refused his request, was so affected by the music, that he actually melted into tears, and clasped the captive in his arms.”
“Enough, enough!” exclaimed the vicar. “I see plainly that you believe not in the power of music.”
“In that you wrong me. I certainly do not believe that the ancients were better skilled than ourselves in music; and I have been anxious to convince you that there are as many modern as ancient stories, in proof of the influence of harmony over our feelings; but no one will deny that music is capable of producing extraordinary effects. Let us only interrogate ourselves, and examine what have been our sensations on hearing a majestic or warlike piece of music, or a tender and pathetic air sung or played with expression. Who does not feel that the latter tends as much to melt the soul and dispose it to pleasure, as the former to animate and exalt it? There is a celebrated air in Switzerland, which, I have no doubt, Miss Villers will presently play to us, called ‘Rans des Vaches,’ and which had such an extraordinary effect on the Swiss troops in the French service, that they always fell into a deep melancholy whenever they heard it. Louis XIV, therefore, forbade it ever to be played in France, under the pain of a severe penalty. We are also told of a Scotch air, ‘Lochaber no more,’ which had a similar effect on the natives of Scotland. Never shall I forget the effect produced upon myself by the impressive requiem of Jomelli, as performed at the chapel of the Portuguese embassy to the memory of the late king of Portugal. The movement with which it commenced was a deep and hollow murmur, that seemed to swell from the tomb, and with which the voices of spirits imperceptibly rose, and intermingled;--a brilliant movement interposed,--it was a ray of hope that pierced the gloom of the sepulchre!”
“I think,” said Miss Villers, “that I can exactly appreciate the nature and extent of Mr. Seymour’s opinion upon the question at issue. He does not deny the charm which the simple music of the ancients must have exercised over the hearer, although he attributes much of the effect to the poetry, of which it may certainly be said to have been the vehicle; and he evidently concurs with you, Mr. Twaddleton, in thinking that, owing to the intricate combinations of modern harmony, our astonishment at the execution of the artist too frequently overcomes the influence of the musical tones upon our passions. I perceive, however, from the expression of our friend’s countenance,” continued the young lady, “that, like a true antiquary, he clings to his subject, though his support be no stronger than a cobweb; under such circumstances I may be permitted to declare my sentiments upon the occasion, and I shall avail myself of this opportunity to express my humble testimony of gratitude, for the information and pleasure which I have just derived from your conversation. I believe then, gentlemen, that the language of modern music is no less forcible and expressive than that of ancient days; and if you will only allow me to exemplify this truth by an experiment, I feel convinced that the vicar will become my proselyte.”
“Indeed, madam! Well, I will consent to trust the cause in your hands,” said Mr. Twaddleton.
“Allow me then to ask you, sir, whether you have ever heard of a game, which is justly entitled to the appellation of the Magic of Music?”
“Never,” replied the vicar; “nor can I imagine either the nature, or objects of such a game.”
“Its object is to display the power of music as an expressive language; the manner in which I propose to exemplify it, I will, with your permission, explain in a few words. The musical performer shall place herself at the harp, or piano-forte, surrounded by the party who are desirous of witnessing the pastime; the person to be operated upon must retire from the apartment, until the service which, under the direction of the music, it is determined he shall perform, is duly agreed upon and arranged. Such person is then to be re-admitted; not a word, look, or gesture, is to escape from any one present; by the expression of the music alone is he to receive his instructions, and, unless I am much deceived, you will find that this is amply sufficient for the purpose.”
“My dear madam, the thing is utterly impossible,” exclaimed the vicar. “It cannot be done; unless, indeed, you really possess the secret of the ancient ‘modes,’ which were not even known to Meibomius, the learned commentator upon the Greek musician Alypius; nay, Isaac Vossius himself, the expounder of rhythm, were he now alive, would never credit it.”
“Are you willing to make the experiment,” said Miss Villers; “if so, be so kind as to leave the room for a few minutes.”