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ORGANS OF HIEARlING. Rev. Dr. Talmage Talks on the Architecture of the Ear. An Instructive Discourse on Man's Organ of Ile:ring -God I)oes Not uEndow Us with a FacIul:y He Does Not Himself Possess. In the following discourse Rev. Dr. T'alltuge sacts forth Goa('s wisdom in the construction of the human ear. T'he text is: He that planted the ear, shall he not hear? P'.alum xciv.. 9. Architecture is one of the most fas cinating arts, and the study of Egyp tian, Grecian, Etruscan, Roman, By zantine, Moorish, Renaissance styles of building has been to many a man a eublime life work. Lincolan and York .athedrals, St. Paul's and St. Peter's, and Arch of Titus, and Theban temple . ,lhambra and Parthenon are the mon uauents to the genius of those who built them. But more wonderful than any arch they ever lifted. or any tran sept window they ever illumined, or any Corinthian column they ever crowned, or any Gothic cloister they cver elaborated, is the human ear. Among the most skillful and assidu ous physiologists of our time have been those who given their time to an ex tamination of the ear and the study of its arches, its walls, its floor, its canals, its aqlueducts, its galleries, its intrica cies, its convolutions, its Divine ma chinery, and yet, it will take another t' housand years before the world comes "'to any adequate appreciation of what God did when He planned and executed the infinite and overmasterlag archi teoture of the human ear. The most "of it is invisible and the microscope beaks down in the attempt at explora tiion. The cartilage which we call the ear is only the storm door of the great temple clearg own out of sight, next door to the inmmortal soul. Such scientists as Helmholtz and SConte and De Blainville and Rank and Buck have attempted to walk the Ap i t-ian way of the human ear, but the R l gysaterious pathway has never been :i fully trodden but by two feet-the foot of sound and the foot of God. Three eei' cars on each side the head--the ex S.ternal ear, the middle ear, the internal. , ear, but all connected by most wonder 44 14i telegraphy. - The.xternalear in',all ages adorned - Sby pretous stones or precious metals. The Temple of Jerusalem, partly built by the contribution of ear-rings, and -. Homer in the Iliad speaks of Hera, " the three bright drops, her glittering ,`U>a; . . suspended from the ear;" and S'" y ' Of the adornments of modern timues were only copies of her ear jew . el found in Pompeitan museum and i Etrusca vase. But while the outer S ear may be adorned by human art, the middle and thternal ear are adorned . and garnished only by the hand of the Lord Almighty. The stroke of a key of yonder organ sets the air vibrating, and the external ear catches the undu lating sound and passes it on through the bonelets of the middle ear to the internal ear, and the 3,000 ':fbers of the human brain take up the vibration and roll the sound on into the soul. The hidden ma .:::chinery of the ear by physiologists ,L- ed Zy the names of things familiar :to hs, like the hammer, something to 'F i~i like the anvil--something to be n:>i t --like the stirrup of the saddle =.; ',`,;it. which we mount the steed-like S-j:tedrum, beaten in the march-like S:ti. rp strings, to be swept with i u . Cisiei like a "snail shell," by W ;i:mt oa the innermost passages t yb *etuall called-like ;a, ~ ,ae?-4ik~ only to "o0 "lost in bewilderment. A muscle contracting when the noise is too loud, just as the pupil of the eye contracts when the light is too glar ing. The external ear is defended by wax which with its bitterness discour ages insectile invasion. The internal ear embedded in by what is far the hardest bone of the human system, a very rock of strength and defiance. The ear is so strange a contrivance that by the estimate of one scientist it can catch the sound of 73,700 vibrations in a second. The outer ear taking in all kinds of sound, whlether the crash of an avalanche or the hum of a bee. The sound passing to the inner door of the outside ear halts until another mech anism, Divine mechanism, piasses it on by the bonelets of the middle ear, and coming to the inner door of that second ear the sound has no power to comue'further until another 1)ivine mech anism passes it on through into the inner ear, and then the sound comes to the rail track of the brain branchlct, and rolls on and on until it comes to sensation, and there the curtain drops, and a hundred gates shut, and the voice of God seems to say to all human in spection: "Thus far and no farther." In this vestibule of the palace of the soul, how many kings of thought, of medicine, of physiology, have done penance of life-long study and got no further than the vestibule. Mysterious hcme of reverberation and echo. Grand central depot of sound. Headquarters to which there come quick dispatches, part the way by cartillages, part the way by air, part the way by bone, part the way by nerve-the slowest dispatch plunging into the ear at the speed of 1,090 feet a second. Small instrument of music on which is played all the music you ever heard, from the gran deurs of an August thunder-storm to the softest breathings of a flute. Small in strument of music, only a quarter of an inch of surface and the thinness of one two hundred and fiftieth part of an inch and that thinness divided into three layers. In that ear musical staff, lines, spaces, bar and rest. A bridge leading from the outside natural world to the inside spiritual world; we see ing the abutment at this end of the bridge, but the fog of an unlifted mys tery hiding the abutment on th - oth " end of the bridge. Whispering gallery or the soul. The human voice is God's eulogy the ear. That voice capab1e of producing 17,592,186,044,415 sounds, and all that variety made, not for the re galement of beast or bird. bat for the human ear. About 15 years ago, in Venice, lay down in death one whom many con sidered the greatest musical composer of the century. Struggling on up from six years of age when he was left fath erless, Wagner rose through the oblo guy of the world, and ofttimes all na tions seemingly against him, until he gained the favor of a king. and won the enthusiasm of the opera houses of Europe and America. Struggling all the way on to 70 years of age, to con quer the world's ear. In that same at tempt to master the human ear and gain supremacy over this gate of the immortal soul, great battles were fought by Mozart, Gluck and Weber, and by Beethoven and Meyerbeer, by Rossini and by all the roll of German and Italian and French composers, some of them in the battle leaving their blood on the keynotes and the musical scores. Great battle fought for the ear-fought with baton, with organ-pipe, with trumpet, with cor net-a-piston, with all ivory and brazen and silver and golden weapons of the orchestra; royal theater and cathedral and academy of music the fortresses for the contest for the ear. England and Egypt fought for the supremacy of the Snez canal, and the Spartans and the Persians fought for the defile of Thermopylae; but the musicians of all hes ave fought for the mastery of the o7 o 1 and the defile of the im -·3 r or LnC COilgUest Ot 1110 ear i1aycu ll struggled oi up f'rom i tile garret \where he had neithier tire nor food, on and on until under the too great nervous strain of hiearing his own oration of the ;'Creation'" performed. ihe was carried out to die. but leaving as his legacy to the world 118 symllponies, 163 pieces for the baritone, J3 masses, 5 orato rios, 42 German and Italian songs, 39 canons, 363 English and Scotch songs with accompaniment, and 1,5336 pages of libretti. All that to e:ipture the gate of the body that swving.s in from the tympanum to the "snail shell" ly ing on the beach of the ocean of the immortal soul. To conquer the ear, Iiandel strug gled on from the time when his father would not let him go to school lest lie learn the gamut and become a musician, and from the time when he was allowed in the organ loft just to play after the audience had left, to the time when lihe left to all nations his unparalled ora torios of ''Esther," "Deborah," 'Samp son," ':Jephthah," "J udas .1Maecabeus," "Israel in Egypt," and the "'Messiah," the soul of the great German composer still weeping in the Dead March of our great obsequies and triumphing in the raptures of every Easter morn. To conquerer the ear and take this gate of the immortal soul, Schubert composed his great "'Serenade," writ ing the staves of the music on the bill of fare in a restaurant, and went on until he could leave as a legacy to the world over 1,090 magnificent composi tions in music. To conquer the ear and take this gate of the soul's castle Mozart struggled on through poverty until he came to a pauper's grave, and one chilly, wet afternoon the body of him who gave to the world the "Re quiem" and the "G-minor Symphony" was crunched in on top of two other paupers into a grave which to this day is epitaphless. For the ear everything mellifluous, from the birth hour when our earth was wrapped in swaddling clothes of light and serenaded by other worlds, from the time when Jubal thrummed the first harp and pressed a key of the first organ, down to the music of this Sabbath day. Yea, for the car the coming overtures of Heavenu. for what ever other part of the body may be left in the dust, the ear, we. know, is to come to celestial life; otherwise, why the "harpers harping with their harps?" For the ear, carol of lark, and whistle of quail, the chirp of cricket, and dash of cascade, and roar of tides oceanic, and doxology of worshipful ass-nm bly and minstrelsy, cherubic, seraphic and archangelic. For the ear all Pan dean pipes, all flutes, all clarinets, all hautboys, all bassoons, all hells, and all organs-Luzerene and Westminster abbey, and Freyburg, and Berlin, and all the organ pipes set across Christen dom, the great Giant's Causeway for the monarchs of music to pass over. For the oar, all chimes, all ticklings of chronometers, all anthems, all dirges, all glees, all choruses, all lullabies, all orchestration. Oh, the ear, God lhon ored the ear, grooved with Divine sculpture and poised with Divhi'e gracefulness and upholstered with curtains of Divine embroidery, and corridored by Divine car pentry, and pillared with l)ivine archi. tecture, and chiselled in bone of Divine masonry, and conquered by processions of Divine marshalling. The ear: A perpetual point of interrogation, ask ing how? a perpetual point of apos trophe appealing to God. None but God could plan it. None but God could build it. None but God could work it. None but God could keep it. None but God could understand it. None but God could explain it. Oh, the wonders of the human ear. How surpassingly sacred the human ear. You had better be careful how you let the sound of blasphemy or un cleanness step into that holy of holies. The Bible says that in the anCien, tenm pie the priest was set apart by the put i: I I Illl il 1:1:! IH ll l i LI.I I ll , I 'I I I I I l;lil II I D R. C. RATZBURC, - DENTIST, Office over Iler's Drugstore. -J tq 4I, I ' LH 1 1111' 11. sJ liI PItll' tI ! 1Ifl I'1Il ! 111 "1 I . 8 .W C. SFEARIANJ ®" Physician and Surgeon, rM TEXARfKANA, - ARWAJ .D . T. M. COMEGYS, . DEN]TIST, L Office in odiag Bld., Texas St.:-: t.Vincent's Acadeniy Near Corporation Limits, Shreveport, La., Boarding and Day School for Youn Ladies and Children. Your patrona; solicited, For particulars address. MOTHER SUPERIOR. DR. S. H. HICKS, i PRACTICING PHYSICIAN, ' Office: E G. Beard & Co. Residence: 815 Crockett St, Telephone No 5. OFFICE HoUBa. 8 to 9 a. m. 12 m. to 1 p. m. 5 to 6 p. m. W. T. SLATON, JUSTICE OF THE PE 211 Milam St Shreveport, Louisiana. DR. JOHN COMEGYS, Dentist, Office over F. W. Bowers, Cor. Market and Texas sts., SHREVEPORT,: Fred Willianms. NURSERYMAN, LANDSCAPE ART ruitf Yee:s and OrarswetafJ TH3S 6. Mc MICHAEL, A'TTOREY ~AT L`A MANSFIELD, LOISIANA DR. T, E, SCHUMPERT,7 PHYSICIAN AND SURGEON Over Bower's Drug Stor Market and Texas street& SHREVEPORT, LOUIS DR. J. A. BLANCHARD, ýPHYSICIANýAND SURGEO Office at Bowers' Drug Store. 6. E. THOJVIAS, ATTORNEY AT LAW A NOTARY PUB S , latrtentionj . . - e,.:,'- l . " .-., ; ,