The powerful influence of music on our intellectual faculties, and consequently on our health, has long been ascertained, either in raising the energies of the mind, or producing despondency and melancholy associations of ideas. Impressed with its sublime nature, the ancients gave it a divine origin. Diodorus tells us that it was a boon bestowed on mankind after the deluge, and owed its discovery to the sound produced by the wind when whistling through the reeds that grew on the banks of the Nile. This science became the early study of philosophers and physicians. Herophilus explained the alterations of the pulse by the various modes and rhythms of music. In the sacred writings we have many instances of its influence in producing an aptitude for divine consolation. The derangement of Saul yielded to the harp of David, and the hand of the Lord came upon Elisha as the minstrel played. In Egypt certain songs were legally ordained in the education of youth, to promote virtue and morality. Polybius assures us that music was required to soften the manners of the Arcadians, whose climate was heavy and impure; while the inhabitants of Cynæthe, who neglected this science, were the most barbarous in Greece. The medical power of harmonious sounds was also fully admitted. We find Pythagoras directing certain mental disorders to be treated by music. Thales, called from Crete to Sparta, cured a disastrous pestilence by its means. Martinus Capella affirms that fevers were thus removed. Xenocrates cured maniacs by melodious sounds, and Asclepiades conquered deafness with a trumpet. In modern times it has been related of a deaf lady that she could only hear while a drum was beating, and a drummer was kept in the house for the purpose of enabling her to converse. Aulus Gellius tells us that a case of sciatica was cured by gentle modulations, and Theophrastus maintains that the bites of serpents and other venomous reptiles can be relieved by similar means. Ancient physicians, who attributed many diseases to the influence of evil spirits, fancied that harmonious sounds drove them away, more especially when accompanied by incantations; and we find in Luther, “that music is one of the most beautiful and glorious gifts of God, to which Satan is a bitter enemy.”
In more modern times we have several instances of the medical powers of music, and the effect produced by Farinelli on Philip of Spain is well known. This monarch was in such a deplorable state of despondency from ill health, that he refused to be shaved or to appear in public. On the arrival of Farinelli, the Queen was resolved to try the power of music, and a concert was ordered in a room adjoining the King’s chamber: Farinelli sang two of his best airs, which so overcame Philip that he desired he might be brought into his presence, when he promised to grant him any reasonable request he might make. The performer, in the most respectful manner, then begged of the King to allow himself to be shaved and attended by his domestics, to which Philip consented. Farinelli continued to sing to him daily until a perfect cure was effected.—The story of Tartini is rather curious: in a moment of musical enthusiasm he fell asleep, when the devil appeared to him playing on the violin, bidding him with a horrible grin to play as well as he did; struck with the vision, the musician awoke, ran to his harpsichord, and produced the splendid sonata which he entitled “the Devil’s.” Brückmann, and Hufeland relate cases of St. Vitus’s dance, cured by music, which, according to Desessarts, also relieved Catalepsy. Schneider and Becker have ascertained its influence in hysteric and hypochondriac affections.
A still more singular effect of music is related by Roger in the case of a poor wretch broken upon the wheel. In his agonies he blasphemed in the most fearful manner, and cordially damned the spiritual comforter who sought to reconcile him to his sufferings. Some itinerant musicians chanced to pass by, they were stopped by the priest and requested to play to the patient, when to the surprise of all around, he seemed relieved, and became so tranquil, that he attended with calm resignation to their exhortations, confessed his manifold offences, and died like a good Christian.
Rousseau, who entertained a sovereign contempt for French music, observes, that the Cantates of Bernier cured the fever of a French musician, while they most probably would have given a fever to a musician of any other country.
This remark of Rousseau reminds me of the French philosophical traveller (I believe it was Diderot), who on his journey to London from Dover, while horses were changing, had the curiosity to see a sick ostler with a raging fever attended by a country practitioner, who, despairing most probably of his patient, said, that he might be allowed to eat any thing he wished for. The man asked for a red-herring, which was forthwith given to him. Our tourist, generalizing like most of his brethren, immediately noted in his diary—English Physicians allow red-herrings to fever patients.
Some months after he changed horses at the same inn, and asked how long the unfortunate creature had survived his herring, when, to his utter surprise, he was informed that the hale, hearty fellow who was bringing out the relays, was the very man. He of course pulled out his journal and entered—red-herrings cure the fever of Englishmen.
Our traveller crossed over, and having accidentally seen in a French inn a poor devil whose case appeared to him similar to the sturdy ostler, he ventured to prescribe a similar remedy, which the patient only survived an hour or two; when his death was announced, he philosophically shrugged up his shoulders, and wrote in his book—Though red-herrings cure fevers in England, they most decidedly kill in France.
We frequently meet with lunatics who, although they have no remembrance of the past circumstances of their life, recollect and perform airs which they had formerly played.
Various well-authenticated cases lead us to suppose, that a sensibility to music long latent may be called into action by accidental circumstances. A case is on record of a countrywoman, twenty-eight years of age, who had never left her village, but was, by mere chance, present at a fête where a concert was performed, and dancing to a full band afterwards followed. She was delighted with the novelty of the scene; but, the fête concluded, she could not dismiss from her mind the impression the music had produced. Whether she was at her meals, her devotions, her daily occupation, or in her bed,—still, or moving about,—the airs she had heard, and in the succession in which they had been performed, were ever present to her recollection. To sleep she became a stranger,—every function became gradually deranged, and six short months terminated her existence, not having for one moment lost this strange sensation; and during this sad period, when any false note on the violin was purposely drawn, she would hold her head with both hands, and exclaim, “Oh! what a horrible note! it tears my brain!”
Sir Henry Halford relates the case of a man in Yorkshire, who after severe misfortunes lost his senses, and was placed in a lunatic asylum. There, in a short time, the use of the violin gradually restored him to his intellects; so promptly, indeed, that six weeks after the experiment, on hearing the inmates of the establishment passing by, he said, “Good morning, gentlemen; I am quite well, and shall be most happy to accompany you.”
Curious anecdotes are related of the effect of music upon animals. Marville has given the following amusing account of his experiments. “While a man was playing on a trump-marine, I made my observations on a cat, a dog, a horse, an ass, a hind, some cows, small birds, and a cock and hens, who were in a yard under the window: the cat was not the least affected; the horse stopped short from time to time, raising his head up now and then as he was feeding on the grass; the dog continued for above an hour seated on his hind-legs, looking steadfastly at the player; the ass did not discover the least indication of his being touched, eating his thistles peaceably; the hind lifted up her large wide ears, and seemed very attentive; the cows slept a little, and, after gazing at us, went forward; some little birds that were in an aviary, and others on trees and bushes, almost tore their little throats with singing; but the cock, who minded only his hens, and the hens, who were solely employed in scraping a neighbouring dunghill, did not show in any manner that the trump-marine afforded them pleasure.” That dogs have an ear for music cannot be doubted: Steibelt had one which evidently knew one piece of music from the other: and a modern composer, my friend, Mr. Nathan, had a pug-dog that frisked merrily about the room when a lively piece was played, but when a slow melody was performed, particularly Dussek’s Opera 15, he would seat himself down by the piano, and prick up his ears with intense attention until the player came to the forty-eighth bar; as the discord was struck, he would yell most piteously, and with drooping tail seek refuge from the unpleasant sound under the chairs or tables.
Eastcot relates that a hare left her retreat to listen to some choristers who were singing on the banks of the Mersey, retiring whenever they ceased singing, and reappearing as they recommenced their strains. Bossuet asserts, that an officer confined in the Bastille drew forth mice and spiders to beguile his solitude with his flute; and a mountebank in Paris had taught rats to dance on the rope in perfect time. Chateaubriand states as a positive fact, that he has seen the rattlesnakes in Upper Canada appeased by a musician; and the concert given in Paris to two elephants in the Jardin des Plantes leaves no doubt in regard to the effect of harmony on the brute creation. Every instrument seemed to operate distinctly as the several modes of pieces were slow or lively, until the excitement of these intelligent creatures had been carried to such an extent that further experiments were deemed dangerous.
The associations produced by national airs, and illustrated by the effect of the Rans des Vaches upon the Swiss, are too well known to be related; and the mal de pays, or nostalgia, is an affection aggravated by the fond airs of infancy and youth during the sad hours of emigration, when the aching heart lingers after home and early ties of friendship and of love. It is somewhat singular, but this disease is frequent among soldiers in countries where they are forcibly made to march: but is seldom, if ever, observed in the fair sex, who most probably seek for admiration in every clime, and are reconciled by flattery to any region.
The whims of musical composers have often been most singular; Gluck composed in a garden, quaffing champaign; Sarti, in a dark room; Paesiello, in his bed; Sacchini, with a favourite cat perched upon each shoulder. The extraordinary fancies of Kutswara, composer of the “Battle of Prague,” are too well known, and led to his melancholy, but unpitied end.
Great as the repute of the most popular musical performers, whether vocal or instrumental, in the present day may be, and enormous as their remuneration may seem, the ancients were more profuse in their generosity to musicians and the factors of musical instruments. Plutarch, in his life of Isocrates, tells us that he was the son of Theodorus, a flute-maker, who had realized so large a fortune by his business, that he was able to vie with the richest Athenian citizens in keeping up the chorus for his tribe at festivals and religious ceremonies. Ismenias, the celebrated musician of Thebes, gave three talents, or 581l. 5s. for a flute. The extravagance of this performer was so great, that Pliny informs us he was indignant at one of his agents for having purchased a valuable emerald for him at Cyprus at too low a price, adding, that by his penurious conduct he had disgraced the gem. The vanity of artists in those days appears to have been similar to the present impudent pretensions of many public favourites. Plutarch relates of this same Ismenias, that being sent for to play at a sacrifice, and having performed for some time without the appearance of any favourable omen in the victim, his employer snatched the instrument out of his hand, and began to play himself most execrably. However, the happy omen appeared, when the delighted bungler exclaimed that the gods preferred his execution and taste. Ismenias cast upon him a smile of contempt, and replied, “While I played, the gods were so enchanted that they deferred the omen to hear me the longer; but they were glad to get rid of you upon any terms.” This was nearly as absurd as the boast of Vestris, the Parisian dancer, who, on being complimented on his powers of remaining long in the air, replied, “that he could figure in the air for half an hour, did he not fear to create jealousy among his comrades.”
Amœbæus the harper, according to Athenæus, used to receive an Attic talent of 193l. 15s. for each performance. The beautiful Lamia, the most celebrated female flute-player, had a temple dedicated to her under the name of Venus Lamia. The Tibicinæ, or female flute-players, who formed collegiate bodies, were as celebrated for their talent and their charms, as for their licentiousness and extravagance. Their performances were forbidden by the Theodosian code, but with little success; since Procopius informs us that, in the time of Justinian the sister of the Empress Theodora, who was a renowned amateur tibicina, appeared on the stage without any other dress than a slight and transparent scarf.
In the early ages of Christianity, the power of music in adding to religious solemnity was fully appreciated, and many of the fathers and most distinguished prelates cultivated the auxiliary science. St. Gregory expressly sent over Augustine the monk, with some singers, who entered the city of Canterbury singing a litany in the Gregorian chant, which extended the number of the four tones of St. Ambrose to eight. A school for church music was established at Canterbury; and it was also taught in the diocese of Durham and Weremouth. St. Dunstan was a celebrated musician, and was accused of having invented a most wonderful magic harp; it was, perhaps, to prove that the accusation was false, that he took the devil by the nose with a pair of tongs. This ingenious saint is said to be the inventor of organs, one of which he bestowed on the abbey of Malmesbury. It appears, however, that instruments resembling the organ were known as early as 364, and were described in a Greek epigram attributed to Julian the Apostate, in which he says, “I beheld reeds of a new species, the growth of each other, and a brazen soil; such as are not agitated by winds, but by a blast that rushes from a leathern cavern beneath their roots; while a robust mortal, running with swift fingers over the concordant keys, makes them, as they smoothly dance, emit melodious sounds.”
The influence of music on the fair sex has long been acknowledged, and this advantage has proved fatal to some artists who had recourse to its fascinating powers; Mark Smeaton was involved in the misfortunes of Anne Boleyn; Thomas Abel, who taught harmony to Catherine, met with a similar fate, and David Rizzio was not more fortunate. They were, perhaps, too much impressed with the ideas of Cloten: “I am advis’d to give her music o’ mornings; they say it will penetrate.”
It is worthy of remark, that no woman was ever known to excel in musical composition, however brilliant her instrumental execution might have been. The same observation has been made in regard to logical disquisitions. To what are we to attribute this exception?—are we to consider these delightful tormentors as essentially unharmonious and illogical? We leave this important question to phrenologists.
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