“Hashish is composed of a extraction of Indian hemp, butter, and a small quantity of opium. Take a clump the size of a nut, fill a small spoon, and happiness will be yours: absolute happiness with all its intoxication, its youthful folly, and its infinite blessedness. 

“As far as possible, you need a fine apartment or a beautiful scene, a free and unconcerned mind, and a few accomplices whose intellectual talents are similar to your own; and a little music if you can get it.

“Then the hallucinations begin. External objects take on a monstrous appearance. They show your senses forms heretofore unknown. Then they are deformed and finally enter into your being, or rather you enter into theirs. Sounds have colors, and colors have a music. Musical notes are numbers, and you perform mathematical calculations with terrifying speed as the music flows into your ears. You are seated and you have a smoke; you start to think that now you're inside the pipe, and it's you whom your pipe is smoking; you yourself are being exhaled in the form of bluish clouds.”

Charles Baudelaire, 1860

“For today, be content to know that this crocodile is a cruel being, but cunning, as the wicked are, and timid, like them.

“In fact, by dint of agitating, the crocodile is oozing a thick foam from all its pores, which emits a noxious odor. In addition, torrents of fire emerge from its mouth, which would have intimidated the most intrepid of men. That foam and that fire amalgamate together and are transformed into an innumerable multitude of maleficent animals of every species, which circulate en masse in the atmosphere, obscuring it to such an extent that nothing at all can any longer be discerned, and not the slightest particle remains that is breathable.”

Louis-Claude de Saint-Martin, 1798

 

“I had taken hashish three times with little result, beyond a slight disturbance of the optical perceptions. The fourth time, I increased the dose by a fourth of the usual amount, and waited patiently among my books.

“I gazed upon them with the dreamy languor of a god.”

Clark Ashton Smith, 1920

“Thanks to the labors of a science which is comparatively recent, and more especially to the researches of the students of Hindu and Egyptian antiquities, it is very much easier today than it was not so long ago to discover the source, to unravel the underground network of that great mysterious river which since the beginning of history has been flowing beneath all religions, all faiths, and all philosophies: in a word, beneath all the visible and every-day manifestations of human thought.”

Maurice Maeterlinck, 1922

 

“On the eleventh day, in the morning, Ab-Hakek was not yet dead. A noise of heavy footsteps was heard in the stairwell of the turret. The door opened: a phantasmagoric and portentous being entered. It was Agraman. 

“At the sight of him, the magician, burdened and statue-like as he was, stood up. ‘I am hungry!’ he murmured, ‘I am going to die: it is time to tell me the last word of science.’

“Agraman took him by the wrist and shouted in his ear, with a violent and metallic burst of laughter: ‘Master! Science is the shadow of a shadow: umbra umbræ!’”

Alphonse Esquiros, 1838

 

“This opera by Zola and Bruneau is full of symbols. I must say I don’t understand this excessive need for symbols. They seem to have forgotten that it is still music that is supreme in its beauty. As you would expect, each symbol takes the form of a leitmotiv; once again music is weighed down by these obstinate little phrases, which insist on having their say no matter what else is going on. Really, to pretend that such-and-such a succession of chords represents this or that sentiment, and that so-and-so phrase is one or another character—it is nothing but an anthropometrical game.”

Claude Debussy, 1901

“Baudelaire really gets on my nerves.”

Eugène Delacroix, 1857

“Certain omens of battle were beginning to appear in the heavens and in the speeches of diplomats. The first days of spring had arrived, and spring seemed, in the opinion of all men of war, to be the best time to undertake the mutual massacre of nations.”

Paul Adam, 1893

“Claude Debussy is little known by the crowd, goes nowhere, composes, I fancy, only when he feels inclined, and lives like a recluse, scorning all noisy advertisement. What an admirable and rare example! And what a lot of valuable time some men waste nowadays in preparing their publicity, in writing and distributing notices that proclaim their own glory. Having shut himself up in this haughty seclusion, M. Debussy seems intent on expressing the transient impressions of the dream he is in quest of, rather than the eternal passions of the world which he shuns. There is a certain amount of danger in this tendency for, sooner or later, truth and reality must triumph over illusion, be it ever so seductive.”

Alfred Bruneau, 1900

 

To the Illustrious Cabaner

“May he be cursed, this Wagner

Who stole your glory from you!

Glory to your name, Cabaner!

Nerve—

Where all harmony vibrates!”

Anonymous, 1881

 

“Symbolism dead! But it is, precisely, that which does not die, for it’s the quivering idea, living in all forms. In art as in nature, everything can be a symbol, since everything has a hidden meaning.”

Willy, 1901

 

“‘Everything is possible to science,’ said Archibold, authoritatively. 

“‘Easy, even,’  Hatchitt approved. “‘The world will be ended by science, as Edenic humankind perished. All religions have predicted it.’ 

“‘Science must have limits?’  I objected, in order to reassure myself. 

“‘Science has no limits,’  Archibold replied. “‘Science is progress—a forward march, with no pause, and no terminus. Its law, the law of mind, is to accelerate, just as the law of bodies is to accelerate as they fall, increasing their speed in proportion to the square of the distance. It’s only two hundred years since man began the conquest of science; he’s still stammering its elements, trying his first steps—but he will take his course, and his speed will be multiplied by the square of centuries. We would go mad if it were given to us to see where man has arrived a thousand years hence, progressing at such a pace, and yet it is we ourselves who will have made that road. For humankind, Pascal says, is but one man ‘who always subsists and who learns incessantly;’ one man who will know, one day, the ultimate limits of things; for whom his world will have no more secrets, and who, disdaining even the puerile work of destroying it, will kick it away like a cadaver worn out by the scalpel, and will pursue his studies on a better planet, on golden Vulcan, or even in a sun.’”

Comte Didier de Chousy, 1884

 

“The unaccustomed flamboyance of Mars—uniquely due, perhaps, to the general adoption of the Auer mantle by the inhabitants of that planet—has brought the ever-interesting topic of interastral communication back to the table of discussion. 

“How can we signal to them, and inform them that the Earth, our beloved little Earth, is populated by intelligent beings (I mean my readers) perfectly capable of entering into communication with them? 

“Charles Cros was very interested in this question and published a curious little essay in which he proposed a system of luminous signals, beginning with a very simple rhythm and progressing to more complicated rhythms, susceptible to being perceived and understood by individuals of a cerebral organization analogous to ours.

“If the Martians have their backs turned to us at present, it’s necessary to shout very loudly to make them turn round. You’re beginning see the plan: to mobilize, for an hour, the entire human species, all the animals, all the bells, all the pistols, rifles, cannon, all the parliamentary assemblies, all the orchestras, from Lamoureux’s to the municipal band of Honfleur and the Queen of Madagascar’s fanfare, etc., etc., pianos, mothers-in-law—in brief, all creatures or objects capable of making a noise.

“Mars being separated from the Earth by so many leagues, and sound travelling at so many leagues per second, the Martian will hear our concert after so many hours, minutes and seconds. After a lapse of twice that time, plus the time needed to organize a response, if we don’t hear any astral clamor, it’s either because the Martians are as deaf as posts or that they’re giving us the cold shoulder, like their premier lager, Mars beer.”

Alphonse Allais, 1902

“[At New Caledonia,] I had my own ideas for an orchestra: I wanted to shake palm branches, strike bamboo, create a horn from shells, and use the tones produced by a leaf pressed against the lips. In short, I wanted a Kanaka orchestra, complete with quarter tones. Thanks to knowledge I had gotten from Daoumi and the Kanakas who brought supplies, I believed I knew enough to try. But my plan was blocked by the Committee for Light Classical Theater. Indeed, they accused me of being a savage.”

Louise Michel, 1888

ABOUT THE LOWER RESONANCE 

Of the sympathetic vibration of a low string to the call of a high string, and of the possible consequences deriving therefrom. 

“Until now, scholars have not admitted that any sound was capable of sympathetically causing another sound, lower than itself, to vibrate sympathetically, whatever their concomitance (see d'Alembert, Helmholtz, Tyndall, Koenig, etc.). Now, it is the practical realization of such an experience that I come to discuss.

“The wise reservations of Helmholtz having made me skeptical with regard to the scientific value of the results obtained on the harmonium, I preferred the piano, which eliminates, as much as possible, harmonics, hums, etc. 

“Having practiced first octave, quintoyer in the treble, Yut z of the piano, then the neighboring notes, I soon became quite skilful in this preparatory exercise, so much so that I no longer needed to release from its damper the high string which was to vibrate sympathetically at the call of the fundamental sound of the series to which it belonged. 

“With this result acquired, I tried to obtain, from a sound lower than the note emitted, what the higher sounds had given me, fairly quickly. I had to achieve a hammering whose rhythm matched synchronically with the number of vibrations of the target string in order to succeed. 

“Finally, I had the satisfaction of hearing, very faintly, the low sound. 

“To be certain I wasn't objectifying a chimerical sound, I had competent witnesses--one of them a sensitive composer, the others poets--pass in front of my piano, in such numbers that it was no longer possible for me to doubt.”

Edmond Bailly, 1893

 

“I have undertaken a task that is beyond me; there being no precedent to go on, I find myself obliged to invent new forms.” 

Claude Debussy, 1885

“At this distance, there’s joy in hearing the silence of the heavenly bodies. At closer range, the harmony of the spheres gets on my nerves. It’s more pleasing to listen to the lyre of infinity when its three strings are broken. Thought rises to the secret of the skies. Everything is counted by weight and measure. Everywhere, however, emptiness is superabundant. Zero is the sacred number. Everything rests on that. Its form is mysterious. It has neither beginning nor end. It grips without grasping. Without being, it appears; and the sphere of the worlds is a great zero that traces its emptiness in empty space.”

Edgar Quinet, 1834

 

“Be patient, Brahymus, proud foster-brother of the divine Brahyma; the cataclysm that ought to deliver you and put an end to the punishment that you are suffering is nigh. The Earth is stirring, its cocoon is growing, without humans perceiving it, for the continent of tomorrow has risen by several kilometers without the equilibrium of the tides being troubled thereby. Soon, it will be possible to calculate the enormous quantity of plasma absorbed by the Saturnian larva. Without that absorption of millions and millions of tons of liquid, America and Europe would already be submerged. Patience! Only two and a half centuries separate you from your liberation. Do not harbor any more hatred for me, whose carnal envelope the snows will preserve intact, when my spirit will be far away in the astral. I salute you, O imprisoned force; be kind to those I love and those who demand of your gaze the mystery of your torment. Adieu!”

Odette Dulac, 1926

Memories Without Regrets

Regarding Ernest Cabaner

“Whenever his fortune allowed him to cook for himself and eat at home, here was the recipe for his "frichti" (stew). Actually, it was quite good, and thrifty housewives could make an excellent sweet dessert out of it:

“On a bed of well-cooked rice, in a large earthenware dish, a few oranges—which his sense of aesthetics arranged harmoniously—some figs, and raisins; a few prunes, some water: that’s all. He would place this strange food over a low flame and let it simmer for long hours.

“So much for food.

“As for love, Cabaner held the most curious ideas about women. In his mind, they were inferior and demonic beings, with rare exceptions he would cite without blinking: 'Superior women, like Nini-Voyou, Madame de Staël, and Thérésa...'

“This state of mind led him to conceive of a paradise reserved specifically for intellectuals. The planet of his dreams was a planet made of flesh, inhabited solely by men—superior men, of course. It was at once the mother, the nurse, the communal wife, and the sanctuary of its inhabitants.

“Perhaps I should explain my friend’s fantastical vision a little. As a sanctuary, the planet offered the folds of its skin, and in winter, its forests of hair. As a nurse: rivers, lakes, and seas of milk escaped from its specialized glands. As for wife and mother, I believe I need not elaborate... let us move on.

“Cabaner, hating official music, had imagined a secondary system of his own. Everything: music theory, harmony, melodic construction, counterpoint, etc. In truth, when heard, it was actually quite good.”

Charles de Sivry, 1898

“In France, I found some friends on arriving in Paris who took an interest in Indian music, among them the venerable Monsieur Edmond Bailly, who was a lover of India and its music.  With the kind help and co-operation of Lady Churchill, he arranged our first concert in Paris. I gave a few lectures on music, with demonstrations.  I met many musicians, among them Monsieur Debussy, the great composer of France, who became very much interested in our rāgas. The evening when the rāgas were played to him, he always remembered and called it 'the evening of emotions.'”

Inayat Khan, 1924