V: WATER MUSIC
The house in which I live is haunted by the noise of dripping water. Always, day and night, summer and winter, something is dripping somewhere. For many months an unquiet cistern kept up within its iron bosom a long, hollow-toned soliloquy. Now it is mute; but a new and more formidable drip has come into existence. From the very summit of the house a little spout—the overflow, no doubt, of some unknown receptacle under the roof—lets fall a succession of drops that is almost a continuous stream. Down it falls, this all but stream, a sheer forty or fifty feet on to the stones of the basement steps, thence to dribble ignominiously away into some appointed drain. The cataracts blow their trumpets from the steep; but my lesser waterfalls play a subtler, I had almost said a more “modern” music. Lying awake at nights, I listen with a mixture of pleasure and irritation to its curious cadences.
The musical range of a dripping tap is about half an octave. But within the bounds of this major fourth, cues can play the most surprising and varied melodies. You will hear them climbing laboriously up small degrees of sound, only to descend at a single leap to the bottom. More often they wander unaccountably about in varying intervals, familiar or disconcertingly odd. And with the varying pitch the time also varies, but within narrower limits. For the laws of hydrostatics, or whatever other science claims authority over drops, do not allow the dribblings much licence either to pause or to quicken the pace of their falling. It is an odd sort of music. One listens to it as one lies in bed, slipping gradually into sleep, with a curious, uneasy emotion.
Drip drop, drip drap drep drop. So it goes on, this watery melody, for ever without an end. Inconclusive, inconsequent, formless, it is always on the point of deviating into sense and form. Every now and then you will hear a complete phrase of rounded melody. And then—drip drop, di-drep, di-drap—the old inconsequence sets in once more. But suppose there were some significance in it! It is that which troubles my drowsy mind as I listen at night. Perhaps for those who have ears to hear, this endless dribbling is as pregnant with thought and emotion, as significant as a piece of Bach. Drip drop, di-drap, di-drep. So little would suffice to turn the incoherence into meaning. The music of the drops is the symbol and type of the whole universe; it is for ever, as it were, asymptotic to sense, infinitely close to significance, but never touching it. Never, unless the human mind comes and pulls it forcibly over the dividing space. If I could understand this wandering music, if I could detect in it a sequence, if I could force it to some conclusion—the diapason closing full in God, in mind, I hardly care what, so long as it closes in something definite—then, I feel, I should understand the whole incomprehensible machine, from the gaps between the stars to the policy of the Allies. And growing drowsier and drowsier, I listen to the ceaseless tune, the hollow soliloquy in the cistern, the sharp metallic rapping of the drops that fall from the roof upon the stones below; and surely I begin to discover a meaning, surely I detect a trace of thought, surely the phrases follow one another with art, leading on inevitably to some prodigious conclusion. Almost I have it, almost, almost. . . . Then, I suppose, I fall definitely to sleep. For the next thing I am aware of is that the sunlight is streaming in. It is morning, and the water is still dripping as irritatingly and persistently as ever.
Sometimes the incoherence of the drop music is too much to be borne. The listener insists that the asymptote shall somehow touch the line of sense. He forces the drops to say something. He demands of them that they shall play, shall we say, “God Save the King,” or the Hymn to Joy from the Ninth Symphony, or Voi che Sapete. The drops obey reluctantly; they play what you desire, but with more than the ineptitude of the child at the piano. Still they play it somehow. But this is an extremely dangerous method of laying the haunting ghost whose voice is the drip of water. For once you have given the drops something to sing or say, they will go on singing and saying it for ever. Sleep becomes impossible, and at the two or three hundredth repetition of Madelon or even of an air from Figaro the mind begins to totter towards insanity.
Drops, ticking clocks, machinery, everything that throbs or clicks or hums or hammers, can be made, with a little perseverance, to say something. In my childhood, I remember, I was told that trains said, “To Lancashire, to Lancashire, to fetch a pocket handkercher”—and da capo ad infinitum. They can also repeat, if desired, that useful piece of information: “To stop the train, pull down the chain.” But it is very hard to persuade them to add the menacing corollary: “Penalty for improper use Five Pounds.” Still, with careful tutoring I have succeeded in teaching a train to repeat even that unrhythmical phrase.
Dadaist literature always reminds me a little of my falling drops. Confronted by it, I feel the same uncomfortable emotion as is begotten in me by the inconsequent music of water. Suppose, after all, that this apparently accidental sequence of words should contain the secret of art and life and the universe! It may; who knows? And here am I, left out in the cold of total incomprehension; and I pore over this literature and regard it upside down in the hope of discovering that secret. But somehow I cannot induce the words to take on any meaning whatever. Drip drop, di-drap, di-drep—Tzara and Picabia let fall their words and I am baffled. But I can see that there are great possibilities in this type of literature. For the tired journalist it is ideal, since it is not he, but the reader who has to do all the work. All he need do is to lean back in his chair and allow the words to dribble out through the nozzle of his fountain pen. Drip, drop . . .