Sirius (Sci-Fi Novel). Olaf Stapledon
sang in unison with it, keeping perfectly in tune even with the inaccurate tones produced by the young musician on an imperfect instrument.
With his usual doggedness Sirius set about conquering this excruciating thing, music. He showed surprising aptitude for singing, soon outstripping Plaxy in reproducing the family songs. Sometimes he sang without words; sometimes he used his own canine equivalent of the English words of the song. (His lingo, being simply mispronounced English, rhymed and scanned appropriately.)
With practice he became less tortured by human music. In fact he actually came to like it, so long as it was not too badly out of tune. He would often join in singing the rounds that had formerly tormented him. Sometimes when Elizabeth played her violin he would come to listen. In certain moods he would retire to a favourite point of vantage on the moor and spend hours singing to himself. He would go over and over the songs that Elizabeth had so often sung about the house.
It was a tune-loving family. Under Elizabeth’s influence it had developed an amusing system of musical calls which served the function of bugle-calls. A certain little tune meant “Time to get up,” another “Breakfast is ready,” another “All is now prepared for starting on the expedition,” and so on. Plaxy and Sirius, the two youngest members of the family, invented a number of private calls of their own. One of these, for instance, meant “Come and help me!” Another said, “Something interesting here. Come and investigate;” another “Come and play with me!” One little trickle of sound meant, “I am going to pee.” To this there were two possible musical answers. One said, “Right oh! So am I,” and the other “Nothing doing by me.” It was curious, by the way, that if one of them made water the other had always to follow suit on the same spot, in the approved canine manner. Always? No! Plaxy soon found that she could not keep pace with Sirius in this etiquette of leaving tokens.
When Thomas heard of Sirius’s habit of retiring on to the moor to practise singing, he feared lest his precious animal should become notorious as “the singing dog,” and be exploited. It was indeed startling for the natives to hear the sweet, accurate, but inarticulate and inhuman voice, and to come upon a large dog squatting on his haunches melodiously giving tongue. Thomas, it was rumoured, had sinister powers. He could put demons into dogs. Fortunately the farther these rumours spread, the less they were believed. No craze equivalent to the case of the talking mongoose or the Loch Ness monster developed over the singing dog.
In his puppyhood Sirius sang only human music. Throughout his life he was deeply interested in the great classical achievements of man’s musical genius, but as he had always found the fundamental structure of human music crude, and inadequate to his interest in sound-form and the emotions which sought musical expression, he began to experiment with new scales, intervals, and rhythms, suited to his more sensitive hearing. He made use of the quarter-tone and even the eighth-of-a-tone. Sometimes, in his purely canine mood, his melodies divided the octave in quite a different manner from any human musical mode. Thus to the human listener his most distinctive music became less recognizably musical and more like the baying of a dog, though a strangely varied and disturbing baying.
A supple and mellow voice was Sirius’s only medium of expression. He often longed to play some instrument, so as to be able to introduce harmony into his experiments, but his tragic lack of hands prevented him. Sometimes he sat at the piano trying to finger out a two-note accompaniment to his singing, but his paws were far too clumsy to do even this properly. For long spells he would give up music entirely because his handlessness prevented him from doing what he wanted with it. At these times he would wander about with tail and head low, refusing comfort. The mingled sense of helplessness and talent tormented him. But presently his buoyant spirits would revive, and he would resolve that, if instrumental music must remain for ever impossible to him, he would do new and marvellous things with his voice. Throughout his life Sirius alternated between self-pity on account of his disabilities and a surprisingly detached and humorous acceptance of his nature and his environment, issuing in a zestful will to triumph in spite of everything.
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