The World I Live In Part 2

Not only are the senses deceptive, but numerous usages in our language indicate that people who have five senses find it difficult to keep their functions distinct. I understand that we hear views, see tones, taste music. I am told that voices have colour. Tact, which I have supposed to be a matter of nice perception, turns out to be a matter of taste. Judging from the large use of the word, taste appears to be the most important of all the senses. Taste governs the great and small conventions of life. Certainly the language of the senses is full of contradictions, and my fellows who have five doors to their house are not more surely at home in themselves than I. May I not, then, be excused if this account of my sensations lacks precision?

THE FINER VIBRATIONS

V

THE FINER VIBRATIONS

I HAVE spoken of the numerous jars and jolts which daily minister to my faculties. The loftier and grander vibrations which appeal to my emotions are varied and abundant. I listen with awe to the roll of the thunder and the m.u.f.fled avalanche of sound when the sea flings itself upon the sh.o.r.e. And I love the instrument by which all the diapasons of the ocean are caught and released in surging floods--the many-voiced organ. If music could be seen, I could point where the organ-notes go, as they rise and fall, climb up and up, rock and sway, now loud and deep, now high and stormy, anon soft and solemn, with lighter vibrations interspersed between and running across them. I should say that organ-music fills to an ecstasy the act of feeling.

There is tangible delight in other instruments, too. The violin seems beautifully alive as it responds to the lightest wish of the master. The distinction between its notes is more delicate than between the notes of the piano.

I enjoy the music of the piano most when I touch the instrument. If I keep my hand on the piano-case, I detect tiny quavers, returns of melody, and the hush that follows. This explains to me how sound can die away to the listening ear:

. . . How thin and clear, And thinner, clearer, farther going!

O sweet and far from cliff and scar The horns of Elfland faintly blowing!

I am able to follow the dominant spirit and mood of the music. I catch the joyous dance as it bounds over the keys, the slow dirge, the reverie. I thrill to the fiery sweep of notes crossed by thunderous tones in the "Walkure," where _Wotan_ kindles the dread flames that guard the sleeping _Brunhild_. How wonderful is the instrument on which a great musician sings with his hands! I have never succeeded in distinguishing one composition from another. I think this is impossible; but the concentration and strain upon my attention would be so great that I doubt if the pleasure derived would be commensurate to the effort.

Nor can I distinguish easily a tune that is sung. But by placing my hand on another's throat and cheek, I enjoy the changes of the voice. I know when it is low or high, clear or m.u.f.fled, sad or cheery. The thin, quavering sensation of an old voice differs in my touch from the sensation of a young voice. A Southerner's drawl is quite unlike the Yankee tw.a.n.g. Sometimes the flow and ebb of a voice is so enchanting that my fingers quiver with exquisite pleasure, even if I do not understand a word that is spoken.

On the other hand, I am exceedingly sensitive to the harshness of noises like grinding, sc.r.a.ping, and the hoa.r.s.e creak of rusty locks.

Fog-whistles are my vibratory nightmares. I have stood near a bridge in process of construction, and felt the tactual din, the rattle of heavy ma.s.ses of stone, the roll of loosened earth, the rumble of engines, the dumping of dirt-cars, the triple blows of vulcan hammers. I can also smell the fire-pots, the tar and cement. So I have a vivid idea of mighty labours in steel and stone, and I believe that I am acquainted with all the fiendish noises which can be made by man or machinery. The whack of heavy falling bodies, the sudden shivering splinter of chopped logs, the crystal shatter of pounded ice, the crash of a tree hurled to the earth by a hurricane, the irrational, persistent chaos of noise made by switching freight-trains, the explosion of gas, the blasting of stone, and the terrific grinding of rock upon rock which precedes the collapse--all these have been in my touch-experience, and contribute to my idea of Bedlam, of a battle, a waterspout, an earthquake, and other enormous acc.u.mulations of sound.

Touch brings me into contact with the traffic and manifold activity of the city. Besides the bustle and crowding of people and the nondescript grating and electric howling of street-cars, I am conscious of exhalations from many different kinds of shops; from automobiles, drays, horses, fruit stands, and many varieties of smoke.

Odours strange and musty, The air sharp and dusty With lime and with sand, That no one can stand, Make the street impa.s.sable, The people irascible, Until every one cries, As he trembling goes With the sight of his eyes And the scent of his nose Quite stopped--or at least much diminished-- "Gracious! when will this city be finished?"[B]

[Ill.u.s.tration: Copyright, 1907, by The Whitman Studio

"Listening" to the Trees

To face page 70]

The city is interesting; but the tactual silence of the country is always most welcome after the din of town and the irritating concussions of the train. How noiseless and undisturbing are the demolition, the repairs and the alterations, of nature! With no sound of hammer or saw or stone severed from stone, but a music of rustles and ripe thumps on the gra.s.s come the fluttering leaves and mellow fruits which the wind tumbles all day from the branches. Silently all droops, all withers, all is poured back into the earth that it may recreate; all sleeps while the busy architects of day and night ply their silent work elsewhere. The same serenity reigns when all at once the soil yields up a newly wrought creation. Softly the ocean of gra.s.s, moss, and flowers rolls surge upon surge across the earth. Curtains of foliage drape the bare branches.

Great trees make ready in their st.u.r.dy hearts to receive again birds which occupy their s.p.a.cious chambers to the south and west. Nay, there is no place so lowly that it may not lodge some happy creature. The meadow brook undoes its icy fetters with rippling notes, gurgles, and runs free. And all this is wrought in less than two months to the music of nature's orchestra, in the midst of balmy incense.

The thousand soft voices of the earth have truly found their way to me--the small rustle in tufts of gra.s.s, the silky swish of leaves, the buzz of insects, the hum of bees in blossoms I have plucked, the flutter of a bird's wings after his bath, and the slender rippling vibration of water running over pebbles. Once having been felt, these loved voices rustle, buzz, hum, flutter, and ripple in my thought forever, an undying part of happy memories.

Between my experiences and the experiences of others there is no gulf of mute s.p.a.ce which I may not bridge. For I have endlessly varied, instructive contacts with all the world, with life, with the atmosphere whose radiant activity enfolds us all. The thrilling energy of the all-encasing air is warm and rapturous. Heat-waves and sound-waves play upon my face in infinite variety and combination, until I am able to surmise what must be the myriad sounds that my senseless ears have not heard.

The air varies in different regions, at different seasons of the year, and even different hours of the day. The odorous, fresh sea-breezes are distinct from the fitful breezes along river banks, which are humid and freighted with inland smells. The bracing, light, dry air of the mountains can never be mistaken for the pungent salt air of the ocean.

The air of winter is dense, hard, compressed. In the spring it has new vitality. It is light, mobile, and laden with a thousand palpitating odours from earth, gra.s.s, and sprouting leaves. The air of midsummer is dense, saturated, or dry and burning, as if it came from a furnace. When a cool breeze brushes the sultry stillness, it brings fewer odours than in May, and frequently the odour of a coming tempest. The avalanche of coolness which sweeps through the low-hanging air bears little resemblance to the stinging coolness of winter.

The rain of winter is raw, without odour, and dismal. The rain of spring is brisk, fragrant, charged with life-giving warmth. I welcome it delightedly as it visits the earth, enriches the streams, waters the hills abundantly, makes the furrows soft with showers for the seed, elicits a perfume which I cannot breathe deep enough. Spring rain is beautiful, impartial, lovable. With pearly drops it washes every leaf on tree and bush, ministers equally to salutary herbs and noxious growths, searches out every living thing that needs its beneficence.

The senses a.s.sist and reinforce each other to such an extent that I am not sure whether touch or smell tells me the most about the world.

Everywhere the river of touch is joined by the brooks of odour-perception. Each season has its distinctive odours. The spring is earthy and full of sap. July is rich with the odour of ripening grain and hay. As the season advances, a crisp, dry, mature odour predominates, and golden-rod, tansy, and everlastings mark the onward march of the year. In autumn, soft, alluring scents fill the air, floating from thicket, gra.s.s, flower, and tree, and they tell me of time and change, of death and life's renewal, desire and its fulfilment.

FOOTNOTE:

[B] George Arnold.

SMELL, THE FALLEN ANGEL

VI

SMELL, THE FALLEN ANGEL

FOR some inexplicable reason the sense of smell does not hold the high position it deserves among its sisters. There is something of the fallen angel about it. When it woos us with woodland scents and beguiles us with the fragrance of lovely gardens, it is admitted frankly to our discourse. But when it gives us warning of something noxious in our vicinity, it is treated as if the demon had got the upper hand of the angel, and is relegated to outer darkness, punished for its faithful service. It is most difficult to keep the true significance of words when one discusses the prejudices of mankind, and I find it hard to give an account of odour-perceptions which shall be at once dignified and truthful.

In my experience smell is most important, and I find that there is high authority for the n.o.bility of the sense which we have neglected and disparaged. It is recorded that the Lord commanded that incense be burnt before him continually with a sweet savour. I doubt if there is any sensation arising from sight more delightful than the odours which filter through sun-warmed, wind-tossed branches, or the tide of scents which swells, subsides, rises again wave on wave, filling the wide world with invisible sweetness. A whiff of the universe makes us dream of worlds we have never seen, recalls in a flash entire epochs of our dearest experience. I never smell daisies without living over again the ecstatic mornings that my teacher and I spent wandering in the fields, while I learned new words and the names of things. Smell is a potent wizard that transports us across a thousand miles and all the years we have lived. The odour of fruits wafts me to my Southern home, to my childish frolics in the peach orchard. Other odours, instantaneous and fleeting, cause my heart to dilate joyously or contract with remembered grief. Even as I think of smells, my nose is full of scents that start awake sweet memories of summers gone and ripening grain fields far away.

The faintest whiff from a meadow where the new-mown hay lies in the hot sun displaces the here and the now. I am back again in the old red barn.

My little friends and I are playing in the haymow. A huge mow it is, packed with crisp, sweet hay, from the top of which the smallest child can reach the straining rafters. In their stalls beneath are the farm animals. Here is Jerry, unresponsive, unbeautiful Jerry, crunching his oats like a true pessimist, resolved to find his feed not good--at least not so good as it ought to be. Again I touch Brownie, eager, grateful little Brownie, ready to leave the juiciest fodder for a pat, straining his beautiful, slender neck for a caress. Near by stands Lady Belle, with sweet, moist mouth, lazily extracting the sealed-up cordial from timothy and clover, and dreaming of deep June pastures and murmurous streams.

The sense of smell has told me of a coming storm hours before there was any sign of it visible. I notice first a throb of expectancy, a slight quiver, a concentration in my nostrils. As the storm draws nearer, my nostrils dilate the better to receive the flood of earth-odours which seem to multiply and extend, until I feel the splash of rain against my cheek. As the tempest departs, receding farther and farther, the odours fade, become fainter and fainter, and die away beyond the bar of s.p.a.ce.

I know by smell the kind of house we enter. I have recognized an old-fashioned country house because it has several layers of odours, left by a succession of families, of plants, perfumes, and draperies.

In the evening quiet there are fewer vibrations than in the daytime, and then I rely more largely upon smell. The sulphuric scent of a match tells me that the lamps are being lighted. Later I note the wavering trail of odour that flits about and disappears. It is the curfew signal; the lights are out for the night.

Out of doors I am aware by smell and touch of the ground we tread and the places we pa.s.s. Sometimes, when there is no wind, the odours are so grouped that I know the character of the country, and can place a hayfield, a country store, a garden, a barn, a grove of pines, a farmhouse with the windows open.

The other day I went to walk toward a familiar wood. Suddenly a disturbing odour made me pause in dismay. Then followed a peculiar, measured jar, followed by dull, heavy thunder. I understood the odour and the jar only too well. The trees were being cut down. We climbed the stone wall to the left. It borders the wood which I have loved so long that it seems to be my peculiar possession. But to-day an unfamiliar rush of air and an unwonted outburst of sun told me that my tree friends were gone. The place was empty, like a deserted dwelling. I stretched out my hand. Where once stood the steadfast pines, great, beautiful, sweet, my hand touched raw, moist stumps. All about lay broken branches, like the antlers of stricken deer. The fragrant, piled-up sawdust swirled and tumbled about me. An unreasoning resentment flashed through me at this ruthless destruction of the beauty that I love. But there is no anger, no resentment in nature. The air is equally charged with the odours of life and of destruction, for death equally with growth forever ministers to all-conquering life. The sun shines as ever, and the winds riot through the newly opened s.p.a.ces. I know that a new forest will spring where the old one stood, as beautiful, as beneficent.

Touch sensations are permanent and definite. Odours deviate and are fugitive, changing in their shades, degrees, and location. There is something else in odour which gives me a sense of distance. I should call it horizon--the line where odour and fancy meet at the farthest limit of scent.

Smell gives me more idea than touch or taste of the manner in which sight and hearing probably discharge their functions. Touch seems to reside in the object touched, because there is a contact of surfaces. In smell there is no notion of relievo, and odour seems to reside not in the object smelt, but in the organ. Since I smell a tree at a distance, it is comprehensible to me that a person sees it without touching it. I am not puzzled over the fact that he receives it as an image on his retina without relievo, since my smell perceives the tree as a thin sphere with no fullness or content. By themselves, odours suggest nothing. I must learn by a.s.sociation to judge from them of distance, of place, and of the actions or the surroundings which are the usual occasions for them, just as I am told people judge from colour, light, and sound.

From exhalations I learn much about people. I often know the work they are engaged in. The odours of wood, iron, paint, and drugs cling to the garments of those that work in them. Thus I can distinguish the carpenter from the ironworker, the artist from the mason or the chemist.

When a person pa.s.ses quickly from one place to another I get a scent impression of where he has been--the kitchen, the garden, or the sick-room. I gain pleasurable ideas of freshness and good taste from the odours of soap, toilet water, clean garments, woollen and silk stuffs, and gloves.

I have not, indeed, the all-knowing scent of the hound or the wild animal. None but the halt and the blind need fear my skill in pursuit; for there are other things besides water, stale trails, confusing cross tracks to put me at fault. Nevertheless, human odours are as varied and capable of recognition as hands and faces. The dear odours of those I love are so definite, so unmistakable, that nothing can quite obliterate them. If many years should elapse before I saw an intimate friend again, I think I should recognize his odour instantly in the heart of Africa, as promptly as would my brother that barks.