On June 7, 1195, a fiery spinning ball emerged from a dark cloud in the sunny sky close to the London city. An account of this extraordinary moment survives in a chronicle (编年史) between about 1180 and 1199 by Gervase. It would appear that this is the first credible record of ball lightning in England, and much more convincing than the earliest European description, which was believed to be from the 17th century.

Historians discovered the account of what appears to be ball lightning while exploring Gervase's records of natural events in his chronicle, a treasure of historical details giving insights into medieval culture. They dug through hundreds of pages in Latin and came across this sighting. Gervase's records of natural events appear within the historical narrative, often with no opening statement, and the account of ball lightning is sandwiched between the events of the changing of kings at that time.

No attempt is made to explain the "marvellous sign" in the sky seen near London. Readers are left to draw their own conclusions. But Gervase appears to have been a sharp-eyed observer and reporter of celestial (天空的) activity. His fanciful description of ball lightning is remarkably similar to modern reports.

For a long time, ball lightning was regarded with skepticism. Although it is now generally accepted as a genuine phenomenon with thousands of reported sightings, there is still no accepted scientific explanation of its origin. Understanding the phenomenon has been blocked by an inability to reproduce the effect convincingly in the lab and partly because of the variations in eyewitness reports. Whatever the case, centuries later, Gervase's record makes stimulating reading for modern scientists as well as historians.

Yesterday, after arriving in Madrid, I knocked on a stranger's door. "I searched on the website. Will you give me lessons?" I asked. This was the reason I'd come to Spain. Because I once believed I was meant to be a female flamenco(弗拉门戈) guitarist.

Forty-five years ago, when I was two, my father also came to Madrid and knocked on strangers' doors. A well-known classical guitarist, he admired flamenco a lot, and in Spain he learnt from anyone willing to teach him. He approached performers in bars, made friends with street musicians and managed to study with Paco de Lucia, the greatest flamenco guitarist of our time.

I started playing classical guitar when I was five. My father's hands exploded across the strings like fireworks. I practised while he instructed and criticized. I played till I had sharp pain in my fingertips. By age seven, I was called a child genius.

Then, at 11, I quit. Heartbroken, my father distanced himself. Guiltily, I followed suit. Soon we spoke only when necessary. Our relationship didn't rebound until, in my early 200s, I found myself pulled back to guitar.

When I was in my early 30s, he got sick. Before he died a few years later, my father told me there were almost no female flamenco guitarists in the world. If I kept practising, I could be one of the first. I promised, and he left me his guitar. But after he died, I couldn't bear to play it. He'd spent so much time with his arms around that instrument, and it seemed an extension of his own body. Holding it gave my grief an unbearable tangibility(可触知). So for 13 years it sat mostly untouched, coming out only when my son Ellis begged to see it. He was careful with his grandfather's instrument in a way that made me want to pass it down to him-both the guitar and the music. Problem was, I couldn't really play anymore.

Now, Antonia is sitting with me in her living room, teaching me patiently. I have been here for only two days, and already my fingers hurt. It's a sharp pain, like when a fallen-asleep limb(肢体) returns to life. The feeling delights me. It means I'm doing something right.

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