Page:Cyclopedia of illustrations for public speakers, containing facts, incidents, stories, experiences, anecdotes, selections, etc., for illustrative purposes, with cross-references; (IA cyclopediaofillu00scotrich).pdf/504

 I've seen the forest, adorned the foremost, With flowers of the fairest, most pleasant and gay; Sae bonny was their blooming, Their scents the air perfuming, But now they are withered, and weeded away.

Oh, fickle fortune, why this cruel sporting? Oh, why still perplex us, poor sons of a day? Nae mair your smiles can cheer me, Nae mair your frowns can fear me, For the flowers of the forest are a' wede away.

The words are beautiful, and instinct with sorrow when spoken or sung. But it is the music of the pipes that gives them supreme interpretation, and makes them the expression of grief so profound that "The Flowers of the Forest" has become the national dirge. Nor is sorrow their only note.

The pipes can sound—and have sounded on many a stricken field and in many an hour of despair—the triumph of hope and of victory over death. They have stirred the blood and cleared the head, and given strength to the arm of many a soldier who has never dreamed of the eagle plume blended with the heather and never heard through the mists of memory the clash of the broadsword on the targe—

I hear the pibroch sounding Deep o'er the mountain glen, While light springing footsteps are trampling the heath— 'Tis the march of the Cameron men.

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MUSIC OF NATURE

The Innuits, or Eskimos, of Smith Sound, Greenland, the most northerly people in the world, believe that the aurora borealis has a singing noise; and the inhabitants of the Orkneys, of Finmarken, and those in the region of Hudson Bay believe, with many competent observers, that a peculiar sound like the rustling of silk always accompanies it. The Lapps liken this sound to the cracking in the joints of moving reindeer. (Text.)

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MUSIC, POPULAR, VALUE OF

All history reveals the fact that music, wedded to stirring and patriotic words, has in every age had a powerful influence on the course of public events. Nor is this true alone of civilized peoples. Among almost all savage races, the warriors excite themselves to martial ardor by songs which thrill their souls. The war-dances alike of our North American Indians, of the African negroes, and of the semicivilized races which dwell in Asia, are accompanied by songs which, tho wild and incoherent to European ears, have an inspiring influence upon themselves. Carlyle wisely said, "The meaning of song goes deep"; and a more recent writer has declared that "it goes as deep as the heart of man, the throbbings of which it controls more readily and widely than do the speeches of statesmen, the sermons of preachers, or the writings of journalists." It was clearly because the influence of legend and of patriotic appeal, joined with familiar tunes so strongly roused the emotions of the people, that the ancient bards of Ireland, Scotland, and Wales were held in such high honor in the old royal courts and princely castles of these lands, and were regarded with such veneration by the people everywhere. About two centuries ago Lord Wharton wrote a political ballad, which was set to music, the title of which was "Lillibulero." It was very poor poetry, but somehow the rude verses struck a chord in the popular heart, and were sung everywhere. It was written in opposition to King James the Second; and so wide was its influence that Lord Wharton boasted, it is said, that it "sang James II out of three kingdoms." The effect of the "Marseillaise" in arousing and exciting the revolutionary spirit of France is one of the prominent facts in the history of that country. To it, in no small degree, is attributed the success of the French arms against the allies who assailed the young republic. So potent, indeed, was the "Marseillaise" felt to be in kindling political passion, that both the Napoleons forbade it being sung or played in France during their reigns.—Youth's Companion.

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MUSIC REFLECTS THE SOUL

Welsh, Russian, Polish, Hungarian, Finnish, and Armenian music is apt to be pitched in plaintive, mournful, minor keys. A Welsh preacher explained to an English congregation why Welsh tunes were thus habitually pathetic. It is because for centuries liberties were lost under Saxon domination. So, in Russia, visitors were imprest by the tender and melancholy tho beautiful strains of the national melodies. People