Part 10

"I, Ethelbert, a sinner, even were I desirous of concealing the divine judgment which overtook me, yet the tremor of my limbs would betray me; wherefore I shall relate circumstantially how this happened, that all may know the heavy punishment due to disobedience. We were on the eve of our Lord's nativity, in a certain town of Saxony, in which was the church of Magnus the Martyr, and a priest named Robert had begun the first mass. I was in the church-yard with eighteen companions,--fifteen men and three women,--dancing and singing profane songs to such a degree that I interrupted the priest, and our voices resounded amid the sacred solemnity of the mass. Wherefore, having commanded us to be silent and not being attended to, he cursed us in the following words:--'May it please God and St. Magnus that you may remain singing in the same manner for a whole year!'--His words had their effect. The son of John the Priest seized his sister, who was singing with us, by the arm, and immediately tore it from the body; but not a drop of blood flowed out. She also remained a whole year with us dancing and singing. The rain fell not upon us; nor did cold, nor heat, nor hunger, nor thirst, nor fatigue assail us: we neither wore our clothes nor shoes, but we kept on singing as though we had been insane. First we sunk into the ground up to our knees; next to our thighs. A covering was at length, by the permission of God, built over us, to keep off the rain. When a year had elapsed, Herbert, bishop of the city of Cologne, released us from the tie wherewith our hands were bound, and reconciled us before the altar of St. Magnus. The daughter of the priest, with the other two women, died immediately; the rest of us slept three whole days and nights. Some died afterwards, and were famed for miracles; the remainder betray their punishment by the trembling of their limbs.

"This narrative was given to us by the Lord Peregrine, the successor of Herbert, in the year of our Lord 1013."

In our time, exhibitions of a morbid religious enthusiasm, called forth, or promoted by music, are less common with Christians than with Mohammedans. In the sacred dance of the Dervishes, the music, which is soft and plaintive, represents the music of the spheres; while the Dervishes turning in a circle round their superior, who sits quietly in the centre, represent the planetary system in its relation to the sun. So far, the procedures of these fanatics are intelligible enough; but the words of their songs are so mystic that probably the Dervishes themselves are unable to attach a reasonable meaning to them. Still more extraordinary is the behaviour of the Aïssaoua, a kind of Mohammedan fraternity in the Barbary States, who by means of music and dancing work themselves up to a state of ecstasy, in which they fancy themselves to be camels,--or, at any rate, in which they convey to others the impression that they are brutes rather than reasonable beings. As regards Christian sects, certain sacred evolutions of the Shakers, in the United States of North America, are not less extravagant than those of the Dervishes in Egypt or Turkey. Here too, music appears to have an injurious effect upon the people, inasmuch as it excites their morbid emotions.

Turning now to our literature on the medical employment of music, we find a number of treatises, the most important of which shall be briefly noticed by their titles. Of such only as are not easily attainable, some account of their contents shall be added.

'Medica Musica: or, a Mechanical Essay on the effects of Singing, Musick, and Dancing, on Human Bodies; Revis'd and corrected. To which is annex'd a New Essay on the nature and cure of the Spleen and Vapours. By Richard Browne, Apothecary, in Oakham, in the County of Rutland; London, 1729.'--This is the second edition, enlarged. The first edition was published without the name of the author.

'Die Verbindung der Musik mit der Arzneygelahrtheit, von Ernst Anton Nicolai.' (The Association of Music with the Science of Medicine, by E. A. Nicolai; Halle, 1745.)--Nicolai was Professor of Medicine at the University of Jena, in Germany.

'Reflections on Antient and Modern Musick, with the application to the Cure of Diseases; to which is subjoined an essay to solve the question wherein consisted the difference of ancient musick from that of modern time;' London, 1749.--The author, Richard Brocklesby, was a physician in London.--A circumstantial account of the contents of this treatise is given in 'Historisch-Kritische Beyträge zur Aufnahme der Musik, von F. W. Marpurg;' Vol. II., Berlin, 1756; p. 16-37.

'Traité des Effets de la Musique sur le corps humain, traduit du Latin et augmenté des notes, par Etienne Sainte-Marie;' Paris, 1803.--This is an annotated translation of a dissertation written in Latin by Joseph Ludovicus Roger, and published at Avignon in 1758.

Desbout (Luigi): 'Ragionamento fisico-chirurgico sopra l'effetto della Musica nelle malattie nervose;' Livorno, 1780.--A French translation appeared in the year 1784, in St. Petersburg, entitled: 'Sur l'Effet de la Musique dans les Maladies nerveuses.'

Buc'hoz (Pierre Joseph): 'L'Art de connaître et de désigner le pouls par les notes de la Musique, de guérir par son moyen la mélancolie, et le Tarentisme qui est une espèce de mélancolie; accompagné de 198 observations, tirées tant de l'histoire que des annales de la médicine qui constatent l'éfficacité de la musique, non seulement sur le corps mais sur l'âme, dans l'état de santé, ainsi que dans celui de maladie. Ouvrage curieux, utile et intéressant; propre à inspirer le goût de cet art, qui est pour nous un vrai présent des cieux;' Paris, 1806.--A treatise with a similar title, by F. N. Marquet, appeared at Nancy in the year 1747.

Lichtenthal (Peter): 'Der musikalische Arzt; oder, Abhandlung von dem Einflusse der Musik auf den menschlichen Körper, und von ihrer Anwendung in gewissen Krankheiten,' (The Musical Physician; or, a Treatise on the influence of music upon the human body, and on its application in certain illnesses. Vienna, 1807.)--An Italian translation of this work appeared in Milan in the year 1811.

Schneider (Peter Joseph): 'System einer medizinischen Musik; ein unentbehrliches Handbuch für Medizin-Beflissene, Vorsteher der Irren-Heilanstalten, praktische Aerzte, und unmusikalische Lehrer verschiedener Disciplinen,' (A System of Medical Music; an indispensable guide for Students of Medicine, Principals of Lunatic Asylums, Practical Physicians, and unmusical teachers of different methods. Bonn, 1835.) This comprehensive work, in two volumes, contains much information on the subject in question, interspersed with many remarks and citations which have little or no bearing on music considered medically. The last seventy-two pages of the second volume contain a sort of autobiography of the author.

To musicians, the most useful books among this class of literature are those which give good advice concerning the preservation of health.

F. W. Hunnius, a Doctor of Medicine in Weimar, wrote a book entitled 'Der Arzt für Schauspieler und Sänger' (The Physician for Actors and Singers. Weimar, 1798,) which, no doubt, has been useful to many. Another German publication of the kind, in which especial attention is given to the practice of musical instruments in so far as it affects the health, bears the title 'Aerztlicher Rathgeber für Musiktreibende' (Medical Adviser for those who cultivate Music) by Karl Sundelin, Berlin, 1832. The author, a Doctor of Medicine in Berlin, wrote his book with the assistance of his brother, who was a professional musician in the orchestra of the King of Prussia. This treatise is so noteworthy that the following account of it will, it is hoped, be of interest to the reflecting musician. Its table of contents is:--

"I. Of Singing. On the means of facilitating the practice of singing. Dietary and general rules for male singers, and for female singers. Of the different human voices.

II. Of the Clavier-Instruments, or Keyed-Instruments. The Pianoforte. The Organ. The Harmonica with a key-board.

III. Of the Stringed Instruments. The Violin and the Viola (or Tenor). The Violoncello. The Double Bass. The Guitar. The Harp.

IV. Of the Wind Instruments. Means for facilitating the practice and dietary rules for players on wind instruments. The Flageolet and the Czakan. The Flute. The Oboe and the English Horn. The Clarionet and the Basset Horn. The Bassoon and the Contra-Fagotto. The Horn. The Trumpet. The Trombone. The Serpent. General dietary and medical rules for those who cultivate music. Of the disturbances and injuries to the nervous system through disadvantageous influences by the practice of music. Care and treatment of particular diseased parts and structures. Of the chest and the lungs. The especial attention and care required by the organs of the voice. Of the diseases to which the mouth is subjected. The Teeth. The Lips. Of the Fingers. The Eyes and the Face. Prescriptions for some of the medicaments alluded to in the preceding dissertation."

The author is of opinion that the practice of music may be in many ways injurious to bodily health. However, he remarks, that since music is capable of expressing emotions which cannot be expressed by words or pictures, it relieves the heart of anything which is oppressive and distressing, and thus through the mind generally acts beneficially upon the body. He asserts that music has healed many a sufferer whose life was embittered by the fetters of melancholia, or the tortures of hypochondria. To persons suffering from indigestion and its harassing effects, he recommends a daily practice on some instrument which requires a rather fatiguing exertion of the body; such as the organ, on which hands and feet are occupied. His remarks on singing are judicious; but many of them would naturally suggest themselves to any thinking musician. No doubt, moderation in eating and drinking is recommendable, and the singer has to take care not to catch a cold; but it may be useful to him to be told by a medical man what kind of food is most conducive to the preservation of his voice, and how he can best protect himself against the injurious effects of sudden changes from heat and cold, to which professional singers are often exposed.

Pianoforte playing our medical adviser considers rather hurtful to health. The exertion of the hands and arms, while the position of the body remains nearly immovable, causes a stronger flow of blood to the chest than is natural. The pressure of the points of the fingers, where the nerves are especially sensitive, is apt to be injurious to the nervous system. This is still more the case in practising on instruments on which the strings are pressed down with the points of the fingers, as for instance on the violin; and also, though in a less degree, on instruments the strings of which are twanged with the fingers, as they are on the harp. The practice, however, causes the skin at the finger-ends to harden, and the touch becomes consequently less sensitive. Decidedly hurtful to the nerves is the sensation produced by the friction of the moistened fingers in playing the glass-harmonica and similar instruments. Among the wind instruments blown by being placed to the mouth, those which require a sudden and prolonged retardation of the breath, or a forcible compression of the air in the lungs, are especially liable, by constant practice, to prove injurious to health. The author has much to say on this subject, and he particularly warns against too continuous playing on the oboe, trumpet, horn, trombone, and serpent. As regards the clarionet, its practice, he says, is likely to be injurious on account of the quantity of air which it requires. The player is often compelled to take a deeper inspiration than is natural, and constantly to pay regard to being provided with a supply of air compressed in his lungs. Furthermore, considering that musical performances very frequently take place in artificial light, the eyesight of the musician is apt to be disadvantageously affected. In this respect also the playing on some instruments is more injurious than on others. The Double Bass player, for instance, is compelled, from the size of his instrument, to have the musical notation placed at a greater distance before him than is naturally convenient for his sight, which renders it necessary for him to exert his eyes in an extraordinary degree. Thus much from Sundelin's 'Medical Adviser,' to which the following remarks may be added.

The musical instruments used by our forefathers, two or three centuries ago, were softer and more soothing in quality of sound than our present ones; at any rate, this was the case with the stringed instruments, and the wind instruments of the flute kind. Certain wind instruments of the trumpet kind had a very harsh sound; but these were intended especially to be played in the open air. Of the stringed instruments principally favoured in family circles--such as the lute, cither, clavichord, virginal, harpsichord, etc.,--almost all possessed a less exciting quality of sound than our present substitutes for them. The same was the case with the music composed for the instruments; it did not possess the passionate modulations which characterize much of our music of the present day. It was, therefore, evidently more conducive to social comfort, and consequently to health, than is our modern music, notwithstanding the progress which has been made in the cultivation of the art. Martin Luther said to an old hypochondriac schoolmaster who complained to him of his miserable feelings: "Take to the Clavichord!" Everyone acquainted with the character of the clavichord will probably admit that Luther's advice was judicious. The soft and unpretending sound of the clavichord is so expressive that the instrument may be said to respond to the sufferer as a sympathizing friend; while its successor, the loud and brilliant pianoforte, is apt to convey the impression of being cold and heartless, unless it is touched by a master-hand. Thus also the "trembling lute," and some other antiquated instruments appear to be remarkably suitable for consoling and calming the anxious heart.

The glass-harmonica is evidently hurtful to the health of the performer. We have seen that Sundelin attributes its injurious effect to the friction of the fingers upon the bowls, which revolve on a spindle. But it is a well-ascertained fact that the fascinating sound of this instrument exercises a distressing influence also upon persons who do not play it, but who often listen to it. Likewise, certain wind instruments of a so-called reedy quality of sound, as, for instance, the harmonium, are probably injurious rather than beneficial to the health of the players. Sounds of this nature are generally very pleasant when heard for a short time, but soon become harassing. They might be compared with confectionery, a little of which may be very palatable and innocuous, but which if made a meal of would probably produce sickness.

The effect of music upon animals is a subject for investigation so closely connected with an inquiry into the influence of music upon the human body, that some notice of it must not be omitted here. The investigation requires far more discernment than would appear at a first glance. Many of the anecdotes recorded respecting the effect of music upon animals are not properly authenticated; or rather, they are misrepresentations of facts not clearly understood by the observers. Nor is it surprising that this should be the case, considering how difficult it is to appreciate rightly the mental capacities even of our domestic animals, which we have constant opportunity of watching. Nothing is more common, even with intelligent observers, than to attribute to a dog certain motives for certain actions, which may possibly be the real motives, but which may also only appear to be the real ones. Acute and thoroughly unbiassed investigators, such as was for instance Gilbert White of Selborne, about a hundred years ago, are rare. At all events, many of the anecdotes given in works on Natural History, as illustrating the power of music upon animals, have evidently been copied by one author from another without any one of them having taken the trouble to ascertain by careful observation whether they are well founded. With quadrupeds it is probably generally more the rhythmical effect of the music than the tones which pleases them; while birds appear to be pleased by the tones rather than by the rhythm. All this requires more exact investigation than it has hitherto received; and surely it deserves the consideration of a Darwin.

In conclusion, attention may be drawn to a curious fact which is perhaps more interesting to musical antiquarians than to medical men. It is well known that the barbers in England, about three centuries ago, generally had some musical instruments in their shops for the amusement of their customers. In Germany it is still not unusual to meet with a musical barber. In former times the barbers were also surgeons and physicians to some extent. It would be interesting to trace the origin of their habit of cultivating the art of music. It is probably of high antiquity. May it not date from a remote period in which the physicians of European nations resorted to music and incantations like the medicine-men of uncivilized tribes of whom an account has been given in the beginning of this essay?

[43] 'Illustrations of the Manners, Customs and Condition of the North American Indians, by G. Catlin.' London, 1848; Volume I., p. 40.

[44] 'Four Years in British Columbia and Vancouver Island, by R. C. Mayne.' London, 1862; p. 261.

[45] 'Narrative of the United States Exploring Expedition during the years 1838-42, by Charles Wilkes.' London, 1845; Vol. IV., p. 399.

[46] 'Missionary Labours in British Guiana,' by the Rev. J. H. Bernau; London, 1847. p. 55.

[47] 'Two Thousand Miles' Ride through the Argentine Provinces,' by William MacCann; London, 1853. Vol. I., p. 111.

[48] _Machi_ is evidently identical with _Manchi_.

[49] 'The Geographical, Natural, and Civic History of Chili,' by the Abbé Don J. Ignatius Molina; London, 1809. Vol. II., p. 105.

[50] 'The Araucanians,' by E. R. Smith; London, 1855; p. 235.

[51] 'A Description of Patagonia and the adjoining parts of South America,' by Thomas Faulkner; Hereford, 1774; p. 115.

[52] 'Journal of a Residence among the Negroes in the West Indies,' by M. G. Lewis; London, 1845; p. 158.

[53] The word _Obeah_ is probably identical with _Piaie_, mentioned above, page 89.

[54] 'History of Loango,' by the Abbé Proyard; Paris, 1776. 'A General Collection of Voyages and Travels,' by John Pinkerton; London, 1808; Vol. XIV., p. 572.

[55] 'Reisen in Süd-Africa,' von Ladislaus Magyar; Pest, 1859; Vol. I., p. 26.

[56] 'The Kafirs of Natal and the Zulu Country,' by J. Shooter; London, 1857; p. 173.

[57] 'Outlines of a Grammar, Vocabulary, and Phraseology of the Aboriginal Language of South Australia.' By G. C. Teichelmann and C. W. Schürmann. Adelaide, 1840; part II.

[58] 'An Historical Journal of the Transactions at Port Jackson and Norfolk Islands.' By John Hunter. London, 1793; p. 476.

[59] 'Nineteen Years in Polynesia.' By the Rev. G. Turner. London, 1861.

[60] Dried dung, which constitutes the chief, and indeed in many places the sole fuel in Tartary, is called _argols_.

[61] 'Travels in Tartary, Thibet, and China, during the years 1844-46,' by M. Huc; Vol. I., p. 76.

[62] 'Travels in South-eastern Asia,' by H. Malcom; Boston, 1839; Vol. II., p. 197.

[63] 'Six Months in British Burmah,' by C. F. Winter; London, 1858; p. 161.

[64] 'Allgemeine Musikalische Zeitung;' Leipzig, 1841, No. 17.

[65] 'Travels and Observations relating to Barbary,' by Thomas Shaw. 'A General Collection of Voyages and Travels,' by J. Pinkerton; London, 1808; Vol. XV., p. 635.

[66] 'A Voyage to Abyssinia, etc.' By Henry Salt. London, 1814; p. 33.

POPULAR STORIES WITH MUSICAL TRADITIONS.

The intelligent reader need hardly be reminded that an insight into the peculiar notions respecting the beauty and power of music current among different nations may be of valuable assistance in the study of national music, inasmuch as it tends to throw light upon questions which appear obscure and inexplicable.

The following popular stories, like those which have previously been given in this work, are told exactly as they are heard from the mouth of the people. It is necessary that this should be mentioned by way of introduction to the stories, because the degree of interest which they may possess depends almost entirely upon the faithfulness with which they are recorded. For the same reason it must be stated that, although additions have been carefully avoided, it is otherwise with omissions, since it appeared desirable to abridge several of the stories by excluding passages which do not touch upon the subject of music. Should the reader find among the stories an old acquaintance with a somewhat different face than is familiar to him, he will, it is hoped, bear in mind that, just as there are varieties of a popular tune to be found in different districts of a country, so there are also different readings of a popular tale. Even the degree of education attained by the narrator, his personal character, and his peculiar views, will tend in some measure to modify the features of a story, although nothing extraneous may have been admitted into the incidents recorded.

THE ROYAL MUSIC-MASTER.

The modern Greeks have a long story, said to have been derived from Asia Minor, the substance of which is as follows:--

A mighty king in a distant land had a son who was an excellent flute player, but a bashful youth, and a woman-hater. The king, considering it all-important that his dynasty should be preserved, sends the young prince in a ship to a foreign court, to find, if possible, among the princesses a wife to his liking. The ship is wrecked, and all on board are drowned except the prince, who is thrown by the waves upon the shore of a beautiful island. Having dried himself, he meets a poor fisherman, with whom he changes clothes. Hiding his luxuriant hair under a bladder-cap, he sets out to the residence of the king of the island, into whose service he is taken by the master of the horse as a stable-boy. His chief occupation now is to fetch water for the horses from a spring in the garden of the palace. In the evening, when he is alone in the garden, he plays upon his flute so enchantingly that even the nightingales become silent in admiration. The King's daughter hears him, comes down into the garden, and, with the consent of her father, makes him her music-master. When he perceives that she really loves him, he loves her too, discloses to her that he is a King's son, and soon makes her his queen in his own dominions.[67]

THE HANDSOME MINSTREL.

The following story is told in Germany:--

A handsome minstrel plays under a window of the King's palace upon a golden instrument. His music is so alluring that the King, yielding to the entreaties of his daughter, invites the handsome minstrel to come up to him in his palace. The King's daughter soon learns to play on the instrument, and longs to possess a similar one. All the goldsmiths of the kingdom are applied to; but not one of them is able to construct such an artistic work. Thereupon the King's daughter becomes greatly dejected; and when the handsome minstrel learns the cause of her sadness he tells her that if she will marry him she shall have the golden instrument. But she rejects the offer with scorn.