Sympathetic Vibratory Physics | Hughes (original) (raw)

Mrs. Fitzgerald Hughes, grand-niece to Charles Darwin. Her book was sent to from which he derived an insight that greatly aided his research. Her book references the work of Professor W. F. Barrett.

Mrs. F. Hughes writing "Tones and Colors", advances theories of her own, which correspond with 's. "I firmly believe that exactly the same laws as those which develop sound keep the heavenly bodies in their . You can even trace the poles in sound." [Snell Manuscript - The Book, page 2]

Books

Harmonies of Tones and Colours - Developed by Evolution
Supplement to Harmonies of Tones and Colours - Developed by Evolution

EXTRACTS FROM LETTERS ADDRESSED TO F. J . HUGHES BY DR. .

On harmonical parallel between tone and colour
—On the term of "," fifths, and the sympathy of music with life
—Relativities of sounds and vibrations of strings
—The doctrines of three pairs, six tones, and the law of "two and fro"
—The of the system probably to be found in the adaptability of numbers
—Sudden death of Dr. Gauntlett, . . . . . 48 [Harmonies of Tones and Colours, Table of Contents4 - Harmonies]

EXTRACTS FROM DR. 'S LETTERS ADDRESSED TO F. J. HUGHES.

AFTER I had sent this work to the publisher, I looked over letters addressed to me by the late Dr. Gauntlett. They show so much interest in the scheme, that I publish extracts from them. [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters1, page 48]

" must be looked at in two ways at least: first, up the from bottom to top—the view; second, along the from side to side—the view. Then as to its periods or pulsations—its to and fro, its flow and ebb. This brings us to rhythm and measure. At the bottom of these lie what is called or —emission and remission—strong and weak: of these the bar in modern music is an outward and visible sign of certain facts which ought to be in the music, but which, if not in the music, the presence of the bar is of no avail. The bar cannot give or . 'Wherever there is time, there must be ;'* but the tick of a clock has no . (or Chorley) should have said life." "The makes music. What operation has it upon the or to and fro? It creates the call, it supplies the answer." [This point, I believe, Dr. Gauntlett never alluded to with me, and I have feared that making no difference between tones and semitones might be considered a difficulty with regard to the scheme. In the working of the natural laws of harmony, they must all equally be employed.—**F. J. H.**] "Art (grand and true) does not depend upon the teaching of facts. The is of less importance than the . Unless the tone of , the and , be well fixed, nothing enduring can come out of the misdirected artist." [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

I will close this Appendix with a remark once made to me by Dr. Gauntlett. I am sorry I forget where he said it occurred. "After I had been for some time organist, one of the said to me, 'When you first came, the tunes on the were loud and clear; now, the voices of the almost drown them.' I replied, 'That has been my aim —it should be so. When I began, the was needed to lead the voices: I have been gradually subduing it, that the voices of should be uppermost.'"F. J. H. [Harmonies of Tones and Colours, Fragments from Dr. Gauntlett's Last Note-book, page 51]

If, as I believe, the Natural Sciences throughout develope by Trinities, how silently, yet how strikingly, may we trace the wonders of Redeeming . " hath builded her house; she hath hewn out her seven pillars."— Prov. ix. I. We strikingly see in the development of the type of 2 Cor. iii. 18, as each key rises from to light, or, descending, falls from light to .
F. J. Hughes
BEDWYN LODGE,
SANDOWN, ISLE OF WIGHT,
February, 1885 [Harmonies of Tones and Colours, Supplementary Remarks, page 54]