The Invention of the Saxophone It was Adoiphe Sax, remember, not Saxo Grammaticus, who gets the ovation. And by the time he had brought all the components together-the serpentine shape, the single reed, the fit of the fingers, the upward tilt of the golden bell- it was already 1842, and one gets the feeling that it was also very late at night. There is something nocturnal about the sound, something literally horny, as some may have noticed on that historic date when the first odd notes wobbled out of his studio into the small, darkened town, summoning the insomniacs (who were up waiting for the invention of jazz) to their windows, but leaving the sleepers undisturbed, even deepening and warming the waters of their dreams. For this is not the valved instrument of waking, more the smoky voice of longing and loss, the porpoise cry of the subconscious. No one would ever think of blowing reveille on a tenor without irony. The men would only lie in their metal bunks, fingers twined behind their heads, afloat on pools of memory and desire. And when the time has come to rouse the dead, you will not see Gabriel clipping an alto around his numinous neck. An angel playing the world's last song on a glistening saxophone might be enough to lift them back into the light of earth, but really no farther. Once resurrected, they would only lie down in the long cemetery grass or lean alone against a lugubrious yew and let the music do the ascending- curling snakes charmed from their baskets- while they wait for the shrill trumpet solo, that will blow them all to kingdom come. By Billy Collins From the book "The Art of Drowning" University of Pittsburgh Press Copyright ©1995 All rights reserved. Reproduced by permission of the University of Pittsburgh Press. The Art of Drowning by Billy Collins Price: $12.95 paper ISBN#: 0-8229-5567-9 paper.