Chateaubriand has drawn a graphic picture of the power of music on the American Rattlesnake. The serpent happening to enter the encampment of his party in Canada, a Canadian who could play on the flute, advanced, by way of diversion, with his magic pipe, against it. On his approach the haughty reptile curled itself into a spiral line, flattened its head, inflated its cheeks, contracted its lips, displayed its envenomed fangs, and its bloody throat; its double tongue glowed like two flames of fire; its eyes were burning coals; its body, swollen with rage, rose and fell like the bellows of a forge; its dilated skin assumed a dull and scaly appearance; and its rattle, which sounded the denunciation of death, vibrated with extreme velocity. The Canadian now began to play upon his flute: the serpent started with surprise, and drew back its head. In proportion as it was struck with the magic effect, its eyes lost their fierceness, the vibrations of its tail became slower, and the sound which it emitted gradually became weaker and ceased. The folds of the fascinated Serpent became less perpendicular upon their spiral line, expanded by degrees, and sunk one after another upon the ground, forming concentric circles. The colours recovered their brilliancy on its quivering skin; and, slightly turning its head, it remained motionless in the attitude of attention and pleasure. At this moment, the Canadian advanced a few steps, producing with his flute sweet and simple notes. The Reptile inclined its variegated neck, opened a passage with its head through the high grass, and began to creep after the musician, stopping when he stopped, and following him again as soon as he moved forward. In this manner, to the astonishment both of Europeans and natives, he was led out of the camp; and it was unanimously decreed, that the life of a creature so sensible of the concord of sweet sounds should be spared.[199] Some allowance in the colouring of this picture, which must be allowed to be beautifully painted, may possibly be made to the poetical imagination of the narrator, for Chateaubriand could not tell a story without embellishing it _suo more_. We may, however, accept the main facts, confirmed as they are by the experience of other observers in other countries.