A Reaping

Of all subjects under or over the sun, there is none perhaps, even including bimetallism, or the lengthy description of golf-links which one has never seen, so utterly below possible zones of interest as that of health. Health, of course, matters quite enormously to the individual, but nobody with good health ever gives two thoughts (far less one word) to the subject. Nobody, in fact, begins to think about health until his own begins to be inferior. But, then, as if that was not bad enough, he at once clubs and belabours his unhappy friends with its inferiority. It becomes to him the one affair of absorbing importance. Emperors may be assassinated, Governments may crumble, it may even be 92 degrees in the shade, but he recks nothing of those colossal things. He ate strawberries yesterday, and has had a bilious headache almost ever since. And the world ceases to revolve round the sun, and the moon is turned to blood, or ashes--I forget which.

But the real invalid, just like the man who enjoys real health, never talks about such matters. It is only to the amateur in disease that they are of the smallest interest. The man who is well never thinks about his health, and certainly never mentions it; to the man who is really ill some divine sense of irresponsibility is given. He brushes it aside, just as one brushes aside any innate inability; with common courage--how lavishly is beautiful gift given to whomever really needs it--he makes the best of other things.

These poignant though obvious reflections are the outcome of what occurred this evening. I sat between two friends at dinner, both of them people in whom one’s heart rejoices. But one of them is obsessed just now with this devil of health-seeking. The other has long ago given up the notion of seeking for health at all, for it is not for her. She faces incurable with gaiety. So I have to record two conversations, the worse first.

‘Oh, I always have ten minutes’ deep-breathing every morning. It is the only way I can get enough air. You have to lie on your back, you know, and stop one nostril with your finger, while you breathe in slowly through the other; and you should do it near an open window. There is no fear of catching cold, or if you do I can send you a wonderful prescription.... Then you breathe out through the other nostril. I wish you would try it; it makes the whole difference. No, thanks, caviare is poison to me!’

‘Well, so is arsenic to me,’ I said. ‘But why say so?’

(It did not sound quite so brusque as it looks when written down, and native modesty prevents my explaining how abjectly patient I had been up till then.)

Then there came the reshifting of conversation, and we started again, with change of partners.

‘I do hope you will come to see us again in August,’ said the quiet, pleasant voice. ‘I shall go up to Scotland at the end of the month. Your beloved river should be in order: there has been heaps of rain.’

But I could not help asking another question.

‘Ah, then they let you go there?’ I said.

She laughed gently.

‘No, that is just what they don’t do,’ she said. ‘But I am going. What does it matter if one hastens it by a few weeks? I am going to shorten it probably by a few weeks, but instead of having six tiresome months on board a yacht, I am going to have rather fewer months among all the things I love. Oh, Dick quite agrees with me. Do let’s talk about something more interesting. Did you hear “Tristan” the other night? No? Richter conducted. He is such a splendid Isolde! There is no one to approach him!’

There, there was the glory of it! And how that little tiny joke about Richter touched the heart! Here on one side was a woman dying, and she knew it, but the wonder and the pleasure of the world was intensely hers. There, on the other, was the excellent Mrs. Armstrong. She could not think about the opera or anything else except her absurd deep-breathing and her ridiculous liver. Nobody else did; nobody cared. Even now I could hear her explaining to her left-hand neighbour that next to deep-breathing, the really important thing is to drink a glass of water in the middle of the morning. Slowly, of course, in sips. And she proceeded to describe what the water did. Well, I suppose I am old-fashioned, but I could no more think of discussing these intimate matters at the dinner-table than I should think of performing my toilet there. Besides--and this is perhaps the most unanswerable objection to doing so--besides being slightly disgusting, it is so immensely dull!

However, on the other side there was a topic as entrancing as the other was tedious, and in two minutes my other neighbour and I were deep in the fascinating inquiry as to how far a conductor--a supreme conductor--identified himself with the characters of the opera. Certainly the phrase ‘Richter is such a splendid Isolde’ was an alluring theme, and by degrees it spread round the corner of the table (we were sitting close to it), and was taken up opposite, when a member of the Purcell Society gave vent to the highly interesting observation that the conductor had practically nothing to do with the singers, and was no more than a sort of visible metronome put there for the guidance of the orchestra. It was impossible not to retort that the last performance of the Purcell Society completely confirmed the truth of that view of the conductor. Indeed, the chorus hardly thought of him even as a metronome. Or else, perhaps, they were deaf, which would account for their sinking a tone and a half; in fact there were flowers of speech on the subject.

But how extraordinary a thing (taking the view, that is to say, that a conductor conceivably does more than beat time) is this transference of emotion, so that first of all Wagner, by means of merely black notes and words on white paper, can inspire the conductor with that tragedy of love which years ago, he wove out of the sunlight and lagoons of Venice; that, secondly, the conductor can enter into that mysterious and mystical union with his band and his singers, and reflect his own mood on them so strongly that from throat or strings or wailing of flutes they give us, who sit and listen, what the conductor bade them read into the music, so that all, bassoons and double-bass, flutes and strings, trumpets and oboes and horns, become the spiritual mirror of his emotion. By means of that little baton, by the beckoning of his fingers, he pulls out from them the music which is in his own soul, makes it communicable to them. Indeed, we need not go to the Society for Psychical Research for experiments in thought-transference, for here is an instance of it (unless, indeed, we take the view of this member of the Purcell Society) far more magical, far further uplifted out of the sphere of things which we think we can explain. For the mere degrees of loud or soft, mere alterations in tempo, are, of course, less than the ABC of the conductor’s office. His real work, the exercise of his real power, lies remote from, though doubtless connected with them. And of that we can explain nothing whatever. He obsesses every member of his orchestra so that by a motion of his hand he gets the same quality of tone from every member of it. For apart from the mere loudness and the mere time of any passage, there are probably an infinite number of ways of playing each note. Yet at his bidding every single member of the band plays it the same way. It is his thought they all make audible with a hundred instruments which have all one tone; else, how does that unity reach us sitting in our stalls?

That is the eternal mystery of music, which alone of the arts deals with its materials direct. It is not an imitation of sound, but sound itself, the employment of the actual waves of air that are the whistle of the wind, and the crash of breakers, and the love-song of nightingales. All other branches of art deal only second-hand; they but give us an imitation of what they wish to represent. The pictorial artist can do no more than lay a splash of pigment from a leaden tube on to his canvas when he wishes to speak to us of sunlight; he can only touch an eye with a reflection in its corner to show grief, or take a little from the size of the pupil to produce in us who look the feeling of terror that contracts it. Similarly, too, the sculptor has to render the soft swell of a woman’s bosom in marble, as if it was on marble a man would pillow his head. It is all a translation, a rendering in another material, of the image that fills us with love or pity, or the open-air intoxication of an April morning. But the musician works first-hand; the intangible waves of air, not a representation of them, are his material. It is not with a pigment of sound, so to speak, that the violins shiver, or the trumpets tell us that the gods are entering Valhalla. Music deals with sound itself, with the whisper that went round the formless void when God said, ‘Let there be light,’ with all that makes this delicate orchestra of the world, no copy of it, no translation of it, but it itself.

And for the time being, while the curtain is up, the control of these forces, their wail and their triumph, belongs to the conductor. He gives them birth in the strings and the wind; he by the movement of a hand makes them express all that sound expressed to the magician who first mapped them on his paper. Indeed, he does more; he interprets them through his own personality, giving them, as it were, an extra dip in the bath of life, so that their colours are more brilliant, more vital of hue. Or is the member of the Purcell Society right, and is the man who gives us this wonderful Isolde only a metronome?

It is often said that the deaf are far more lonely, far more remotely sundered from the world we know, than are the blind. It is impossible to imagine that this should not be so, for it is not only the sounds that we know we hear, but the sounds of which for the most part we are unconscious, that form the link between us and external things. It commonly happens, as in the dark, that we are cut off from all exercise of the eyes, and yet at such moments we have not been very conscious of loneliness. But it is rare that we are cut off from all sound, and the loneliness of that isolation is indescribable. It happened to me once in the golden desert to the west of Luxor, above the limestone cliffs that rise from the valley where the Kings of Egypt lie entombed.

I had sat down on the topmost bluff of these cliffs, having tethered my donkey down below, for the way was too steep for him, and for several minutes observed my surroundings with extreme complacency. Below me lay the grey limestone cliffs, but where I sat a wave of the desert had broken, and the immediate foreground was golden sand. Farther away, in all hues of peacock green, lay the strip of cultivated land, and beyond, the steel blue of the ancient and mysterious river. It was early yet in the afternoon, and the sun still high, so that the whole land glittered in this glorious high festival of light and colour. And, looking at the imperishable monuments of that eternal civilization, it seemed that one could not desire a more convincing example of the kindliness of the circling seasons, of the beneficence that overlooked the world from generation to generation, so that man might well say that this treasure-house of the earth was inexhaustible. No breeze of any sort was stirring, but the air, pure, hot, invigorating, was absolutely still. But at that moment I suddenly felt as if something was dreadfully wrong, though I did not at once guess what it was. Then came the thought, the identification of what was wrong: it seemed as if the world was dead; then came the reason for it: it was because there was no sound. For a moment I listened in order to verify this--listened with poised breath and immovable limbs. Yes, I was right: there was no sound of anything at all; for once the ears were deprived of the delicate orchestra that goes up, a hymn of praise, day and night from the earth. It was like a dreadful nightmare.