Page:Papers on Literature and Art (Fuller).djvu/235

Rh The thought of the law that supersedes all thoughts, which pierces us the moment we have gone far in any department of knowledge or creative genius, seizes and lifts us from the ground in music. “Were but this known all would be accomplished,” is sung to us ever in the triumphs of harmony. What the other arts indicate and philosophy infers, this all-enfolding language declares, nay publishes, and we lose all care for to-morrow or modern life in the truth averred of old, that all truth is comprised in music and mathematics.

A very slight knowledge of music makes it the best means of interpretation. We meet our friend in a melody as in a glance of the eye, far beyond where words have strength to climb; we explain by the corresponding tone in an instrument that trait in our admired picture, for which no sufficiently subtle analogy had yet been found. Botany had never touched our true knowledge of our favourite flower, but a symphony displays the same attitude and hues; the philosophic historian had failed to explain the motive of our favourite hero, but every bugle calls and every trumpet proclaims him. He that hath ears to hear, let him hear!

Of course we claim for music only a greater rapidity, fullness, and, above all, delicacy of utterance. All is in each and each in all, so that the most barbarous stammering of the Hottentot indicates the secret of man, as clearly as the rudest zoophyte the perfection of organized being, or the first stop on the reed the harmonies of heaven. But music, by the ready medium, the stimulus and the upbearing elasticity it offers for the inspirations of thought, alone seems to present a living form rather than a dead monument to the desires of Genius.