The Lost Stradivarius · Chapter
II explained
John Maltravers and Mr.
What happens
John Maltravers and Mr. Gaskell continue their nightly musical sessions, during which the wicker chair produces mysterious noises whenever the gagliarda from the 'Areopagita' suite is played. They attribute the phenomenon to acoustical vibrations, but John begins to see a vague, human-like form in the chair. After a brief interruption due to Gaskell's confinement for being out after midnight, they resume playing, and Gaskell reflects on the dance origins of the music, linking it to vivid visions of a bygone revel.
Themes in this chapter
Supernatural and the Occult
The recurring noises and John's vision of a misty form suggest a supernatural presence linked to the music.
Music as a Dangerous Force
The gagliarda triggers both the chair noises and John's vision, implying that the music has a powerful, potentially dangerous effect.
Characters to notice
- John Maltravers
Observes a penumbra or mist in the chair during the gagliarda, suggesting a supernatural presence.
- Mr. Gaskell
Proposes playing the gagliarda to humor a possible spectral visitor; later confined to college for late hours.
Key passages
“Suppose that all our theories of vibration and affinity are wrong, suppose that there really comes here night by night some strange visitant to hear us, some poor creature whose heart is bound up in that tune; would it not be unkind to send him away without the hearing of that piece which he seems most to relish?”
Gaskell suggests that if their scientific explanations are wrong and a ghostly visitor comes to hear the music, it would be rude to deny them the tune they love.
Gaskell's playful yet serious suggestion hints at the supernatural nature of the phenomenon.
“It is to me impossible to believe that such a melody, for instance, as the giga of Corelli which we have played, was not written for actual purposes of dancing.”
Gaskell argues that the giga by Corelli must have been intended for dancing, contrary to some critics' opinions.
Gaskell's reflection on the dance origins of the music connects to his vivid visions of a bygone revel.