As you have certain sounds responding to do, re, mi, &c., so have we certain sounds and harmonies that convey certain expressions; for instance:  “I esteem you;” “I feel you in the pulsations of my blood,” i.e. “I love you.”  Or perhaps the vibrations of the same harmony would be varied so as to be higher or lower, sharp or flat; and the player would convey that he felt the presence of his beloved in the appropriate vibration of his nerves.

In another harmony, he would compare the admired object to some beautiful soft bird like the Zudee, or a pet like the Kamouska.[1]

     [Footnote 1:  See p. 145.]

On the occasion of a love scene between a great harpist and a lady, I have heard the following, amongst many other sentiments, expressed by the harp:  First Lenordi the harpist expressed his glowing sympathy, his admiration of beauty, of goodness, his pleading to be heard, his hope that no other occupied the lady’s thoughts, his despair if his prayers were not listened to, hope, expressions of eternal devotion; in short, all the possible outpourings of a loving heart.  It would be too tedious to tell you all he conveyed, but he ended thus, “Thou art pure as the dew upon the leaf of opening day ... but like to that dew wilt thy love pass away!”

Giola—­the lady—­took her place at the harp, and played a response expressing the following:—­“Would I might believe these flattering vibrations, and the bright hopes raised within an hour to wither in a day.

“Could they but last, the skies above would pale beneath their brightness.

“Yet I would not doubt thee; thy every look makes life a dream of love.”

The player then made excuses for her seeming enthusiasm, by declaring that even inanimate matter is moved by his soul-stirring strains.

“Every flower and every tendril is moved by thee, for, like thee, they are fresh and gently gay."...

This led eventually to a “choice” meeting, and the marriage was attended with many interesting incidents.  Their history would of itself form a curious romance!

Every one competent is educated in the meaning of the harp-sounds, and the instruction in this branch of study commences at an early age.  Certain sentences are written, and a sound is given out and repeated till the young person thoroughly understands what he has heard.  Then the sentence is renewed, perhaps, in connection with another sentence, the accompanying sound is given, and in a short time the student says the word or sentence accompanying every sound, and thus he soon learns how to use these sounds, and how to vary and combine them, just as an alphabet or series of words would be used by an able writer.

When the instrument is used as a subsidiary agent, and the player accompanies his own or another’s voice with words, he plays an accompaniment implying words, but not so as to attract attention from the singer.  There are certain accompaniments which are adapted to anything that might be sung.  These, however, the player can vary, if his talent is sufficient.