FASCINATION - Part 4
Love or trusting sympathy from any human being, however humble, is the most charming thing in life, and it ought to be the main object of existence. Yet there are thousands all round us, yes, many among our friends or acquaintances, who live and die without ever having known it, because in their egotism and folly they conceive of close relations as founded on personal power, interest or the weakness of others. The only fascination which such people can ever exercise is that of the low and devilish kind, the influence of the cat on the mouse, the eye of the snake on the bird, which in the end degrades them into deeper evil. That there are such people, and that they really make captive and oppress weaker minds, by suggestion, is true; the marvel being that so few find it out. But in proportion as this kind of fascination is vile and mean, that which may be called altruistic or sympathetic attraction, or Enchantment, is noble and pure, because it acquires strength in proportion to the purity and beauty of the soul or will which inspires it. It is as real and has as much power, and can be exercised by any honest person whatever with wonderful effect, even to the performing what are popularly called “miracles,” which only means wonderful works beyond our power of explanation. But this kind of fascination is little understood as yet, simply because it is based on purity, morality and light, and hitherto the seekers for occult mysteries have been chiefly occupied with the gloomy and mock-diabolical rubbish of old tradition, instead of scientific investigation of our minds and brains. There is also in truth a Fascination by means of the Voice, which has in it a much deeper and stronger power or action than that of merely sweet sound as of an instrument. The Jesuit, GASPAR SCHOTT, in his Magio Medica treats of Fascination as twofold: De Fascinatione per Visunt et Vocem. I have found among Italian witches as with Red Indian wizards, every magical operation depended on an incantation, and every incantation on the feeling, intonation, or manner in which it is sung. Thus near Rome any peasant overhearing a scongiurasione would recognize it from the sound alone. Anyone, male or female, can have a deep, rich voice by simply subduing and training it, and very rarely raising it to a high pitch. Nota bene that the less this is affected the more effective it will be. There are many, especially women, who speak, as it were, all time in italics, when they do not set their speech in small caps or displayed large capitals. The result of this, as regards sound, is the so-called nasal voice, which is very much like caterwauling, and I need not say that there is no fascination in it—on the contrary its tendency is to destroy any other kind of attraction. It is generally far more due to an ill-trained, unregulated, excitable, nervous temperament than to any other cause. The training the voice to a subdued state “like music in its softest key,” or to rich, deep tones, though it be done artificially, has an extraordinary effect on the character and on others. It is associated with a well-trained mind and one gifted with self-control. One of the richest voices to which I ever listened was that of the poet TENNYSON. I can remember another man of marvelous mind, vast learning, and ęsthetic-poetic power who also had one of those voices which exercised great influence on all who heard it. There is an amusing parallel as regards nasal-screaming voices in the fact that a donkey cannot bray unless he at the same time lifts his tail—but if the tail be tied down, the beast must be silent. So the man or woman, whose voice like that of the erl-king’s is “ghostly shrill as the wind in the porch of a ruined church,” always raise their tones with their temper, but if we keep the former down by training, the latter cannot rise. I once asked a very talented lady teacher of Elocution in Philadelphia if she regarded shrill voices as incurable. She replied that they invariably yielded to instruction and training. Children under no domestic restraint who were allowed to scream out and dispute on all occasions and were never corrected in intonation, generally had vulgar voices. A good voice acts very evidently on the latent powers of the mind, and impresses the ęsthetic sense, even when it is unheeded by the conscious judgment. Many a clergyman makes a deep impression by his voice alone. And why? Certainly not by appealing to the reason. Therefore it is well to be able to fascinate with the voice. Now, nota bene--as almost every human being can speak in a soft or well-toned voice, “at least, subdued unto a temperate tone” just as long as he or she chooses to do it, it follows that with foresight, aided by suggestion, or continued will, we can all acquire this enviable accomplishment. To end this chapter with a curious bit of appropriate folk-lore, I would record that while Saxo Grammaticus, Olaus Magnus, and a host of other Norsemen have left legends to prove that there were sorcerers who by magic of the soft and wondrous voice could charm and capture men of the sword, so the Jesuit ATHANASIUS KIRCHER, declares that on the seventeenth day of May, 1638, he, going from Messina in a boat, witnessed with his own eyes the capture not of swordsmen but of sundry xiphioe, or sword-fish, by means of a melodiously chanted charm, the words whereof he noted down as follows: “Mammassudi di pajanu, Palletu di pajanu, Majassu stigneta. Pallettu di pajanu, Palč la stagneta. Mancata stigneta. Pro nastu varitu pressu du Visu, e da terra!” Of which words Kircher declares that they are probably of mingled corrupt Greek and ancient Sicilian, but that whatever they are, they certainly are admirable for the catching of fish. |
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