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THE MYSTERY LANGUAGE
compositions are to sensuous impressions ; so that, regarding music as a mystery, its written signs or notes, variously arranged, constitute the Mystery Language or its proficients-as beings to them a medium through which all can reproduce the same melody at sight, irrespective of the vulgar tongue of each; and arouse the same emotions in their audience without the aid of speech.
The living Mystery Language here suggests what its long-lost sister must have been. But here was this difference between the two-that whereas the one ap pealed through the sensuous to the emotional, 'the other sought through the imagination to reach the intellect. Thus each approached a different side of man's nature and gained access to it by a different method --music, through thythmographic compositions, by thythmical intonations stimulating the emotions; science, through ideographic formulas, by silent suggestions, recalling preconceived ideas. This distinction between the aims of the two was inevitable, for whereas the mysterious language of music drew forth melodious utterances through modulations of sound, the Mystery language of science was, from the nature of its constitution and the requirements that called it into being, necessarily void of vocalization. Hence, properly speaking, it was not a language in the strict sence of the term, but simply a means of intercon. munication independent of speech, so that it might place the truths, it formulated, and was intended to transmit,
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