The Continental Monthly , Vol. 2 No. 5, November 1862

Alas for the old fashions! Wonder, incredulity, curiosity, and a crowd of primitive sensations, the whooping host that greeted, like misformed brutes on Circean shores, the steamboat and the telegraph, are passing away on a Lethean tide, and our mysteries are departing from among us. The intelligence which so long gazed wistfully upon the barred door of nature, or picked unsuccessfully at the bolts, with skeleton theories, and vague speculations, had learned to try the 'open sesame' of science. The master key is turning, the shafts yield, and already a dim glory shines through.

While the strides of a positive philosophy are crippled by enthusiastic rhapsodies about intuition and instinct, her footsteps are still indelible, and her progress is certain and accelerating. Reason is written on her brow; she appeals to the universal gift, and denies the authoritative dictations of fallible genius, as much as a moral equality disallows the divine right of kings. Speculators among stars, speculators among sounds and colors, are the skirmishers in front of an intellectual post, whose tread reverberates but little in their rear. Accoutred with a few empiric facts and inductive minds, they aspire to beautiful and stable theories, whence they may descend, by deductive steps, accurate even to mathematical absoluteness, to the very arcana of what has been the inexplicable. To them the true, the beautiful, must be facts, defined, realized, and vigorously analyzed. Visible embodiments of an incomprehensible grace must be disintegrated, and the thinnest essences escape not the analytical rack whereon they confess the causal entity of their composition. 'Broad-browed genius' may toss his locks in the studio redolent of art; his eye may light, and his nervous fingers print the grand creation on the canvas. The divine afflatus is in his nostrils; it is his spirit, and his picture is the reflex of his soul. But keen-eyed Science lays a shadowy hand upon the 'holy coloring,' and says: 'Truly, the harmony is beautiful; it has pleased a sympathetic instinct from the first. Yet, from the first, my laws have been upon it—inexorable laws, which answer to the mind as instinct echoes to the soul.'

The august simile of the philosopher, who likened the world to a vast animal, is appearing each day as too real for poetry. The ocean lungs pulse a gigantic breath at every tide, her continental limbs vibrate with light and electricity, her Cyclopean fires burn within, and her atmosphere, ever giving, ever receiving, subserves the stupendous equilibrium, and betrays the universal motion. Motion is material life; from the molecular quiverings in the crystal diamond, to the light vibrations of a meridian sun—from the half-smothered sound of a whispered love, to the whirl of the uttermost orb in space, there is life in moving matter, as perfect in particulars, and as magnificent in range, as the animation which swells the tiny lung of the polyp, or vitalizes the uncouth python floundering in the saurian slime of a half-cooled planet.

When a polar continent heaves from the bosom of the deep, or when the inquiring eye rests upon the serrated rock, the antique victim of some drift-dispersing glacier, the mind perceives the effects and recognizes the existence of nature's omnipotent muscles, and their appalling power.

But that adventurer who chases the chain of necessity to the sources of this grand instability, is merged at once in a haze of speculations, beautiful as sunlight through morning mists, but uncertain as the veriest chimeras. While beyond the idea of comprehensive motion the colossal symmetry of Truth expands in ultimate outlines, her features are shrouded, but in such an attractive clare-obscure of inviting analogies and semi-satisfying glimpses, that the temptation to guess at the ideal face almost overpowers the desire to kiss the real and shining feet below. Unfortunately, there is the domain of the myths and immaterials, there is the home of the law and the force, there dwell the Odyles, the electricities, the magnetisms, and affinities, and there the speculative Æneas pursues shadows more fleeting than the Stygian ghosts, and the grasp of the metaphysician closes on shapes whose embrace is vacancy. The bark that ploughs within this mystic expanse, sheds from its cleaving keel but coruscations of phosphorescent sparkles, which glimmer and quench in a gloom that Egyptian seers never penetrated, and modern guessers cannot conjecture through. There is, indeed, 'oak and triple brass' upon his breast who steeps his lips in the chalice of the Rosicrucian, and the doom of Prometheus is the fabled defeat which is waiting for the wanderer in those opaque spaces. While we warily, therefore, tread not upon the ground whose trespass brought the vulture of unfilled desire, the craving void for visionary lore upon the heaven-born, earth-punished speculator, we can still find flowery paths and full fruition, in meadows wherein the light of reason requires no support from the ignes fatui of imagination; meadows after all so broad, that did not metaphysics 'teach man his tether,' they would seem illimitable. The book of nature is not spread before us, turning leaf after leaf at every sunrise, with new delineations on every page, to be stared at with vacant inanity, or criticized with imbecile verbosity. The rivulet does not tinkle and the sky does not look blue that people may feed the ear alone with the one, or satisfy the eye alone with the other; the nerves which carry the sensation to the brain, flutter with the news, and knock at the house of mind for explanation. We do not anticipate being hurried into any extravaganza about the rural felicity of green trees, clinking cowbells, cane chairs, and cigars, when we recall to the trainer of surburban vines the harmony, the analogy, the relationship, which he must have observed between sounds and colors in nature's album of melodies.

When, at evening, the zenith blue melts away toward the horizon in dreamy violet, and the retreating sun leaves limber shafts of orange light, like Parthian arrows, among the green branches of the elms, what sounds can charm the ear like the soft chirrup of the cricket, the homely drone of the hive-seeking bee, and the cool rustle of the breeze through the tops of the spring-sodden water grasses? How fondly the mind blends the evening colors and the incipient voices of the night! 'Oh,' says the metaphysician, 'this is association: just so a strain of music reminds you of a fine passage in a book you have read, or a beautiful tone in a picture you have seen; just so the Ranz des Vaches bears the exile to the timber house, with shady leaves, corbelled and strut-supported, whose very weakness appeals to the avalanche that shakes an icicly beard in monition from the impeding crags.'

Well, let association play her part in some cases; when a habit has necessitated the recurrence of two distinct ideas together, they will certainly be associated at times when the habit is gone; but suppose the analogy is felt when the ideas have never before been in juxtaposition, or when there has even been no sensation at all to generate one of the notions. How, for instance, did the sightless imaginer ever conceive that red must be like the sound of the trumpet? Simply because the analogy between color and music is deeper than the idea of either, more absolute than association could make it; because certain tints are calculated to produce exactly similar impressions on the eye that certain sounds do upon the ear; or, to use a mathematical turn of expression, because some color [Greek: x] is to the eye as some sound [Greek: x] is to the ear.

That this mathematical turn of expression is no vagary, but perfectly germane to the subject, and accurate in application, we propose to prove to those who love coincidences and analogies sufficiently to fish them out of a little dilute science.

Light and sound are the daughters of motion. Color and music, the ethereal and aërial offspring of this ancestry, born with the world, fostered in Biblical times, expanded in China and Egypt, living on the painted jar, and breathing in the oaten reed, deified in Greece, and analyzed to-day, are natural cousins at the least, and they have come from the spacious home of their progenitor, upon our dusky and silent sphere, like Peace and Goodwill, with hands bound in an oath and contract never to part. We will spare a dissertation on chaos; we will not speak of matter and inertia; but as our greatest and purest fountain of light is the sun, we may be allowed a modest exposition of his philosophical state, as a granite gate to the garden beyond. Ninety-five millions of miles to the north, east, south, or west of us, up or down, as the case may be, stands the molten centre of our system—an orb, whose atoms, turbulent with electricity, gravity, or whatever mechanists please to call the attraction of particle for particle, are forever urging to its centre, forever meeting with repulsions when they slide within the forbidden limits of molecular exclusiveness, and eternally vibrating with a quake and quiver which lights and heats the worlds around. In other words, this agitation is one that, transmitted to an ethereal medium, produces therein corresponding vibrations or waves, which are light and heat.

As sound is the symmetrical aërial motion, if our atmosphere embraced our sun, and extended throughout space, we should perhaps hear in the ambient the fundamental chord, resolvable into the diatonic scale—as we look upon the beam of white which the prism decomposes into the solar spectrum, and in the ghostly watches of the night, we might recognize the 'music of the spheres' as the planets rushed around their airy orbits, with a noise like the 'noise of many waters,' no longer a poetic illusion, but a harmonic fact.

Light, whether white or colored, is transmitted through ether in waves of measurable length: each atom of the medium, when disturbed, moves around its place of rest in an orbit of variable dimension and eccentricity. On the character of the orbit depends the character of the light; and on the velocity of orbit motion, its intensity. Like the gentle pulsations which circle from the point where fell the pebble in the purple lake, come the grateful twilight waves, red with the last kiss of day; like the fierce struggles of the storm-beaten ocean floods come the lightning waves, blazing through the thunder clouds, howling in riven agony: so great is the variety of character in these orbicular disturbances, which, acting upon the optic nerves, produce the sensation of multiform light and color.

Waves of light, like waves of sound, are of different lengths, and while the eye prefers some single waves to others, it recognizes a harmony in certain combinations, which it cannot discover in different ones.

While, however, the constitution of individual eyes acknowledges one color more pleasing than another, there is none, perhaps, which does not prefer the coldest monochromatic to entire absence of color, as in blank white, or to an absolute vacancy of light, as in black.

Sepia pieces are more agreeable than the neatest drawings in China ink, or the most graceful curves done in chalk upon a blackboard. But however the eye may admire a severe and simple unity, it relishes still more a harmonious complexity; and a very mediocre little pensée in water colors, will prove more generally attractive than the monochromatic copies in the Liber Veritatis.

But to this complexity there must be limits—an endless and incongruous variety teases and revolts; the discordant effect of innumerable tints, among which some are sure to be uncongenial to each other, is always extremely irritating. There ought, then, to be a scale of color, it would seem, within whose limits the purest harmonies are to be found, and beyond which subdivisions should be no more allowed than in constant musical notes. When this idea strikes, as it must have, many artists, reason, consideration, instinct, and all, refer at once to the solar spectrum as such an one. The analogy between this scale, which governs the chromatics of the sunset and thunderstorm, and that which the science of man has established, empirically, for harmonies, is remarkable, and we shall try to make it patent. They are both scales of seven: the tonic, mediant, and dominant, find their types in red, yellow, and blue, while the modifications on which the diatonic scale is constructed, resemble, numerically and esthetically, the well-known variations in the spectrum.

The theory of harmonies in optics is the same as in acoustics, the same as in everything—it is based on simplicity. Those colors, like those notes, the number of whose vibrations or waves in the same time bear some simple ratio to each other, are harmonious; an absolute equality produces unison; and a group of harmonies is melody both in music and in color. At this point we cannot but hint at the analogy already discovered between the elements of music and the elements of form. Angles harmonize in simple analysis, or intricate synthesis, whose circular ratios are simple.

Numerical proportions are the roots of that shaft of harmony which, springing from motion, rises and spreads into the nature around us, which the senses appreciate, the spirit feels, and the reason understands. Beauty is order, and the infinity of the law is testified in the ever-swelling proofs of an unlimited consonance in creation, of which these analogies are the smallest types. But the idea of numerical analogy is not new to our age, now that the atomic theory is established, and people are turned back to the days when the much bescouted alchemist pored with rheumy eyes over the crucible, about to be the tomb of elective affinity, and whence a golden angel was to develop from a leaden saint: when they are reminded of the Pythagorean numbers, and the arithmetic of the realists of old, they may very well imagine that the vain world, like an empty fashion, has cycled around to some primitive phase, and look for the door of that academy 'where none could enter but those who understood geometry.'

But to return. When the ear accepts a tone, or the eye a single color, it is noticed that these organs, satiated finally with the sterile simplicity, echo, as it were, in a soliloquizing manner, to themselves, other notes or tints, which are the complementary or harmony-completing ones: so that if nature does not at once present a satisfaction, the organization of the senses allows them internal resources whereon to retreat. 'There is a world without, and a world within,' which may be called complementary worlds. But nature is ever liberal, and her chords are generally harmonies, or exquisite modifications of concord. The chord of the tonic, in music, is the primal type of this harmony in sound; it is perfectly satisfactory to the tympanum; and the ear, knowing no further elements (for the tonic chord combines them all), can ask for nothing more.

This chord, constructed on the tonic C, or Do, as a key note, and consisting of the 1st, 3d, and 5th of the diatonic scale, or Do, Mi, Sol, is called the fundamental chord. The harmony in color which corresponds to this, and leaves nothing for the eye to desire, is, of course, the light that nature is full of—sunlight. White light is then the fundamental chord of color, and it is constructed on the red as the tonic, consisting of red, yellow, and blue, the 1st, 3d, and 5th of the solar spectrum.

This little analogy is suggestive, but its development is striking.

The diatonic scale in music, determined by calculation and actual experiment on vibrating chords, stands as follows. It will be easily understood by musicians, and its discussion appears in most treatises on acoustics:

The intervals, or relative pitches of the notes to the tonic C, appear expressed in the fractions, which are determined by assuming the wave length or amount of vibration of C as unity, and finding the ratio of the wave length of any other note to it. The value of an interval is therefore found by dividing the wave length of the graver by that of the acuter note, or the number of vibrations of the acuter in a given time by the corresponding number of the graver. These fractions, it is seen, comprise the simplest ratios between the whole numbers 1 and 2, so that in this scale are the simple and satisfactory elements of harmony in music, and everybody knows that it is used as such. Now nature exposes to us a scale of color to which we have adverted; it is thus:

Red, Orange, Yellow, Green, Blue, Indigo, Violet

Let us investigate this, and see if her science is as good as mortal penetration; let us see if she too has hit upon the simplest fractions between 1 and 2, for a scale of 7. We can determine the relative pitch of any member of this scale to another, easily, as the wave lengths of all are known from experiment.

The waves of red are the longest; it corresponds, then, to the tonic. Let us assume it as unity, and deduce the pitch of orange by dividing the first by the second.

The length of a red wave is 0.0000266 inches; the length of an orange wave is 0.0000240 inches; the fraction required then is 266/240; dividing both members of this expression by 30, it reduces to 9/8, almost exactly. This is encouraging. We find a remarkable coincidence in ratio, and in elements which occupy the same place on the corresponding scales. Again, the length of a yellow wave is 0.0000227 inches; its pitch on the scale is therefore 266/227; dividing both terms by 55, the reduced fraction approximates to 5/4 with great accuracy, when we consider the deviations from truth liable to occur in the delicate measurements necessary to determine the length of a light vibration, or the amount of quiver in a tense cord. A green wave is 0.0000211 inches in length; its pitch is then 266/211, which reduced, becomes 4/3; in like manner the subsequent intervals may be determined, which all prove to be complete analogues, except, perhaps, violet, whose fraction is 266/167, which reduces nearer 16/9 than 15/8. But these small discrepancies, which might be expected in the results of physical measurements, do not cripple the analogy which appears now in the two following scales:

DIATONIC OR NATURAL SCALE OF MUSIC

DIATONIC OR NATURAL SCALE OF COLOR

Thus orange is to red what D is to C; and to resume the proportion we used before, red is to eye as C is to ear; yellow: eye: Mi: ear; and so on the proportion extends, till the analogy embraces chords, harmonies, melodies, and compositions even.

We have already mentioned the chord of the tonic, and the corresponding eye-music, red, yellow, and blue; let us consider the chord of the dominant or 5th note, whose analogue is blue. This chord is constructed on the 5th of the diatonic as a fundamental note, and consists of the 5th, 7th, and 9th, or returning the 9th an octave, the 5th, 7th, and 2d. The parallel harmony among the spectral colors is blue, violet, and orange. The name 'dominant' indicates the nature of this chord; its often recurring importance in harmonic combinations of a certain key make it easily recognized, and it is even more pleasing than the tonic in its subdued character.

Out of doors this chord is preëminent in the sunset key, and the western skies ever chant their evening hymn in the 5th, 7th, and 2d of the ethereal music. The correspondence of the sub-dominant would be red, green, and indigo; of the chord of the 6th, red, yellow, and indigo; and so on, the curious mind may elicit the symmetrical to any notes, half notes, or combinations of notes. It is evident that as a note may be interpolated between any two of the scale, for reach or variety, and called, e.g. ♯F or ♭G, so a half tint between green and blue is a kind of analogical ♯ green or ♭ blue.

It seems to us that the elementary angles which Mr. Hay conceives to be the tonic, mediant, and dominant, in formal symmetry, will soon be proved to decompose into a scale of linear harmony, forming another beam in this glory of natural analogy. These angles are the fundamental ones of the pentagon square, and equilateral triangle—respectively 108°, 90°, and 60°. Some such scale it is known existed when art was at its culmination in buried Greece, and it was less the stupendous genius of her designers than the soul of the universe which their rules taught them how to infuse into form, which rendered the marbles of Hellas synonymes for immortality.

The most beautiful and conclusive, and yet most mysterious sign, that points the seeker to the prosecution of this last analogy, remains yet for us to remark, and for some investigator yet to take advantage of. It is the nodal figures which arrange themselves upon an elastic plate (as of glass), when it is made to vibrate (strewed with sand) by a fiddle bow drawn across its edge, so as to produce a pitch of some intensity. These have been investigated, and found subject to certain laws, which link into the chain of symmetry that philosophers have already grasped. Among these figures, of which the simplest arise from the deepest pitches, the angles mentioned occur.

But however interesting it might be to follow out these episodical instances, they would lead us too far from our original compass.

We have plainly exhibited the identity of principle which governs the bases of sound and color, and might fairly write Q.E.D. to our proposition; but the fact so determined has a farther bearing upon art, which it may not be out of place to enlarge upon.

The painter's palette, charged with color, is the instrument with which he thrills a melody to the eye, even as the magniloquent organ or the sigh-breathing flute speak to the ear. And just as the compass of all instruments is constructed on the diatonic scale, so should the range of the palette depend upon the tinges of the spectrum.

While artists of a certain school pretend to imitate Nature, who paints literally with a pencil dipped in rainbow, they make use of a complication of tints, at which their goddess would shudder. In mixing and mixing on the groaning palette, they generate an unhappy brood of misformed tones, which never can agree upon the canvas; while the pigments, impure at best, become doubly so by amalgamation, the ramifications of contrast which such differences superinduce are sure to prove sometimes repulsive.

Contrast is nature's charm, the bubbling source that she exhausts for her prettiest harmonies and varieties.

But earthen pitchers are easily broken at the brink, and if the slippery streams thence flowing are not judiciously checked, they merge into a harsh flood that sweeps away all grace, like the magic fountain in the German myth, whose fairy tricklings, uncovered for a single night, burst into a curbless flood, that drowned the sleeping landscape ere the dawn. The small reactions of contrast in infinitesimal tints, are perhaps neglected or unforeseen, but their influence is fearfully apparent in the end.

The simplicity of beauty is very limited, and he who dabbles in infinite decompositions of color will be certain to encounter turbid and unnatural tones, whose ultimate result will be an inharmonious and disunited whole.

It is true that in the landscape, and cloudscape, and waterscape, there are wonderful extremes of chromatic gradation, for it is the hand and mind of nature that adorns herself; she can see unerringly, and lay on divinely, the remotest intricacies of shade, and her colors are pure light, swimming in ether.

But these media do not come bottled up in tin tubes, and to this gift a mortal hand ought not to presume. It might as well aspire to draw infinitely as to tint infinitesimally; for before it can find use for all the colors in nature, it ought to have all nature upon the canvas. But finally, we hold that reproductive art is as much part and parcel of human nature as the appreciative, or sensation of beauty; and that any one can learn to copy and color a landscape or design, as well as to perform upon a musical instrument. Let genius still wield the creative wand, but in the wide domain of art, over his grotto alone be it written, Procul o procul este profani.

ONE OF THE MILLION

Shoemaker Scheffer opened his shop within sight of the college buildings, and expected to live by trade. He was young and skilful, obliging, and prompt, and acquired, ere long, a substantial reputation. Prosperity did not mislead him; he applied his income to the furtherance of his business, abhorred debt, squandered nothing, was exact and persevering.

At work early and late, he seemed the model of contentment, as he was of industry. Prompt, obliging, careful, he made the future easy of prediction.

But though the ruddy firelight shines well on the window panes, what griefs, what agonies, what discords, are developed around the hearthstone. Scheffer's quiet demeanor was, in some degree, deception. One woman in the world knew it was so—no other being did.

The immediate excitant of his unrest was found in the college students, who passed his place of business at all hours of the day. He remembered that he might have worked his way into the ranks of those fellows. Nothing vexed him so much as to see a lounger among them; for he must needs think of the time when, a stripling, he agonized over his choice, and said to himself, thinking of his mother (dead now, when the comfort he toiled for was secured), 'Time enough for books when I am sure of bread; flesh is needy and perishing, spirit is eternal.' He had walked out of school to the counter of his uncle, and stood behind it seven years, doing with earnest might what his hand found to do.

And here he was now, on his own ground, wistfully looking over his barriers into the college yard, and, shall we say it, envying the career of every studious lad—most of all that of the scholarly Harry Cromwell, and the broad-browed, proud young Mitchell, who came into his shop now and then, in remembrance of old days; for these lads could all remember when they stood in one straight line among the social forces, and neither had marched out of the old division to take rank in the new.

One day Paul Mitchell strolled into Scheffer's shop. Scheffer, at the moment, was reading a newspaper, and he did not instantly throw the sheet aside: he thought it unlikely that Paul required his service. But at last, laying the paper away, and going up to Mitchell, he asked:

'What will you have, this morning?'