The Feminine Future

by Mike Ashley

  Over and over in the restless hours of the night, I asked myself, I said aloud, Why not? Then I laughed at my folly, and wondered what I was thinking of and tried to sleep—but if it could be done?

  The idea clung to me. It forced itself up in class hours and made confusion in the lessons. Some said the professor was ill those two or three days before the vacation; perhaps I was. I scarcely slept; only the one thought grew stronger—Men had done more wonderful things; it certainly was possible, and I would accomplish this grand invention. I would construct the king of all instruments—I would construct an instrument which could catch these faint tones vibrating in the air and make them audible. Yes, and I would labor quietly until it was perfected, or the world might laugh.

  The session closed, and the college was deserted, save by the few musty students whom, even in imagination, one could hardly separate or distinguish from the old books on the library shelves. I could wish for no better opportunity to begin my great work. The first thing would be to prepare for it by a careful study of acoustics, and I buried myself among volumes on the philosophy of sound.

  I went down to London and purchased a common ear-trumpet. My own ear was exceedingly acute, and to my great delight I found that, with the aid of the trumpet just as it was, I could distinguish sounds at a much greater distance, and those nearer were magnified in power. I had only to improve upon this instrument; careful study, careful work, careful experiment, and my hopes would undoubtedly be realized.

  Back to my old room in the college I went with a complete set of tools. So days and weeks I shut myself in, and every day and every week brought nothing but disappointment. The instrument seemed only to diminish sound rather than increase it, yet still I worked on and vowed I would not grow discouraged.

  Hour after hour I sat, looking out of my narrow window. The fields of barley and waving oats had been reaped, the wheat too had ripened and gone, but I did not notice. I sprang up with a joyful exclamation—Strange never to have thought of it before! Perhaps I had not spent my time in vain, after all. How could I expect to test my instrument in this close room with only that little window? It should be removed from immediate noises, high up in the open air, where there would be no obstructions. I would never succeed here—but where should I go? It must be some place in which I would never be liable to interruption, for my first object was to be shielded and work in secret.

  I scoured the neighborhood for an appropriate spot without success, when it occurred to me that I had heard some say the old grey church was shut up. The church was situated just beyond the suburbs of the town. It was built of rough stone, mottled and stained by unknown years. The high, square tower, covered by thick vines that clung and crept round its base, was the most venerable monument among all the slabs and tombs where it stood sentinel. Only graves deserted and uncared for by the living kept it company. People said the place was too damp for use, and talked of rebuilding, but it had never been done. Now if I could gain access to the tower, that was the very place for my purpose.

  I found the door securely fastened, and walked round and round without discovering any way of entrance; but I made up my mind, if it were possible to get inside of that church I would do it, and without the help of keys. The high windows were not to be thought of; but in the rear of the building, lower down, where the fuel had probably been kept, there was a narrow opening which was boarded across. With very little difficulty I knocked out the planks and crept through. It was a cellar, and, as I had anticipated, the coal receptacle. After feeling about, I found a few rough steps which led to a door that was unlocked and communicated with the passage back of the vestry-room.

  The tower I wished to explore was situated in the remote corner of the building. I passed on to the church. Its walls were discolored by green mould, and blackened where the water had dripped through. The sun, low down in the sky, lit the tall, arched windows on the west, and made yellow strips across the long aisles, over the faded pews with their stiff, straight backs, over the chancel rail, over the altar with its somber wood-work; but there was no warmth; only the cheerless glare seemed to penetrate the cold, dead atmosphere,—only the cheerless glare, without sparkle, without life, came into that voiceless sanctuary where the organ slept. At the right of the vestibule, a staircase led to the tower; it ascended to a platform laid on a level with the four windows and a little above the point of the church roof. These four windows were situated one on each side of the tower, running high up, and the lower casement folding inward.

  Here was my place. Above the tree-tops, in the free open air, with no obstacle to obstruct the wind, I could work unmolested by people or noise. The fresh breeze that fanned my face was cool and pleasant. An hour ago I had been tired, disappointed, and depressed; but now, buoyant with hope, I was ready to begin work again—work that I was determined to accomplish.

  The sun had gone. I did not see the broken slabs and urns in the shadow down below; I did not see the sunken graves and the rank grass and the briers. I looked over them and saw the gorgeous fringes along the horizon, scarlet and gold and pearl; saw them quiver and brighten to flame, and the white wings of pigeons whirl and circle in the deepening glow.

  I closed the windows, and when I had crawled out of the narrow hole, carefully reset the boards just as I had found them. In another day all the tools and books that I considered necessary were safely deposited in the tower. I only intended to make this my workshop, still, of course, occupying my old room in the college.

  Here I matured plan after plan. I studied, read, worked, knowing, feeling that at last I must succeed; but failure followed failure, and I sank into despondency only to begin again with a kind of desperation. When I went down to London and wandered about, hunting up different metals and hard woods, I never encountered a concert-room or an opera-house. Was there not music in store for me, such as no mortal ear had ever heard? All the music, every strain that had sounded in the past ages? Ah, I could wait; I would work patiently and wait.

  I was laboring now upon a theory that I had not tried heretofore. It was my last resource; if this failed, then—but it would not fail! I resolved not to make any test, not to put it near my ear until it was completed. I discarded all woods and used only the metals which best transmitted sound. Finally it was finished, even to the ivory ear-piece. I held the instrument all ready—I held it and looked eastward and westward and back again. Suddenly all control over the muscles of my hand was gone, it felt like stone; then the strange sensation passed away. I stood up and lifted the trumpet to my ear—What! Silence? No, no—I was faint, my brain was confused, whirling. I would not believe it; I would wait a moment until this dizziness was gone, and then—then I would be able to hear. I was deaf now. I still held the instrument; in my agitation the ivory tip shook off and rolled down rattling on the floor. I gazed at it mechanically, as if it had been a pebble; I never thought of replacing it, and, mechanically, I raised the trumpet a second time to my ear. A crash of discordant sounds, a confused jarring noise broke upon me and I drew back, trembling, dismayed.

  Fool! O fool of fools never to have thought of this, which a child, a dunce, would not have over-looked! My great invention was nothing, was worse than nothing, was worse than a failure. I might have known that my instrument would magnify present sounds in the air to such a degree as to make them utterly drown all others, and, clashing together, produce this noise like the heavy rumble of thunder.

  The college reopened, and I took up my old line of duties, or at least attempted them, for the school had grown distasteful to me. I was restless, moody, and discontented. I tried to forget my disappointment, but the effort was in vain.

  The spires of the town and the college campus glittered white, the fields of barley and oats were fields of snow, the forest leaves had withered and fallen, and the river slumbered, wrapped in a sheeting of ice. Still I brooded over my failure, and when again the wild grass turned green, I no longer cared. I was not the same man that had looked out at the wavin
g grain and the blue haze only a year before. A gloomy despondency had settled upon me, and I grew to hate the students, to hate the college, to hate society. In the first shock of discovered failure I had given up all hope, and the Winter passed I know not how. I never wondered if the trouble could be remedied. Now it suddenly occurred to me, perhaps it was no failure after all. The instrument might be made adjustable, so as to be sensible to faint or severe vibrations at pleasure of the operator, and thus separate the sounds. I remembered how but for the accidental removal of the ivory my instrument perhaps would not have reflected any sound. I would work again and persevere.

  I would have resigned my professorship, only it might create suspicion. I knew not that already they viewed me with curious eyes and sober faces. When the session finally closed, they tried to persuade me to leave the college during vacation and travel on the continent. I would feel much fresher, they told me, in the Autumn. In the Autumn? Ay, perhaps I might, perhaps I might, and I would not go abroad.

  Once more the reapers came unnoticed. My work progressed slowly. Day by day I toiled up in the old church tower, and night by night I dreamed. In my sleep it often seemed that the instrument was suddenly completed, but before I could raise it to my ear I would always waken with a nervous start, So the feverish time went by, and at last I held it steady for a second trial. Now the instrument was adjustable, and I had also improved it so far as to be able to set it very accurately for any particular period, thus rendering it sensible only to sounds of that time, all heavier and fainter vibrations being excluded.

  I drew it out almost to its limits.

  All the maddening doubts that had haunted me like grinning specters died. I felt no tremor, my hand was steady, my pulse-beat regular.

  The soft breeze had fallen away. No leaf stirred in the quiet that seemed to await my triumph. Again the crimson splendor of sunset illumined the western sky and made a glory overhead—and the dusk was thickening down below among the mouldering slabs. But that mattered not.

  I raised the trumpet to my ear.

  Hark!—The hum of mighty hosts! It rose and fell, fainter and more faint; then the murmur of water was heard and lost again, as it swelled and gathered and burst in one grand volume of sound like a hallelujah from myriad lips. Out of the resounding echo, out of the dying cadence a single female voice arose. Clear, pure, rich, it soared above the tumult of the host that hushed itself, a living thing. Higher, sweeter, it seemed to break the fetters of mortality and tremble in sublime adoration before the Infinite. My breath stilled with awe. Was it a spirit-voice one of the glittering host in the jasper city “that had no need of the sun, neither of the moon to shine in it?” And the water, was it the river flowing clear as crystal from the great white throne? But no! The tone now floated out soft, sad, human. There was no sorrowful strain in that nightless land where the leaves of the trees were for the healing of the nations. The beautiful voice was of the earth and sin-stricken. From the sobbing that mingled with the faint ripple of water it went up once more, ringing gladly, joyfully; it went up inspired with praise to the sky, and—hark! the Hebrew tongue:

  “The horse and his rider hath he thrown into the sea.”

  Then the noise of the multitude swelled again, and a crash of music broke forth from innumerable timbrels. I raised my head quickly—it was the song of Miriam after the passage of the Red Sea.

  I knew not whether I lived.

  I bent my ear eagerly to the instrument again and heard—the soft rustle, the breathing as of a sleeping forest. A plaintive note stole gently out, more solemn and quiet than the chant of the leaves. The mournful lay, forlorn, frightened, trembled on the air like the piteous wail of some wounded creature. Then it grew stronger. Clear, brilliant, it burst in a shower of silver sounds like a whole choir of birds in the glitter of the tropical sunlight. But the mournful wail crept back, and the lonely heart-broken strain was lost, while the leaves still whispered to one another in the midnight.

  Like the light of a distant star came to me this song of some nightingale, thousands of years after the bird had mouldered to nothing. At last my labor had been rewarded, As sound travels in waves, and these waves are continually advancing as they go round and round the world, therefore I would never hear the same sound over again at the same time, but it passed beyond and another came in its stead.

  All night I listened with my ear pressed to the instrument. I heard the polished, well-studied compliments, the rustle of silks, and the quick music of the dance at some banquet. I could almost see the brilliant robes and glittering jewels of the waltzers, and the sheen of light, and the mirrors. But hush! a cry, a stifled moan. Was that at the—No, the music and the rustle of silk were gone.

  “Mother, put your hand here—I am tired, and my head feels hot and strange. Is it night, already, that it has grown so dark? I am resting now, for my book is almost done, and then, mother, we can go back to the dear old home where the sun shines so bright and the honeysuckles are heavy with perfume. And, mother, we will never be poor any more. I know you are weary, for your cheeks are pale and your fingers are thin; but they shall not touch a needle then, and you will grow better, mother, and we will forget these long, bitter years. I will not write in the evenings then, but sit with you and watch the twilight fade as we used to do and listen to the murmur of the frogs. I described the little stream, our little stream, mother, in my book.—Hark! I hear the splash of its waves now. Hold me by the hand tight, mother. I am tired, but we are almost there. See! the house glimmers white through the trees, and the red bird has built its nest again in the cedar. Put your arm around me, mother, mother—”

  Then single, echoless, the mother’s piercing cry went up—“O my God!”

  Great Heaven! It would not always be music that I should hear. Into this ear, where all the world poured its tales, sorrow and suffering and death would come in turn with mirth and gladness.

  I listened again. The long-drawn ahoy!—ahoy!—of the sailor rang out in slumbrous musical monotone, now free, now muffled—gone. The gleeful laugh of children at play, then the drunken boisterous shout of the midnight reveler—What was that? A chime of bells, strange, sublime, swimming in the air they made a cold, solemn harmony. But even over them dashed the storm-blast of passion that sweeps continually up and down the earth, and the harmony that bound them in peace broke up in a wild, angry clamor, that set loose shrill screams which were swallowed up in a savage tumult of discord, like a mad carnical of yelling demons. Then, as if terrified by their own fiendish rage, they retreated shivering, remorseful, and hushed themselves in hoarse whispers about the gray belfry. It was the Carillonneur, Matthias Vander Gheyn, playing at Louvain on the first of July, 1745.

  Yes, my invention had proved a grand success. I had worked and worked in order to give this instrument to the world; but now when it was finished, strange to say, all my ambition, all my desire for fame left me, and I was anxious only to guard it from discovery, to keep it secret, to keep it more jealously than a miser hoards his gold. An undefinable delight filled my soul that I alone out of all humanity possessed this treasure, this great Ear of the World, for which kings might have given up their thrones. Ah! they dreamed not of the wonders I could relate. It was a keen, intense pleasure to see the public for which I had toiled live on, deaf forever save to the few transient sounds of the moment, while I, their slave, reveled in another world, above, beyond theirs. But they should never have this instrument; no, not for kingdoms would I give it up, not for life itself.

  It exerted a strange fascination over me, and in my eager desire to preserve my secret a tormenting fear suddenly took possession of me that someone might track me to the tower and discover all. It seemed as if the people looked after me with curious faces as I passed. I went no longer on the main road that led to the church, but, when I left my room, took an opposite direction until out of sight, and then made a circuit across the fields. I lived in a continual fear of betraying myself, so that at night I closed my window an
d door lest I might talk aloud in my sleep. I could never again bear the irksome duties of my office, and when the college re-opened I gave up my situation and took lodgings in town. Still the dread of detection haunted me. Every day I varied my route to the church, and every day the people seemed to stare at me with a more curious gaze. Occasionally some of my old pupils came to visit me, but they appeared constrained in my presence and were soon gone. However, no one seemed to suspect my secret; perhaps all this was merely the work of my imagination, for I had grown watchful and reticent.

  I hardly ate or slept. I lived perpetually in the past listening to the echoing song of the Alpine shepherd; the rich, uncultivated soprano of the Southern slave making strange, wild melody. I heard grand organ fugues rolling, sweeping over multitudes that kneeled in awe, while a choir of voices broke into a gloria that seemed to sway the great cathedral. The thrilling artistic voices of the far past rang again, making my listening soul tremble in their magnificent harmony. It was music of which we could not dream.

  Then suddenly I determined to try the opera once more; perhaps I was prejudiced: I had not been inside of a concert-room for more than a year.

  I went down to London. It was just at the beginning of the season. I could hardly wait that evening until the curtain rose; the orchestra was harsh and discordant, the house hot and disagreeable, the gas painfully bright. My restlessness had acquired a feverish pitch before the prima donna made her appearance. Surely that voice was not the one before which the world bowed! Malibran’s song stood out in my memory clearly defined and complete, like a magnificent cathedral of pure marble, with faultless arches and skilfully chiseled carvings, where the minarets rose from wreaths of lilies and vine leaves cut in bas-relief, and the slender spire shot high, glittering yellow in the upper sunlight, its golden arrow, burning like flame, pointing towards the East. But this prima donna built only a flat, clumsy structure of wood ornamented by gaudily painted lattice. I left the opera amid the deafening applause of the audience with a smile of scorn upon my face. Poor deluded creatures! they knew nothing of music, they knew not what they were doing.