A dissertation on the rise, union, and power, the progressions, separations, and corruptions, of poetry and music. To which is prefixed, the cure of Saul. A sacred ode. Written by Dr. Brown

Table of contents

- [titlepage]

- Advertisement.

- THE CURE OF SAUL. A SACRED ODE.

- [halftitle]

- The Reader is desired to correct the following ERRATA, occasioned by the Author's Distance from the Press.

- THE CONTENTS OF THE DISSERTATION.

- SECTION I. The DESIGN.

- SECT. II. The proposed Method of Inquiry.

- SECT. III. Of Music, Dance, and Poem, in the savage State.

- SECT. IV. Of the natural Consequences of a supposed Civilization.

- SECT. V. An Application of these Principles to the Melody, Dance, and Song, of ancient Greece.

- SECT. VI. Of the Progressions of Music in ancient Greece.

- SECT. VII. Of the Origin and Progression of Comedy in ancient GREECE.

- SECT. VIII. Of the natural Union and Progressions of Melody and Song, in other European Countries.

- SECT. IX. Of the natural Union and Progressions of Melody and Song in CHINA, PERU, and INDIA.

- SECT. X. Of the natural Union and Progressions of Melody and Song amongst the ancient Hebrews.

- SECT, XI. Of the State of Music and Poetry in ancient ROME.

- SECT. XII. Of the State and Separation of Music and Poetry among the polished Nations of EUROPE through the succeeding Ages.

- SECT. XIII. Of the possible Re-union of Poetry and Music.

- SECT. XIV. CONCLUSION.

- APPENDIX.

- AN INSCRIPTION, Written at a favourite RETIREMENT, in May 1758.

- [publishersadvertisement]

A DISSERTATION, &c.

THE END.

A DISSERTATION ON THE RISE, UNION, and POWER, THE Progressions, Separations, and Corruptions, OF POETRY and MUSIC. To which is prefixed, The CURE of SAUL. A SACRED ODE.

Written by DR. BROWN.

Grata Tistudo!—Laborum

Dulce Lenimen! Mihi cungue salve,

Rite vocanti.

LONDON, Printed for L. DAVIS and C. REYMERS against Gray's-Inn, Holbourn. Printers to the ROYAL SOCIETY. MDCCLXIII.

Advertisement.

The Relation which the following Ode and Dissertation bear to each other, tho' perhaps not apparent at first Sight, rendered it necessary to publish them in this united Manner.

THE CURE OF SAUL. A SACRED ODE.

THE ARGUMENT OF THE ODE

SAUL, for his Disobedience to Heaven, is afflicted with the Fiend of MELANCHOLY, p. 5. DAVID is sent for, to cure him by the Power of Music, p. 6. He comes, attended with a Choir of Shepherds; and, as the means of dispelling SAUL's Despair, he sings the Creation of the World, and the happy Estate of our first Parents in Paradise, ib. to 9. SAUL is moved by the Representation; but expostulates with DAVID, "why, when others are happy, He should be miserable" p. 10. DAVID, to convince him that Guilt is the Source of Misery, sings the Fall of Man, and his Expulsion from Paradise, ib. This alarms the Monarch's Pride; and instead of reclaiming, provokes him to Resentment and Rage, p. 11. DAVID, superior to his Threats, awakens his Conscience, and terrifies him, by singing the Fate and Punishment of Guilt, in the Destruction of the rebellious Tribe of CHORAH by an Earthquake, and of the guilty World by the general Deluge, p. 11, 12, 13. SAUL, struck with Horror, attempts to kill himself, p. 14. But being prevented by his Friends, DAVID sooths his Anguish, by invoking Repentance and divine Mercy to compose his Passions, p. 14. SAUL relents into virtuous Sorrow, p. 15. But his Despair returning, DAVID calls on his attendant Choir to raise a more sublime and affecting Strain, p. 16. This hath its Effect; and SAUL melts into Tears of Penitence, ib. DAVID now comforts him with the Return of the divine Favour, p. 17. To banish the Remains of Pride, he then sings his own Happiness in the humble Station of a Shepherd, ib. Still farther to compose the Monarch's Griefs, by a Strain of soft Music he throws him into a gentle Slumber; invoking celestial visions to transport him to the Regions of the Blessed, and change his Anguish into Joy, p. 18. The desired Effects appear in his Countenance: The Fiend departs: And SAUL awakes in perfect Tranquillity, p. 18. DAVID then concludes with a Song of Triumph on the Powers of Harmony, and the seraphic Hymn that attended her, as the Minister of Heaven, on the Creation of the World, p. 19.

"VENGEANCE, arise from thy infernal Bed;

"And pour thy Tempest oh his Guilty Head!"

Thus Heav'n's Decree, in Thunder's Sound,

Shook the dark Abyss profound.—

The unchain'd Furies come!

Pale Melancholy stalks from Hell:

Th' abortive Offspring of her Womb,

Despair and Anguish round her yell.

By sleepless Terror SAUL possess'd,

Deep feels the Fiend within his tortur'd Breast.

Midnight Spectres round him howl:

Before his Eyes.

In Troops they rise;

And Seas of Horror overwhelm his Soul.

Haste; to JESSE's Son repair:

He best can sweep the Lyre,

Wake the solemn sounding Air,

And lead the vocal Choir:

On ev'ry String soft-breathing Raptures dwell,

To sooth the Throbbings of the troubled Breast;

Whose magic Voice can bid the Tides of Passion swell,

Or lull the raging Storm to Rest.

Sunk on his Couch, and loathing Day,

The heav'n-forsaken Monarch lay:

To the sad Couch the Shepherd now drew near;

And, while th' obedient Choir stood round,

Prepar'd to catch the Soul-commanding Sounds,

He drop'd a gen'rous Tear.—

Thy pitying Aid, O GOD, impart!

For lo, thy poison'd Arrows drink his Heart!

The mighty Song from Chaos rose.—

Around his Throne the formless Atoms sleep.

And drowzy Darkness broods upon the Deep:—

Confusion, wake!

Bid the Realms of Chaos shake!

Rouse him from his dread Repose!—

Hark! loud Discord breaks her Chain:

The hostile Atoms clash with deafning Roar:

Her hoarse Voice thunders through the drear Domain;

And kindles ev'ry Element to War.—

"Tumult cease!

"Sink to Peace!

"Let there be Light!"—Th' Almighty said:

And lo, the radiant Sun,

Flaming from his orient Bed,

His endless Course begun.

See, the twinkling Pleiads rise:

Thy Star, Orion, reddens in the Skies:

While slow around the northern Plain,

Arcturus wheels his nightly Wane.

Thy Glories, too, refulgent Moon, he sung;

Thy mystic Mazes, and thy changeful Ray:

O fairest of the starry Throng!

Thy solemn Orb of Light

Guides the triumphant Carr of Night

O'er Silver Clouds, and sheds a softer Day!

Ye Planets, and each circling Constellation,

In Songs harmonious tell your Generation!

Oh, while yon radiant Seraph turns the Spheres,

And on the stedfast Pole-Star stands sublime;

Wheel your Rounds

To heav'nly Sounds;

And sooth his Song-inchanted Ears,

With your celestial Chime.

In dumb Surprize the list'ning Monarch lay;

(His Woe suspended by sweet Music's Sway)

And awe-struck, with uplifted Eye

Mus'd on the new-born Wonders of the Sky.

Lead the soothing Verse along:

He feels, he feels the Pow'r of Song.—

Ocean hastens to his Bed:

The lab'ring Mountain rears his rock-encumber'd Head:

Down his steep and shaggy Side

The torrent rolls his thund'ring Tide;

Then smooth and clear, along the fertile Plain

Winds his majestic Waters to the distant Main.

Flocks and Herds the Hills adorn:

The Lark, high-foaring, hails the Morn.

And while along yon crimson-clouded Steep

The slow Sun steals into the golden Deep,

Hark! the solemn Nightingale

Warbles to the woodland Dale.

See, descending Angels show'r

Heav'n's own Bliss on Eden's Bow'r:

Peace on Nature's Lap reposec;

Pleasure strews her guiltless Roses:

Joys divine in Circles move,

Link'd with Innocence and Love.

Hail, happy Love, with Innocence combin'd!

All hail, ye sinless Parents of Mankind!

They paus'd:—the Monarch, prostrate on his Bed,

Submissive bow'd his Head;

Ador'd the Works of boundless Pow'r divine:

Then, Anguish-struck, he cry'd (and smote his Breast)

Why, why is Peace the welcome Guest

Of ev'ry Heart but Mine!

Now let the solemn lumbers flow.

Till he feel that Guilt is Woe.

Heav'nly Harp, in mournful Strain

O'er yon weeping Bow'r complain:

What Sounds of bitter Pangs I hear!

What Lamentations wound mine Ear!

In vain, devoted Pair, these Tears ye shed:

Peace with Innocence is fled.

The Messengers of Grace depart:

Death glares, and shakes the dreadful Dart!

Ah, whither fly ye, by yourselves abhor'd,

To shun that frowning Cherub's firey Sword?—

Lo!

Hapless, hapless Pair,

Goaded by Despair,

Forlorn, thro' desert Climes they go!

Wake, my Lyre! can Pity sleep,

When Heav'n is mov'd, and Angels weep!

Flow, ye melting Numbers, flow;

Till he feel, that Guilt is Woe.—

The King, with Pride, and Shame, and Anguish, torn,

Shot Fury from his Eyes, and Scorns.

The glowing Youth,

Bold in Truth,

(So still should Virtue guilty Pow'r engage)

With Brow undaunted met his Rage.

See, his Cheek kindles into generous Fire:

Stern, he bends him o'er his Lyre;

And, while the Doom of Guilt he sings,

Shakes Horror from the tortur'd Strings,

What Sounds of Terror and Distress

Rend yon howling Wilderness!

The dreadful Thunders found;

The forked Lightnings flash along the Ground.

Why yawns that deep'ning Gulph below?—

'Tis for Heav'n's rebellious Foe:—

Fly, ye Sons of ISRAEL, fly,

Who dwells in Korah's guilty Tents must die!—.

They sink!—Have Mercy, Lord!—Their Cries

In dreadful Tumult rise!

Hark, from the Deep their loud Laments I hear!

They lessen now, and lessen on the Ear!

Now, Destruction's Strife is o'er!

The countless Host

For ever lost!

The Gulph is clos'd!—Their Cries are heard no more!—

But Oh, my Lyre, what Accents can relate

Sinful Man's appointed Fate!

He comes, he comes! th' avenging GOD!

Clouds and Darkness round him rowl:

Tremble, Earth! Ye Mountains, nod!

He bows the Skies, and shakes the Pole.

The gloomy Banners of his Wrath unfurl'd,

He calls the Floods, to drown a guilty World:

"Ruin, lift thy baleful Head:

"Rouze the guilty World from Sleep;

"Lead up thy Billows from their cavern'd Bed,

"And burst the Rocks that chain thee in the Deep."—

Now, th'impetuous Torrents rise;

The hoarse-ascending Deluge roars:

Down rush the Cataracts from the Skies;

The swelling Waves o'erwhelm the Shores.

Just, O God, is thy Decree!

Shall guilty Man contend with Thee!

Lo, Hate and Envy, sea-intomb'd,

And Rage with Lust in Ruin sleep;

And scoffing Luxury is doom'd

To glut the vast and rav'nous Deep!—

In vain from Fate th' astonish'd Remnant flies:—

"Shrink, ye Rocks! Ye Oceans, rise!"—

The tottering Cliffs no more the Floods controul;

Sea following Sea ingulphs the Ball:

O'er the sunk Hills the watry Mountains rowl,

And wide Destruction swallows all!—

Now fiercer let th' impassion'd Numbers glow:

Swell the Song, ye mighty Choir!

Wing your dreadful Darts with Fire!

Hear me, Monarch!—Guilt is Woe!

Thus while the frowning Shepherd pour'd along

The deep impetuous Torrent of his Song;

SAUL, stung by dire Despair,

Gnash'd his Teeth, and tore his Hair:

From his Blood, by Horror chill'd,

A cold and agonizing Sweat distill'd:

Then, foaming with unutterable Smart,

He aim'd a Dagger at his Heart.

His watchful Train prevent the Blow;

And call each lenient Balm, to heal his frantic Woe:

But pleas'd, the Shepherd now beheld

His Pride by Heav'n's own Terrors quell'd:

Then bade his potent Lyre controul

The mighty Storm that rent his Soul.

Cease your Cares: the Body's Pain

A sweet Relief may find:

But Gums and lenient Balms are vain,

To heal the wounded Mind.

Come, fair Repentance, from the Skies,

O sainted Maid, with upcast Eyes!

Descend in thy celestial Shrowd,

Vested in a weeping Cloud!

Holy Guide, descend, and bring

Mercy from th' eternal King!

Calm his Soul, your Beams impart,

And pour your Comforts o'er his Heart!—

They come: O King, thine Ear incline:

Listen to their Voice divine:

Their Voice shall every Pang compose,

To gentle Sorrow melt thy Woes;

Till each pure Wish to Heav'n shall soar,

And Peace return, to part no more!

Behold, obedient to their great Command,

The lifted Dagger quits his trembling Hand:

Smooth'd is his Brow, where sullen Care

And furrow'd Horror couch'd with fell Despair:

No more his Eyes with Fury glow;

But heav'nly Grief succeeds to hell-born Woe.—

See, the Signs of Grace appear:

See the soft relenting Tear,

Trickling at sweet Mercy's Call!

Catch it, Angels, ere it fall!

And let the heart-sent Offering rise,

Heav'n's best-accepted Sacrifice!—

Yet, yet again?—Ah see, the Pang returns!

Again with inward Fire his heaving Bosom burns!

Now, Shepherds, wake a mightier Strain;

Search the deep, heart rending Pain;

Till the large Floods of Sorrow roll,

And quench the Tortures of his Soul.

Almighty LORD, accept his Pang sincere!

Let heav'nly Hope dispell each dark Temptation!

And, while he pours the penitential Tear,

O visit him with thy Salvation!—

Stoop from Heav'n, ye raptur'd Throng:

Sink, ye swelling Tides of Song!

For lo, dissolv'd by Music's melting Pow'r,

Celestial Sorrow rolls her plenteous Show'r.

O'er his wan Cheek the Colours rise;

And Beams of Comfort brighten in his Eyes.

Happy King, thy Woes are o'er!

Thy God shall wound thy Heart no more:

The pitying Father of Mankind

Meets the pure-returning Mind.

No more shall black Despair afflict his Soul.

Each gentler Sound, ye Shepherds, now combine:

Sweetly let the Numbers roll:

Sooth him into Hope divine.

Now lowly let the rustic Measure glide,

To quell the dark Remains of self-consuming Pride;

Till Nature's home-sprung Blessings he confess,

And own that calm Content is Happiness.—

Ye Woods and Lakes, ye Cliffs and Mountains!

Haunted Grots, and living Fountains!

Listen to your Shepherd's Lay,

Whose artless Carols close the Day.

Bounding Kids around him throng;

The steep Rock echoes back his Song:

While all unseen to mortal Eye,

Sliding down the evening Sky,

Holy Peace, tho' born above,

Daughter of Innocence and Love,

Quits her Throne and Mansion bright,

Her Crown of Stars, and Robe of Light,

Serene, in gentle Smiles array'd,

To dwell beneath his Palm-Tree Shade.

Hail, meek Angel! awful Guest!

Still pour thy Radiance o'er my Breast!

Pride and Hate in Courts may shine:

The Shepherd's calm and blameless Tent is Thine!—

Softly, softly breath your Numbers;

And wrap his weary'd Soul in Slumbers!

Gentle Sleep, becalm his Breast,

And close his Eyes in healing Rest!

Descend, celestial Visions, ye who wait,

GOD's ministring Pow'rs, at Heav'n's eternal Gate!

Ye who nightly Vigils keep,

And rule the silent Realms of Sleep,

Exalt the Just to Joys refin'd,

And plunge in Woe the guilty Mind;

Descend!—Oh, waft him to the Skies,

And open all Heav'n's Glories to his Eyes!

Beyond yon starry Roof, by Seraphs trod,

Where Light's unclouded Fountains blaze;

Where Choirs immortal hymn their GOD,

Intranc'd in Ecstasy of ceaseless Praise.

Angels, heal his Anguish!

Your Harps and Voices joyn!

His Grief to Bliss shall languish,

When sooth'd by Sounds divine.

Behold, with dawning Joy each Feature glows!

See, the blissful Tear o'erflows!—

The Fiend is fled!—Let Music's Rapture rise:

Now, Harmony, thy ev'ry Nerve employ:

Shake the Dome, and pierce the Skies:

Wake him, wake him into Joy.—

What Pow'r can every Passion's Throe controul?

What Pow'r can boast the Charm divine,

To still the Tempest of the Soul?

Celestial Harmony, that mighty Charm is Thine!

She, heav'nly-born, came down to visit Earth,

When from GOD's eternal Throne

The Beam of all-creative Wisdom shone,

And spake fair Order into Birth.

At Wisdom's Call me robed yon glittering Skies,

Attun'd the Spheres, and taught consenting Orbs to rise.

Angels wrapt in Wonder stood,

And saw that All was Fair, and All was Good.

'Twas then, ye Sons of GOD, in bright Array

Ye shouted o'er Creation's Day:

Then kindling into Joy,

The Morning Stars together sung;

And thro' the vast etherial Sky

Seraphic Hymns and loud Hosannahs rung

THE END.

A DISSERTATION ON THE RISE, UNION, and POWER, THE Progressions, Separations, and Corruptions, OF POETRY and MUSIC.

The Reader is desired to correct the following ERRATA, occasioned by the Author's Distance from the Press.

- Pag. 64. Lin. 15, 16. for "There, here" r. "There".

- Pag. 65. Lin. 29. for "Phrygian or Dorian Measure" r. "Lydian Measure".

- Pag. 69. note l. 4. for "Spartans" r. "the Spartans".

- Pag. 70. Lin. 26. for "Multisolicity" r. "Multiplicity".

- Pag. 132. Lin. 6. for "Subjects" r. "a Subject".

- Pag. 223. Lin. 9. for "la plus" r. "le plus".

THE CONTENTS OF THE DISSERTATION.

- SECTION I. THE DESIGN. Pag. 25

- SECT. II. The proposed Method of Enquiry. 26

- SECT. III. Of Music, Dance, and Poem, in the savage State. 27

- SECT. IV. Of the natural Consequences of a supposed Civilization. 36

- SECT. V. An Application of these Principles to the Melody, Dance, and Song, of ancient GREECE. 46

- SECT. VI. Of the Progressions of Music in ancient GREECE. 95

- SECT. VII. Of the Origin and Progressions of Comedy in ancient GREECE. 137

- SECT. VIII. Of the natural Union and Progressions of Melody and Song in other EUROPEAN Countries. Pag. 155

- SECT. IX. Of the natural Union and Progressions of Melody and Song in CHINA, PERU, and INDIA. 166

- SECT. X. Of the natural Union and Progressions of Melody and Song amongst the ancient Hebrews. 175

- SECT. XI. Of the State and Separation of Music and Poetry in ancient ROME. 182

- SECT. XII. Of the State and Separation of Music and Poetry among the polished Nations of EUROPE through the succeeding Ages. 194

- SECT. XIII. Of the possible Re-union of Poetry and Music. 221

- SECT. XIV. CONCLUSION. 238

SECTION I. The DESIGN.

BLEST Pair of Syrens, Pledges of Heaven's Joy,

Sphere-born harmonious Sisters, VOICE and VERSE,

Wed your divine Sounds, and mix'd Pow'r employ!

So said the sublime MILTON, who knew and felt their Force: But Those whom Nature had thus joined together, Man, by his false Refinements, hath most unnaturally put asunder.

The Purpose of the following Dissertation, therefore, is to trace the Rise, Union, and Progression of Poetry and Music, as they are found to exist in their several Kinds and Gradations among Mankind; thence to consider the Causes which have produced that Separation under which they now lie, and have often lain, among the more polished Nations; and in Conclusion, to point out the Circumstances in which, and the Means by which, they may possibly be again united.

SECT. II. The proposed Method of Inquiry.

WHATEVER is founded in such Passions and Principles of Action, as are common to the whole Race of Man, will be most effectually investigated, as to its Origin and Progress, by viewing Man in his savage or uncultivated State. Here, before Education and Art have cast their Veil over the human Mind, its various Powers throw themselves out, and all its Workings present themselves instantly, and without Disguise.

It may be affirmed with Truth, that, for Want of beginning our Inquiries at this early and neglected Period, and by viewing Man under his State of Civilization only, many curious and interesting Questions have been left involved in Darkness, which might have been clearly unfolded by a free and full Research into the Passions, Propensities, and Qualities of savage Man.

This the Writer hopes to make appear in a more extensive Degree, and on Subjects of higher Importance, through the Course of a future Work[a]; of which, some of the Principles here delivered will make an incidental Part. In the mean Time, he intends to treat the present Subject in the Way now proposed, by deducing his Argument from the first great and original Fountain of savage Life and Manners.

Notes

a
The Work advertised at the End of this Dissertation.
↵

SECT. III. Of Music, Dance, and Poem, in the savage State.

BY examining savage Life, where untaught Nature rules, we find that the agreeable Passions of Love, Pity, Hope, Joy, and Exultation, no less than their Contraries of Hate, Revenge, Fear, Sorrow, and Despair, oppressing the human Heart by their mighty Force, are thrown out by the three Powers of Action, Voice, and articulate Sounds. The Brute Creatures express their Passions by the two first of These; some by Action, some by Voice, and some by both united: Beyond these, Man has the added Power of articulate Speech: The same Force of Association and Fancy which gives him higher Degrees and a wider Variety of Passion, gives rise to this additional Power of expressing those Passions which he feels.

Among the Savages who are in the lowest Scale of the human Kind, these several Modes of expressing their Passions are found altogether suited to their wretched State. Their Gestures are uncouth and horrid: Their Voice is thrown out in Howls and Roarings: Their Language is like the Gabbling of Geese.

But if we ascend a Step or two higher in the Scale of savage Life, we shall find this Chaos of Gesture, Voice, and Speech, rising into an agreeable Order and Proportion. The natural Love of a measured Melody, which Time and Experience produce, throws the Voice into Song, the Gesture into Dance, the Speech into Verse or Numbers. The Addition of musical Instruments comes of Course: They are but Imitations of the human Voice, or of other natural Sounds, produced gradually by frequent Trial and Experiment.

Such is the Generation and natural Alliance of these three Sister-Graces, Music, Dance, and Poem, which we find moving Hand in Hand among the savage Tribes of every Climate.

For the Truth of the Fact, we may appeal to most of the Travellers who describe the Scenes of uncultivated Nature: All these agree in telling us, that Melody, Dance, and Song, make up the ruling Pastime, adorn the Feasts, compose the Religion, fix the Manners, strengthen the Policy, and even form the future Paradise, of savage Man. That having few Wants, and consequently much Leisure, the barbarous Tribes addict themselves to these assuring Arts with a wonderful Degree of Passion, unless where their Manners are corrupted by an incidental Commerce with the Off-scum of civilized Nations. By these attractive and powerful Arts they celebrate their public Solemnities; by these they lament their private and public Calamities, the Death of Friends, or the Loss of Warriors: By these united, they express their Joy on their Marriages, Harvests, Huntings, Victories; praise the great Actions of their Gods and Heroes; excite each other to War and brave Exploits, or to suffer Death and Torments with unshaken Constancy.

These are the Circumstances most common to the savage Tribes: Besides these, there are many peculiar Modes, which arise from their different Climates, Situations, Opinions, Manners. Among some Tribes the joyous Passions, among some the gentle, among others the ferocious, predominate and take Place. To give all the Varieties of these savage and festal Solemnities, were an endless Labour. Let the following Account suffice, as a general Image of the rest; which is singled out, not only because it is the most circumstantial; but likewise for the particular Relation which it will be found to bear to a following Part of this Inquiry.

The IROQUOIS, HURONS, and some less considerable Tribes, are free and independent Savages, who inhabit the northern Continent of AMERICA; and extend their Settlements from the Back of the British Colonies to the Borders of the Great Lakes, along the Skirts of LOUISIANA, and down the River OHIO, towards the MISSISIPI, and the Gulph of FLORIDA. Father LAFITAU[b] gives the following Description of their festal Solemnities; which it is necessary to transcribe at large, in order to give an adequate Idea of their Manners and Character.

"On the appointed Day, early in the Morning, they prepare the Feast in the Council-Cabbin, and there they dispose all Things for the Assembly.—In the meantime, a public Crier goes through the Village, and gives Notice that the Kettle is hung on in such a Cabbin: The common People, and even the Chiefs, bring with them their little Kettle. It doth not appear, that there is any Distinction of Ranks among them, except that the old Men occupy the foremost Matts. The IROQUOISE Women assist not, that I know of, at these Kind of Feasts; nor are they invited. The Children, and young Men, who are not as yet chosen into the Body of Warriors, mount upon the Scaffolds which are placed over the Matts, and even upon the Roof of the Cabbin itself, and look down through the Hole at which the Smoke goes out."

"While the Assembly is forming, He who makes the Feast, or He in whose Name it is made, sings alone.—The Design of this is to entertain the Company, on such Things as have Relation to the Subject on which they assemble. These Songs, for the most Part, are filled with the Fables of ancient Times, the heroic Deeds of their Nation; and are composed in an antiquated Style; so old, that often they understand not what they say. The Singer hath sometimes an Assistant, who relieves him when he is fatigued: For they sing with all their Force."

"The Speaker then opens the Scene, by asking in Form, if all who are invited are come. He then names the Person who makes the Feast, he declares the Occasion on which it is made, and enters into a particular Detail of all that is in the Kettle. At every thing which he names, the whole Choir replies by a repeated Shout of Approbation."

"The Speaker then gives an Account of every thing, which it is of Importance that the Public should know. For these Song-Feasts, being made on all weighty Occasions which regard the Village or the Nation; this is the proper Time for public Affairs, as that of renewing a Name, hearing Ambassadors, or proclaiming War by Song."

"When the Orator hath done speaking, sometimes they begin to eat before they sing, that they may have the better Spirits: Sometimes they sing before they eat: If the Feast is to continue for the whole Day, the Kettle is in Part empty'd in the Morning, and in Part reserved for the Evening; and in the Intervals they sing and dance."

"The Master of the Feast touches nothing. He busies himself only in seeing that the Company be served, or in serving them himself; naming aloud the Pieces which he destines and presents to each. The best Morsels are given, by Way of Preference, to those whom he chuseth to distinguish."

"After the Repast, the Master of the Feast begins the Athonront, a Song and Dance peculiar to the Men. They relieve each other, by beginning with those of most Consideration, and passing gradually down to the Youngest. They have that Civility and Attention to each other, that every one waits till another of superior Dignity enters the Lists, and takes the Lead."

"The Ancients and Men of Dignity often do no more than rise from their Seats; and content themselves, while they sing, with making some Inflexions with their Head, Shoulders, and Knees, in order to accompany and sustain their Song. Others somewhat less grave, take a few Steps, and walk along the Cabin around the Fires. Every one hath his particular Song; that is, an Air, to which he adjusts a very few Words, which he repeats as often as he pleaseth. I have observed, that they even retrench or strike off some Syllables from their Words, as if they were Verses, or measured Words, but without Rhyme."

"He who means to dance, begins by rising from his Matt; and the whole Company answers him by a general Shout of Approbation: As he passeth along before every Fire, they who sit on each Side beat the Measure or Cadence of his Song by a correspondent Motion of the Head; and by throwing out continual Shouts which they redouble at certain Times, where the Measure demands it, with so much Truth, that they never err; and with such a Delicacy of Ear, as the French, who are most practised in their Customs, cannot attain to. When he passeth to a second Fire, They of the first take Breath: They of the more distant Fires are likewise silent: But the Time is always beat by those before whose Fire he sings and dances. The Song concludes by a general Ehoue! of the whole Choir; which is a second Shout of Approbation."

"The young Men have their Songs of a more lively, and their Dances of a more vigorous Cast; such as are suitable to their Age. When the Dance is much animated, they dance two or three together, each at his own Fire: Nor does this Mixture ever occasion any Confusion."

"Among these Dances, some are no more than a simple and noble Manner of marching up to an Enemy; and of facing Danger with Intrepidity and Gaiety of Mind."

"A second Sort of Dance, but still of the same Kind, is that of the Pantomimes: Which consists in representing an Action in the Manner in which it passed, or such as they conceive it to have been. Many of those who have lived among the IROQUOIS, have assured me, that after a Chief of War hath circumstantially recounted, at his Return, all that had passed in the Expeditions he had undertaken, and the Battles he had fought, they who are present at the Recital often rise on the sudden to dance, and represent those Actions with great Vivacity, as if they had been present: And all this, without any previous Concert or Preparation."

"In their Songs they praise not only their Gods and Heroes, but they likewise praise themselves: In this they are not sparing: and are even prodigal in their Praise of others, whom they think worthy of it. He who is thus applauded, answers by a shout of Thanks, as soon as he hears himself named."

"They are still quicker at rallying each other; and succeed to a Wonder in This. He who dances, takes whomsoever he pleaseth by the Hand, and brings him forth into the midst of the Assembly: to which he yields without Resistance. Meanwhile the Dancer continues to sing; and sometimes in his Song, and sometimes in the Intervals, he throws his Sarcasms on the Patient, who hears him without Reply.—At every Bon Mot, loud Peals of Laughter arise along the Galleries, who animate this Sport, and often oblige the Patient to cover his Head in his Mantle."

"They have another Kind of Dance, in which the whole Choir dances: and this is common both to Men and Women. As this is very different from the preceeding ones, they do not use it in their Song-Feasts. Their Pretenders to Magic[c] often ordain it as an Act of Religion, for the healing of the Sick: it is also one of their Modes of Divination. It is likewise practised, at Times, as a mere Exercise of Pleasure, at the Feasts and Solemnities of the Village. The Manner is as follows. Notice is given early in the Morning through all the Cabins, for the Performance of this Ceremony: Every Cabin deputes a certain Number, either of Men or Women, who dress themselves in all their Finery, that they may go and perform their Part. They all appear at the appointed Hour (which is proclaimed by a public Crier) either in the Council-Cabin, or some other Place destined for the Purpose. In the middle of the Place or Cabin they build a little Scaffold; and on this they raise a small Seat for the Singers who are to accompany and animate the Dance. One holds in his Hand a Tambour or little Drum, the other a Tortoise Shell. While these sing, and accompany their Song with the Sound of their Instruments (which is farther Strengthened by the Spectators, who beat with little Sticks upon the Kettles that are before them) they who dance, go round in a circular Movement; but without taking Hands, as they do in Europe. Each Dancer makes various Motions with his Feet and Hands, as he pleaseth: And though all the Movements are different, according to the Whim and Caprice of their Imagination, none of them ever lose the Time. They who are most expert in varying their Postures, and throwing themselves into Action, are reckoned to excel the rest. The Dance is composed of several Returns: Each Return lasts till the Dancers are out of Breath; and after a short Interval of Repose, they begin another. Nothing can be more animated than these Movements: To see them, one would say, they were a Troop of furious and frantic People. What must fatigue them still more is, that not only by their Movement but likewise with their Voice, they follow the Singers and their Instruments to the End of each Return; which is always closed by a general and loud Oueh! which is a Shout of Approbation, implying that the Return hath been well performed."

"Athough I have not spoken particularly of any Nations but those of the IROQUOIS and HURONS, yet I may truly say, that I have described, at the same Time, all the other barbarous Nations of AMERICA, as to what is essential and principal. For though there appears to be a great Difference between the Monarchic and Oligarchic State, yet the Genius of their savage Policy is every where the same: We find the same Turn for public Affairs, the same Method of conducting them, the same Use of secret and solemn Assemblies, the same Character in their Feasts, their Dances, and their Diversions."

"The Music and Dance of the Americans have something in them extremely barbarous, which at first disgusts; and of which no Idea can be formed by those who have not seen and heard them. We grow reconciled to them by Degrees, and in the End partake of them with Pleasure. As to the Savages themselves, they are fond of these Feasts even to Distraction. They continue them whole Days and Nights entire; and the Shouts of their Choir are so violent, as to make the Village tremble."

Thus far the learned Father LAFITAU: For whose Detail no Apology needs be made to the curious Reader. But the more particular Reasons, why it is here given at Length, will appear in the following Sections.

Notes

b

Moeurs des Sauvages, tom. ii. p. 213, &c. 12mo.

↵

c
Charlatans,—a Word with which we have none precisely correspondent in our Language: It signifies here, one who is a Pretender to Medecine by the Arts of Magic.
↵

SECT. IV. Of the natural Consequences of a supposed Civilization.

WHILE these free and warlike Savages continue in their present unlettered State of Ignorance and Simplicity, no material Improvements in their Song-Feasts can arise. But let us suppose that the Use of Letters should come among them, and, as a Cause or Consequence of Civilization, be cultivated with that Spirit which is natural to a free and active People; and many notable Consequences would appear. Let us consider the most probable and striking among these natural Effects.

1. Their Idea of Music, in its most inlarged Sense, would comprehend the three Circumstances of Melody, Dance, and Song. For these three, as we have seen, being naturally conjoined, because naturally producing each other, would not separately command the Attention of such a People at their public Festivals. Therefore Instrumental Melody, without Song, would be little attended to, and of no Esteem; because it would want all those Attractions which must arise from the correspondent Dance and Song.

2. In the early Periods of such a Commonwealth, the Chiefs or Legislators would often be the principal Musicians. The two Characters would commonly coalesce; for we find, that, among the savage Tribes, the Chiefs are they who most signalize themselves by Dance and Song; and that their Songs rowl principally on the great Actions and Events which concern their own Nation.

3. Hence, their most ancient Gods would naturally be styled Singers and Dancers. For the most ancient Gods of civilized Pagan Countries, are generally their early Legislators, who taught their People the first Arts of Life. These deceased Legislators, therefore, when advanced to the Rank of Gods, would naturally be delivered down to Posterity with the same Attributes and Qualities by which they had distinguished themselves in Life: And it appears, from the last Article, that these Qualities would naturally be those of Dance and Song.

4. Measured Periods, or in other Words, Rythm, Numbers, and Verse, would naturally arise. For measured Cadence, or Time, is an essential Part of Melody, into which the human Ear naturally falls. And as the same Force of Ear would lead the Action or Dance to correspond with the Melody, so the Words or Song must, on a like Principle, keep Pace with Both. Among the savage Americans we see the first Rudiments of poetic Numbers, emerging from this Source. For "as the Means of adjusting the Words to the Air or Melody, they sometimes strike off Syllables from their Words." And such is the natural Generation of Rythm and Verse.

5. Their earliest Histories would be written in Verse. For we see, that among the savage Tribes, the Actions of their Heroes and Gods, and the great Events of their Nation, make a principal Part of their Songs. Whenever, therefore, the Use of Letters should come among such a People, these ancient Songs would naturally be first recorded, for the Information and Use of future Times.

6. Their most ancient Maxims, Exhortations, Proverbs, or Laws, would probably be written in Verse. For these would naturally make a Part of their Songs of Celebration, and would by Degrees be selected from thence, would in Time become the Standard of Right and Wrong, and as such, be treasured up and appealed to by the improving Tribe.

7. Their religious Rites would naturally be performed or accompany'd by Dance and Song. For it appears from Fact that the great Actions of their Gods and Heroes are the most general Subject of the savage Dance and Song; and the common End of Pagan Rites hath ever been, to praise the Gods of the Country, and by these Means (as well as by Sacrifice) to appease their Wrath, or secure their Favour.

8. Their earliest Oracles would probably be delivered in Verse, and sung by the Priest or Priestess of the supposed God. For these Oracles, being supposed to be inspired by a deceased Chief (now a Deity) who had himself delivered his Exhortations in this enthusiastic Manner; and being addressed to a Tribe among whom this Mode of Instruction universally prevailed, no other Vehicle but that of Verse and Song could at first gain these Oracles either Credit or Reception.

9. Their Melody would be simple; and derive a considerable Part of its Power from its Rythm or Measure, without any Mixture of artificial Composition. First, because this Kind would be most suited to the Powers of the barbarous Legislators or Bards, at once Composers and Performers, among whom nothing artificial or refined could as yet take Place. Secondly, because this Simplicity of Manner would be best adapted to the Capacity of the surrounding People, incapable, in this early Period, to be attracted or moved by any thing but what Nature dictates.

10. The Force of this simple Melody would be much increased by the Power of early Association and continued Habit. For this, by appropriating certain Sounds to certain Subjects, would raise their Melody into a Kind of natural and expressive Language of the Passions.

11. Their Songs would be of a legislative Cast; and being drawn chiefly from the Fables or History of their own Country, would contain the essential Parts of their religious, moral, and political Systems. For we have seen above, that the Celebration of their deceased Heroes would of Course grow into a religious Act: That the Exhortations and Maxims intermixed with these Celebrations, and founded on the Example of their Heroe-Gods, would naturally become the Standard of Right and Wrong; that is, the Foundation of private Morals and public Law: And thus, the whole Fabric of their Religion, Morals, and Polity, would naturally arise from, and be included in their Songs, during their Progress from savage to civilized Life.

12. MUSIC, in the extended Sense of the Word (that is, including Melody, Dance, and Song) would make an essential and principal Part in the Education of their Children. For the important Principles of their Religion, Morals, and Polity, being delivered and inculcated in their Songs, no other Method could be devised, which would so strongly impress the youthful Mind with the approved Principles of Life and Action.

13. MUSIC therefore (in this extended Sense) must gain a great and universal Power over the minds and Actions of such a People. For through the Force of early and continued Habit, together with the irresistible Contagion of general Example, while every thing pleasing, great, and important, was conveyed through this Medium, and through this only, such strong Impressions would strike themselves into the growing Mind, as would give it its ruling Colour through Life, and such as no future Incidents could easily weaken or efface.

14. In the Course of Time, and the Progress of Polity and Arts, a Separation of the several Parts or Branches of Music (in its extended Sense) would naturally arise. Till a certain Period of Civilization, Letters, and Art, the several Kinds would of course lie confused, in a Sort of undistinguished Mass, and be mingled in the same Composition, as Inclination, Enthusiasm, or other Incidents might impel. But repeated Trial and Experiment would naturally produce a more artificial Manner; and thus, by Degrees, the several Kinds of Poem would assume their legitimate Forms.

15. If their warlike Character continued, the Dance would naturally separate from the Song; and would itself become a distinct Exercise or Art, for the sake of increasing their Strength and Agility of Body, as the Means of rendering them invincible in War. For the Dance or Action of their Song-Feasts, being only secondary, and merely an Appendage to the Song, would not be of a Character sufficiently severe for the fierce and stubborn Contention of those who were destined to the immediate Toils of warlike Service.

16. After a certain Period of Civilization, the complex Character of Legislator and Bard would separate, or be seldom united. For as the Society grew more populous, and the increasing Arts of Life increased the Labours and Cares of Government, the musical Art (in its extended Sense) would of course be delegated by the civil Magistrate, to such Men of Genius and Worth, as might apply it to its proper Ends, the Instruction and Welfare of Mankind.

17. Hymns or Odes would be composed, and Sung by their Composers at their festal Solemnities. For these, in their simple State, are but a Kind of rapturous Exclamations of Joy, Grief, Triumph, or Exultation, in Consequence of some great or disastrous Action, known, alluded to, or expressed: A Species of Composition which naturally ariseth from the savage Song-Feast.

18. The Epic Poem would naturally arise, and be sung by its Composers at their public Solemnities. For it appears above[d], that their earliest Histories would be written in Verse, and make a Part of their public Song-Feasts. Now the Epic Poem is but a Kind of fabulous History, rowling chiefly on the great Actions of ancient Gods and Heroes, and artificially composed under certain Limitations with Respect to its Manner, for the Ends of Pleasure, Admiration, and Instruction.

19. From an Union of these two, a certain rude Outline of Tragedy would naturally arise. We may see the first Seeds or Principles of this Poem, in the Conduct of the savage Song-Feast. A Chief sings some great Action of a God or Heroe: The surrounding Choir answer him at Intervals, by Shouts of Sympathy or concurrent Approbation.

20. In Process of Time, this barbarous Scene would improve into a more perfect Form: Instead of relating, they would probably represent, by Action and Song united, those great or terrible Atchievements which their Heroes had performed. For of this, too, we finds the Seeds or Principles in the savage State. "After a Chief of War hath recounted the Battles he had fought, they who are present will often rise up to dance, and represent those Actions with great Vivacity." If to this we add the usual Exclamations of the surrounding Choir, we here behold the first rude Form of savage Tragedy.

21. If the Choir should be established by general Use, and should animate the Solemnity by Dance as well as Song; the Melody, Dance, and Song would of course regulate each other, and the Ode or Song would fall into Stanzas of some particular Kind. This appears from the third Article.

22. Another Consequence of an established Choir would be an unvaried Adherence to the Unities of Place and Time. For a numerous Choir, maintaining their Station through the whole Performance, must give so forcible a Conviction to the Senses, of the Sameness of Place, and Shortness of Time, that any Deviation from this apparent Unity must shock the Imagination with an Improbability too gross to be endured.

23. Not only the Part of the tragic Choir, but the Episode or interlocutory Part would be also sung. For as the Ode and Epic would be sung from the earliest Periods; so when they became united, and by that Union formed the tragic Species, they of Course maintained the same Appendage of Melody, which Nature and Custom had already given them.

24. While the Nation held its fierce and warlike Character, the tragic Representations would chiefly turn on Subjects distressful or terrible. For thus they would animate each other to Victory and Revenge, by a Representation of what their Friends had done and suffered. These Subjects would likewise be most accommodated to the natural Taste of the poetic Chiefs of such a People; whose Atchievements must produce and abound with Events of Distress and Terror. They also would be best suited to the Genius and Ends of their State and Polity: For as the leading View of such a fierce and warlike People must be to destroy Pity and Fear; so this would most effectually be done, by making themselves familiar with distressful and terrible Representations. The gentle Passions, and less affecting Actions, which might fill the Spectacles of a mild and peaceful Nation, would be insipid to the Taste, and incompatible with the Character, of such a warlike People.

25. As their Tragedy would be intended as a visible Representation of their ancient Gods and Heroes, so it would be natural for them to invent some Means of strengthening the Voice, and aggrandising the Visage and Person, as the means of compleating the Resemblance: For in all Savage Countries, the tallest and strongest Men are generally selected as their Chiefs.

26. As their Tragic Poets would be Singers, so they would be Actors, and perform some capital Part in their own Pieces for the Stage. For we see these different Characters are naturally united in the savage State: Therefore, till some extraordinary Change in Manners and Principles should ensue, this Union would of Course continue.

27. Musical Contests would be admitted as public Exercises in such a State. For we have seen, that the important Articles of Religion, Morals, and Polity, would naturally make a Part of their public Songs: therefore public Contests of this Kind would be regarded as the best and surest Means of raising an Emulation of a most useful Nature; and of strengthening the State, by inforcing all the fundamental Principles of Society in the most striking and effectual Manner.

28. The Profession of Bard or Musician would be held as very honourable, and of high Esteem. For he would be vested with a Kind of public Character: and if not an original Legislator, yet still he would be regarded as a subordinate and useful Servant of the State.

29. Odes, or Hymns, would naturally make a Part of their domestic Entertainments: and the Chiefs would be proud to signalize themselves by their Skill in Melody and Song. For their Songs being enriched with all the great and important Subjects relative to the public State; nothing could be more suitable to a high Station in the Commonwealth, than a Proficiency in this sublime and legislative Art.

30. When Music had attained to this State of relative Perfection, it would be regarded as a necessary Accomplishment. And if any Man, or Society of Men, were unacquainted with the Practice and Power of Music, their Ignorance in this Art would be regarded as a capital Defect: For it would imply a Deficiency in the three great leading Articles of Education, Religion, Morals, and Polity.

31. The Genius of their Music would vary along with their Manners: For Manners being the leading and most essential Quality of Man; All his other Tastes and Acquirements naturally correspond with These; and accommodate themselves to his Manners, as to their chief and original Cause.

32. As a Change of Manners must influence their Music, so, by a reciprocal Action, a Change in their Music must influence Manners: For we have seen, that Music was the established Vehicle of all the great Principles of Education: Therefore a Change in Music must tend to bring on a Change in These.

33. A Provident Community of Principles, uncommonly severe, would probably fix both the Subjects and Movements of Song and Dance, by Law: This would arise from their Knowledge of the mutual Influence of Manners and Music on each other.

34. In a Society of more libertine and relaxed Principles, the Corruption of Music would naturally arise, along with the Corruption of Manners; for the Reasons now assigned: and the Musicians, Bards, or Poets, would be the immediate Instruments of this Corruption. For being educated in a corrupt State they would be apt to debase their Art to vile and immoral Purposes, as the means of gaining that Applause which would be the natural Object of their Ambition.

35. In Consequence of this Corruption, a gradual and total Separation of the Bard's or Musician's complex Character would ensue. For the Chief would now no longer pride himself on the Character of Poet or Performer; nor the Man of Genius and Worth descend to the Profession of Lyrist, Singer, or Actor: Because these Professions, which had formerly been the Means of inculcating every thing laudable and great, would now (when perverted to the contrary Purposes) be disdained by the Wise and Virtuous.

36. Hence the Power, the Utility and Dignity of Music would sink into a general Corruption and Contempt. This Consequence is so plain, as to need no Illustration.

Notes

d

Article 5.

↵

SECT. V. An Application of these Principles to the Melody, Dance, and Song, of ancient Greece.

SUCH may seem to be the Consequences which would naturally arise in a savage, free, and warlike State, should Letters be introduced and cultivated among such a spirited and active People. In Support of the Truth of these Deductions, let us now endeavour to realize them; by shewing that such Consequences did in Fact arise in ancient GREECE. In the Course of this Review, which will contain the Rise, Progress, Power, Perfection, Separation, and Corruption, of their Melody, Dance, and Song, we may perhaps be fortunate enough, on the Principles here given, to fix some Things which have been held doubtful, to unfold others which have hitherto been confessedly unaccountable, and to resolve others into their proper and evident Causes, which have been attributed to such Causes as never had Existence.

1. "Their Idea of Music, in its most inlarged Sense, comprehended the three Circumstances of Melody, Dance, and Song."—This appears from the concurrent Testimony of many ancient Authors: The following one from the Alcibiades of PLATO may alone be a sufficient Authority.
"Socr. Tell me first, what Art is that, to which it belongs properly to sing, to play, and dance? Cannot you find a Name for this comprehensive Art?—Alcib. I cannot.—Socr. Try a little: Who are the Goddesses that preside over this Art?—Alcib. Do you mean the MUSES?—Socr. I do: Consider then, what Name the Art receives from them.—Alcib. You seem to hint at MUSIC.—Socr. You are right[e]."
—The same Truth is no less evident from the circumstantial Account which ATHENAEUS gives of the old ARCADIAN Music; which, in its general Acceptation, included Melody, Dance, and Song [f]. It appears, then, that this Combination or Union of these three Sister-Graces arose naturally in ancient GREECE, from an Improvement of the savage State into a certain Degree of Civilization. They needed no Art to joyn them: For as they naturally produce each other, and are naturally conjoyned in the savage and uncultivated State, this Union would of Course continue, till some violent Change in Manners or Principles should break that Union which Nature had established.—It appears no less evidently from ancient Writers, that what we call Instrumental Music, that is, the Melody of Instruments, unaccompany'd by Dance or Song, was a Thing never held in Esteem till the later Periods of Antiquity, in which a general Separation took Place. This will appear more at large hereafter. PLATO calls Instrumental Music
"an unmeaning Thing, and an Abuse of Melody [g]."

2. "In the earliest Periods of the Greek States, their Legislators were often Bards, or their Bards were Legislators." Such, in a more eminent Degree, were APOLLO, ORPHEUS, AMPHION, LINUS, and MUSAEUS[h]. Of this Rank too, was THALES the Cretan Lawgiver; who composed Laws in Verse, and sung them to his Lyre[i]. It hath been generally supposed, that the story'd Power of their Lyres and Songs meant no more, than by a metaphorical Expression to convey a strong Idea of their Eloquence and legislative Art, in producing Order from Confusion. Thus PLUTARCH tells us, that
"the Ancients represented the Statues of the Gods with Musical Instruments in their Hands, not as being really Lyres or Flutes; but because they thought, that nothing so much suited the Character and Office of the Gods, as Harmony and Order [k]."
Thus too, a noble Writer of our own Country declares his Opinion, and says, that
"Tradition, which soon grew fabulous, could not better represent the first Founders or Establishers of large Societies, than as real Songsters [l]."
But real Songsters, beyond Doubt, they were; nor was Tradition fabulous in thus representing them. For from a View of human Nature, as emerging from the savage State, it is evident, that the Song and Lyre (as soon as the Lyre was invented) must be the natural Means or Instruments of Civilization, by conveying the Legislator's Precepts to the surrounding People. For we have seen that, among the savage Tribes, the Chiefs are proud to signalize themselves by Song; that they preside at the Song Feasts; and that their Songs rowl principally on the great Actions, Affairs, and Events of their own Nation.—A concurrent Proof of this natural Union of the Bard's and Legislator's Office might be drawn, were it necessary, from the Name which the old THESSALIANS gave their Magistrates: They styled them 〈 in non-Latin alphabet 〉, or
"the Leaders of the Dance and Song-Feast[m]:"
A Circumstance which plainly points out its own Origin.

3. "Their most ancient Gods were stiled Singers and Dancers." Thus HORACE calls APOLLO the Singer [n]. PINDAR stiles him the Dancer [o]. HOMER, of the Author of the Hymns that pass under his Name, gives him the same Appellation[p]. RHEA, the Mother of JUPITER, is said to have taught her Priests the Art of Dancing, both in PHRYGIA and CRETE[q]: As CASTOR and POLLUX instructed the Lacedemonians in the same Art[r]. EUMELUS or ARCTINUS the Corinthian brings in even JUPITER himself dancing, in these Words,
Among them danc'd the Sire of Gods and Men[s].

Whence it arose, that these ancient Gods were represented as Singers and Dancers, and vested with a Quality which at first Sight seems altogether foreign to their Character, hath not as yet been accounted for. We now see the true and natural Origin of these Appellations. For the most ancient Gods, among the civilized Greeks, were their early Legislators, who taught the savage Tribes the first Arts of Life. These deceased Legislators, therefore, when advanced to the Rank of Gods, were naturally delivered down to Posterity, with the same Attributes or Qualities by which they distinguished themselves in Life: and it appears from a View of the Chiefs of the savage Tribes, that these Qualities would naturally be those of Dance and Song.

4. "Measured Periods, or, in other Words, Rythm, Numbers, and Verse, did naturally arise." The general Reason is assigned in the fourth Article of the last Section; and needs not to be repeated here. But as some particular Consequences arise from this Foundation, relative to the most ancient History, Laws, and Oracles, these will deserve a separate Consideration.

5. "Their earliest Histories were written in Verse." This Fact is indisputable; but seems not, as yet, to have been resolved into its true Cause. STRABO informs us, that, "The Poetic Form first appeared: They who imitated it, dropped the Measure: Such were CADMUS the Milesian, PHERECYDES and HECATAEUS[t]. These were the first Greek Historians who writ in Prose. Another learned Ancient confirms this Account; and says,
"In these early Times, so general was the Inclination to Rythm and Numbers, that all Instruction was given in Verse: There was neither History nor Philosophy, nor any Action to be described, but what was dressed by the Muses [u]"
. Not only the Greek Writers give a concurrent Testimony concerning the Priority of historical Verse to Prose, but the Records of all Nations unite in confirming it. The oldest Compositions among the ARABS are in Rythm or rude Verse; and are often cited as Proofs of the Truth of their subsequent History[w]. The Accounts we have of the Peruvian Story confirm the same Fact: For GARCILASSO tells us, that he compiled a Part of his Commentaries from the ancient Songs of the Country[x]. Nay all the American Tribes who have any Compositions, are found to establish the same Truth[y]. Northern EUROPE contributes its Share of Testimony: For there, too, we find the Scythian or Runic Songs (many of them historical) to be the oldest Compositions among these barbarous Nations[z]. ODIN is said to have boasted, that
"his Runic Poems were given him by the Gods[a]."
A Circumstance which proves them to have been of the highest Antiquity.

The Fact, then, is clear and certain: And as it is somewhat mysterious to common Apprehension, various Solutions have been attempted by the Learned; though, in my Opinion, without Success. I shall give them, as they appear in various Writers.

LONGINUS hath aimed at something like a Reason, in the following Passage:
"Measure belongs naturally to Poetry, as its Province is the Description and Language of the Passions; together with Fiction or Fable, which produce Numbers. Hence it was that the Ancients (even in their common Discourse) used Measure and Verse, rather than Prose[b]."
It can hardly be necessary to observe, that the celebrated Critic, in this Passage, gives a mere Affirmation instead of an Argument. He says, indeed, "that the Language of the Passions, and Fiction, naturally produce Measure and Numbers:" But the Reason is still to seek. It were to be wished, that in many Parts of his Writings, he had not given us more Instances of his fine Taste, than his Power of Reasoning.

A learned Modern of our own Nation hath try'd his Talent in this curious Question.
"They (the Ancients) thought, it would seem, that Language was the first Tamer of Men; and took its Origin to have been certain rude accidental Sounds, which that naked Company of scrambling Mortals emitted by Chance. Upon this Supposition it will follow, that at first they uttered these Sounds in a much higher Note than we do our Words now; occasioned, perhaps, by their falling on them under some Passion, Fear, Wonder, or Pain; and then using the same Sound, either when the Object or Accident recurred, or when they wanted to describe it by what they felt from its Presence. Neither the Syllables nor the Tone could be ascertained: but when prompted by the Return of the Passion, under which they invented them, they extended their Throats and put several of these Marks together, they would seem to sing. Hence 〈 in non-Latin alphabet 〉 signified at first simply to speak, or utter the Voice; which now, with a small Abbreviation (〈 in non-Latin alphabet 〉) signifies to sing: And hence came the ancient Opinion, which appears so strange to Us, that Poetry was before Prose[c]."
Here we see an ingenious Writer toiling in vain to prop a mistaken Principle. For, to omit all the weak Parts of the Paragraph which might expose it to Ridicule, if neither Syllables nor Tones could be ascertained, it follows, that neither Measure nor Melody could arise; and therefore it must even continue to appear as strange as ever, "that Poetry should be before Prose."

Mr. DE VOLTAIRE talks more speciously (after ARISTOTLE and PLUTARCH[d]) on this Subject.
"Before HERODOTUS, even History was not written but in Verse among the GREEKS, who had borrowed this Custom from the ancient EGYPTIANS, the wisest, the best policed, and the most knowing People upon Earth. This Custom was very reasonable: for the End of History was to preserve to Posterity the Memory of those few great Men, whose Example might be of Service to Mankind. They only writ what was worthy of being retained by Heart. This is the Reason why they laid hold of the Harmony of Verse; that they might aid the Memory. And hence it was, that the first Philosophers, Legislators, and Historians, were all Poets [e]."

As this is the most plausible Reason that hath as yet been assigned for this mysterious Fact, it will deserve a particular Consideration. The Cause assigned seems, therefore, to rest on no probable Foundation, for the following Reasons.

First, because it seems to take for granted the Existence of the very Thing which it is said to have produced. If we suppose Rythm, Numbers, and Verse, to exist and be in general Use, they would undoubtedly become the natural Means of Memory and Record among a barbarous People. But to invent the Vehicle of Rythm, from a Foresight of its being the best Instrument of Memory, without any prior Impulse from unassisted Nature, seems altogether incompatible with the general Character of the savage Tribes: For in the Period of savage Manners, the Power of abstract Reasoning is always weak, and is often found to have no Place.

Again: The Universality of the Fact adds greatly to the Improbability of the Cause assigned. Though we should suppose it possible or probable, that one savage Chief might by Dint of Reason strike out this new method of recording History; yet that All savage Chiefs, in every known Age and Climate, should unite in the same Contrivance, is highly improbable. If one of more exalted Capacity delivered his Stories in Verse, another of inferior Reach and Invention would naturally give them to Posterity in plain Prose: Nay, the acknowledged Difficulty of Versification would naturally make the prosaic Manner the more common, though less effectual Method of the two. Now, the contrary to this is acknowledged to be true, even by those who contend for the Truth and Sufficiency of the Cause assigned. The Universality of the Fact is allowed by All. Such an universal Coincidence, therefore, must spring from some other Cause, such as ariseth unalterably from Nature, and takes Place among the savage Tribes in an universal and unvaried Manner.

Farther: If the ancient Songs, prior to prose in every Nation, had been coolly composed, for the Sake of Tradition and Information only, they would have been circumstantial and precise: Whereas the contrary appears in their Construction: They are generally vague and enthusiastic; and bear all the Marks of being the genuine Effects of savage Passion and Enthusiasm. So far are they from containing any regular Series of Facts, that Facts are often hinted only; while the mere Celebration of the Heroe forms the chief Weight and Burthen of the Song.

Lastly, the universal Connexion of the old Poetry with Melody, and the unvary'd Custom of singing it, amounts to the strongest Proof, that the mere End of Memory and Tradition could not be its original Cause. For had the sole Intention of the Song been that of Record only, a mere Recitation of the Verses would have answered the same Purpose. And we may affirm it to be a moral Impossibility that an universal Union of Verse and Melody could have taken Place on this Foundation.

Since, therefore, the Cause hitherto assigned seems altogether inadequate to the Effect; can we reasonably entertain a Doubt, in resolving it into that Principle which we have already found universally predominant in savage Life? I mean, the natural Passion for Melody and Dance, which necessarily throws the accompanying Song into a correspondent Rythm. Hence, the Use of Rythm and Verse must naturally arise in GREECE (as in every other Country emerging from Barbarity) because Melody, Dance, and Song, made a principal Employment of their savage State. And hence, their earliest Histories must of course be written in Verse; because the Actions of their Gods and Heroes made a principal Part of their Songs; and therefore, when the Use of Letters came among them, these ancient Songs were naturally first recorded, that is, they became their earliest Histories, for the Information and Use of future Times.

As this Cause, when viewed in itself, seems amply and clearly to account for the Effect, so it will receive farther Confirmation, if we consider how naturally it removes all those Objections which load the Opinion here controverted. For it neither requires nor supposeth any Power of abstract Reasoning among the savage Tribes, but is the mere Effect of Passion and uncultivated Nature. Its Universality, therefore, becomes highly probable; because the Principles of savage Nature (making Allowance for the Difference of Soil and Climate) are every where the same. The Genius of the ancient Songs of every Nation adds new Degrees of Evidence: For they are generally irregular and enthusiastic; and therefore the genuine Productions of unlettered Enthusiasm. Lastly, their universal Connexion with Melody, and the unvary'd Practice of singing them, comes up to a full and direct Proof, of the Reality of the Cause now assigned.

It must not be disguised, that the most learned VOSSIUS was so struck with the Difficulty of accounting for this Appearance, that he thinks it best to deny the Fact.
"To me the contrary seems true; that Prose was first written, and then Poetry. Tis natural to walk on Foot before we mount on Horseback; and it is certain that M•… first spoke in Prose, and then in Numbers. We have nothing more ancient than the Writings of MOSES; and these are in Prose, with Songs intermixed[f]."
On this Reasoning it may be remarked, that although it be certain that Men spoke in Prose before they spoke in Verse; yet the Consequence follows not, that therefore they must write in Prose before they writ in Verse. The sole Question is, what would be deemed best worth recording, on the first Rise of the writing Art? Surely, the Actions and Celebrations of their Ancestors, Gods, and Heroes: Now these, we have already seen, must naturally make the chief Subject of their festal Songs; and therefore their festal Songs were of Course the first things written or recorded.

With respect to the Instance alledged by the learned Critic, of the Writings of MOSES, and the Practice of ancient EGYPT, this, when properly explained, will confirm the Truth of the Cause here given. MOSES, we know, was learned in all the Wisdom of the Egyptians: EGYPT was, in his Time, become a polished Nation; and therefore, according to the natural Course of Things (as will appear below) Prose had been introduced before the Time of MOSES, as it was afterwards in GREECE by HECATAEUS and others. As to the intermixed Songs in the Writings of MOSES, it is now a Point agreed among the Learned, that they are written in Measure; and correspond in all Respects with the Principle here delivered. And that Song was the oldest Form of Composition in EGYPT, we learn clearly from two ancient Writers: The First informs us, that their Music and Songs had continued unchanged, for upwards of three thousand Years[g]: The other gives a more particular Account of their Nature, and Manner of being sung.
"The first of the Priests who used to appear in the religious Procession, was a Choragus, Bard, or Singer, who carried the Symbol of Music, and could repeat by Heart the two first Books of MERCURY; the first containing Hymns in Honour of the Gods; the second containing Sentences or Maxims for the Conduct of a King[h]."

6. "Their most ancient Maxims, Exhortations, Proverbs, or Laws were written in Verse." Having traced the Antiquity of Song and poetic History to its true and natural Cause, the present Article will be of easy Discussion. For as the Greek Songs and poetic Stories were fraught with the great Actions of their Gods and Heroes, so Maxims of Exhortation, which in barbarous Countries hold the Place of Laws, must of Course make a Part of these public Songs, must by Degrees be selected from them, and in Time be appealed to, as the Standard of Right and Wrong.

However, as ARISTOTLE hath hinted at another Cause, the slightest Conjecture of so great a Name must not pass unnoticed. He puts the Question thus.
"Why are many Songs called by the name of Laws? Was it because, before the Invention of the Art of Writing, Laws were sung, lest they should be forgotten
[i]
?"
On this Passage it will be only necessary to remark, First, that the Opinion is delivered as a mere Conjecture. Secondly, that all the Difficulties which load the common Opinion concerning the first Rise of poetic History, lie equally heavy upon this: And lastly, that the same Solution leads us up to the true Cause, on the natural Principles of the savage Song-Feast. This Solution may, perhaps, in the Opinion of some, receive additional Confirmation from the concurrent Authority of CASAUBON; who declares it his Belief (though he assigns no Reason) that the Songs called Nomoi were Fragments of ancient Poetry, which had been selected and preserved on Account of their Utility[i].

7. "Their earliest religious Rites were performed or accompanied by Dance and Song."—The Orgys of BACCHUS, celebrated in this Manner, were famed through all the Ages of Antiquity. STRABO tells us, that "the Greeks retained the Custom common to the Barbarians, of celebrating their Sacrifices to the Gods with Music, consisting of Dance, Melody, and Song:" And highly extolls this Practice,
"as tending to unite the Soul with God[k]."
PLUTARCH adds his Testimony, and informs us, that in GREECE
"the first Application of Music was to religious Ceremonies, in Honour of the Gods[l]."
All this flows naturally from the view we have given of savage Life and Manners: For we have seen that the Praises of their Chiefs are the most general Topic of the savage Dance and Song; and the Grecian Gods were no other than their deceased Chieftains.

8. "Their earliest Oracles were delivered in Verse, and sung by the Priest or Priestess of the supposed God." The natural Cause of this Fact hath been assigned in the Article which corresponds with this. The ancients knew and confessed the Fact, but were so entirely ignorant of the true Cause, that they laboured more in this Point, than even in accounting for the Rise of poetic History and Laws. This will appear from PLUTARCH, who hath written a Discourse on the following Question, "Why the PYTHIA no longer gives her Oracles in Verse?" Now, before he assigned the Causes why this Practice of Oracular Verse had ceased, it was natural that he should inquire how it first began: And the Causes (if such they may be called) which he assigns, are these.

First, "The ancient Times produced a Race of Men, who had naturally, and from bodily Temperament, a stronger Turn for Poetry." Secondly, "There was a Time, when, instead of the Art of Writing, Men used Metre, Verse, or Songs; adapting History, and other the weightiest Subjects, to Poetry and Music." "Thus they celebrated the Gods; and told their Fables in Verse, some through the Force of Genius, and others by the Power of Custom." "Therefore the God permitted the Application of Verse and Song to his Oracles, and would not drive the Muses from his Tripod." Thirdly,
"The Utility of Poetry is in nothing more conspicuous, than in its Assistance to the Memory, by the Means of Numbers. The Ancients had great Need of This, beyond the Moderns, because the Oracles referred to Persons, Things, and Places, which were often unknown to them[m]."

Thus the learned PLUTARCH; whose weak Reasonings (weak because he wanted Facts to lead him to the Truth) hardly need a Confutation. For how came it so to pass, that the first Race of Men were by natural bodily Temperament of a stronger Turn to Poetry? How came it so to pass, that they told their Fables in Verse, some by the Force of Genius, others by the Power of Custom? These Affirmations take for granted the very Point in Question.

With Respect to the last Reason which the great Author assigns, "The Utility of Numbers, as an Assistance to the Memory;" This, when applied to Oracles, is not only incumbered with all the Difficulties which load the common System concerning the Origin of poetic History and Laws; but is contrary to the clear Evidence of Facts, which assure us that the earliest poetic Oracles were the Effect of Enthusiasm. For APOLLO, the God of Music, was their Author; The Pythia or Priestless was his Vicegerent; and PAUSANIAS informs us, that PHAEMONOE (the Sister of APOLLO) was the first Priestess; and that
"she delivered her prophetic Inspirations with frantic Gestures (Dance) and in heroic Verse and Song [n]."
PLUTARCH tells us farther concerning this savage Heroine, that
"she is said to have celebrated Herself in her Songs; and boasted, that she should not cease to prophecy after her Death: That she would ascend to the Moon, and be metamorphosed into that Face which we see in the Moon's Body[o]."
These Passages, compared with what hath here been delivered on the savage Song-Feasts, unveil the true Origin of the old poetic Oracles of GREECE. Hence it appears why the God's Vicegerent was a Woman: For his own Sister first assumed that Office, and was naturally succeeded by one of her own Sex. And the whole Account of her Self-Celebrations, her frantic Gestures, Verse, and Song, contains a true Picture of an enthusiastic Savage: For it appears above,
"that Music, Dance, and Song, are one of the common Modes of Divination, among the savage IROQUOIS[p]."

9. "Their Melody was simple; and derived a considerable Part of its Power from its Rythm or Measure, without any Mixture of artificial Composition." Much hath been said on this Subject, in support of the contrary Opinion; and with a View of proving, that the ancient Melody which wrought such Wonders in GREECE, was learned, artificial, and complex. With others, an Author no less considerable than Sir WILLIAM TEMPLE hath concurred in that Opinion[q]: And all the Writers on this Subject seem to have given us a Parade of Words without any determinate Ideas annexed to them. I shall therefore, first, assign the Reasons why it appears to me, that we have no adequate Idea of the ancient GREEK Melody; and then, shall collect certain collateral Circumstances, which may prove, that although we are ignorant of its particular Nature, yet that it was of a simple and inartificial Construction.

First, with Respect to the three Genera or Kinds of the Greek Melody; as they are delivered and interpreted by the Writers on ancient Music, they are incompatible with all those Intervals and Progressions of Sound which are agreeable to the human Ear.

As to the Enharmonic Kind, it is confessedly impracticable. For it is said to have proceeded by two Dieses or Quarter-Notes; (with a stated intermixture of two whole Tones) an Interval which no human Ear can precisely distinguish, nor any human Voice precisely follow. This Fact is so notorious, and strikes so strongly on the Senses, that the Bigots to the ancient Melody have generally been silent on it, or at most, have revered it as a profound Mystery. The ABBE DU BOS may be regarded as an Exception to this general Remark: For He is of Opinion, that the Progression of the Voice by Quarter-Notes might be in general Use in the theatrical Declamation[r]. To this it may be sufficient to reply, that the ABBE confesseth himself ignorant of the Principles of Music[s], and that this Opinion is a Proof of his being so. The Quarter-Note is a Progression which, although an Italian CASTRATO (who hath laboured at this Refinement through his whole Life) may nearly and incidentally accomplish; yet even He shall never be able strictly to practise in the general Course of his Performance: But it is a Progression, equally impracticable to the Voice, and shocking to the Ear of the Generality of Mankind.

The Chromatic seems, at first View, to be more intelligible; as it is generally said to have proceeded by Half-Notes, of which the human Ear hath an adequate and precise Conception. But This too, on a nearer Examination, will be found absolutely at Variance with that which We stile the Chromatic; (though by most modern Writers it is supposed to be the same) and altogether incompatible with those Progressions of Sound into which a modern Voice can fall. For the modern Chromatic Kind 〈1 page duplicate〉 〈1 page duplicate〉 is an incidental Ascent or Descent by Half-Notes, with a variable Intervention of whole Notes, introduced, under certain Restrictions, at the Composer's Will: But the ancient Chromatic, as delivered by the Writers on this Subject, was an unvaried Progression, by two Half-Notes, and a Third either greater or less [t].

The Diatonic Kind, according to the common Conception of it, is perfectly understood; and is generally said to be the same with that, in which our modern Music is commonly composed: Yet nothing is less true than this: For our common Scale is a Progression of whole Notes, with the Intermixture of two half Notes only, and these at the Distance of a fifth from each other in the sharp Key, and a fourth from each other in the flat Key: Whereas in the ancient Diatonic Scale it is quite otherwise: For There, Here, one Semitone and two whole Tones are ordained to succeed each other invariably: A Circumstance utterly incompatible with the modern Diatonic Scale.

The Consequence drawn from these Reasonings, is not, that the Ancients talked or practised absurdly; or that the Moderns want Ears or Understanding; but only This, that we do not adequately understand the Terms.

What leads me farther to believe this, is a Circumstance in the Spartan Decree against TIMOTHEUS (given at large below) where it is said, that he corrupted the Simplicity of the Enharmonic, and introduced the Refinements of the Chromatic. Now this is an absolute Contradiction to All that we understand concerning the Nature of these two Kinds. For, as the Diatonic, which proceeds by whole Tones, is more simple than the Chromatic, which proceeds by Half-Tones; so This, in its Turn, is more simple than the Enharmonic, which is said to have proceeded by Quarter-Tones: All which is in direct Contradiction to the Tenor of the Spartan Decree.

Secondly, with Regard to the various Modes of ancient Melody, we are often as much in the dark. We read of no less than fifteen, introduced at different Periods; but the Commentators on the ancient Writers upon this Subject, are at Variance with each other, concerning the Nature and Use of these different Modes. Some are of Opinion, that the Difference lay in the Degree of Gravity or Acuteness only: Others maintain, that the Mode signified the Rythm, or Measure: Others again, that the Essence of the Mode consisted in a different Species of Diapason. There is Reason to believe, that the Word was used at various Times, and by different Writers, in all these Senses, and that each of these Authors may be right in his Turn. From the Description of an Instrument given by ATHENAEUS it appears, that by Mode was sometimes meant Gravity or Acuteness of Sound: For he tells us, that the Musician had three Lyres placed on a moveable Tripod which turned on an Axis; and that by whirling it round with his Foot, he could instantly play in three various Modes[u]. That Mode was sometimes used for Measure, seems evident, because in a Fragment of an ancient Author cited by ATHENAEUS, we read that a Hymn was written in the Lydian Mode [w]; which can only mean, the Phrygian or Dorian Measure. And as Mode was applied to Numbers, so was it likewise to Dance: The Ionici Motus, which ancient Writers speak of, are a clear Proof of This. That Mode was used in the third of these Acceptations, as a particular Species of Diapason, hath been made clear by a late Writer, in a judicious and accurate Treatise[x]. Thus by the promiscuous Use of the Word Mode, signifying either Pitch, Measure, or Species of Diapason, it hath come to pass, that some times the Signification of the Word is clear, at others it is only probable, often it is obscure and doubtful.

Thirdly, to complete our Ignorance of the particular Nature of their Melody, the Construction of their Musical Instruments is unknown. We only know, that the Chords of the Lyre were augmented gradually from four to forty: but whether the Strings ascended by Quarter-Notes, Half-Notes, whole Notes, or by larger Intervals, of all this we know nothing certain. Our Ignorance of their Pipes or Flutes is not less remarkable. Commentators and Critics ring Changes on their single, double, oblique, right-handed, and left-handed Flutes; but what was their precise Make, Tone, Compass, or Powers, these Gentlemen cannot, with any Certainty, inform us. The learned ISAAC VOSSIUS is one of the warmest Champions for the Excellence of ancient Instruments: but whoever reads him without Partiality, will find all his Endeavours amount to no more than what is here affirmed[y].

Since, therefore, the particular Nature and Construction of the ancient Melody is utterly unknown to us; we must have Recourse to collateral Proofs, drawn from Facts which were connected with this unknown Melody; and from These we may, I think, indirectly arrive so far at a Knowledge of its general Character, as to conclude with Centainty, that in the early Periods (in which Music boasted its greatest Power) the ruling Character of the Melody was that of Simplicity; and that it derived a chief Part of its Force from its mere Rythm or Measure.

Simplicity was its ruling Character; because we find that Music had then its greatest Power, when the Melody was most confined in its Compass. MERCURY was the Inventor of the Lyre; which had but four Strings, and these were stretched on a Turtle's Shell[z]. AMPHION was his Disciple, and increased the Number of Strings to seven [a], APOLLO contented himself with the same Compass of Notes; and so did ORPHEUS[b]. This Number of Strings continued to be established by Law at SPARTA, so late as the Age of TIMOTHEUS, who attempted an Innovation of four more, and was punished for it[c]. Yet all the mighty Effects and Powers of Music, which we read of in ancient GREECE, arose within this Period, and while the Melody was confined within this small Compass.

The Lyre, therefore, in its most ancient Forms, being incapable either of a great Variety, or a multifarious Combination of Sounds; a strong Probability ariseth from its very Nature, that Counterpoint, or an artificial Composition in various Parts, was altogether unknown. It appears to me (from many Passages of ancient Authors compared together, but too long to insert here) that the Ancients sung and played first in Unisons, Octaves, and Fifteenths; then in Thirds and Tenths; and in the later Periods in Fourths and Fifths, as appears from PLUTARCH; though in ARISTOTLE's Time, it is evident, these last were not 〈1 page duplicate〉 〈1 page duplicate〉 practised. It is likewise evident, that in the later Periods, the instrumental Accompanyment was different from the Song; yet this only in the Way of Division upon the fundamental Notes. Farther than these Methods of redoubling or dividing the same Melody, I find nothing like Composition in various Parts.

Oh the contrary, there are many Reasons which may convince us, that nothing like the modern Counterpoint was known to the Ancients. The Silence of all their Musical Writers collected by MEIBOMIUS, on this great Article, is a Proof sufficient that they were ignorant of it. Their Divisions of the musical Art are precise and systematical; and therefore, if this had made a Part of it, as its Rules must have been more complex than those of any other Branch, beyond all Doubt, they would have been distinctly treated of.

The same Consequence seems clearly to arise from a Passage in ARISTOTLE, who says, that
"it is much easier to keep the Time in Music, when a Number sing together, than when a single Voice only sings[d]:"
Which is true, if we suppose a numerous Choir to sing the same Part, because one Voice tends to correct the Inequalities of another; but in direct Contradiction to the Truth, if we suppose them to sing in Counterpoint; because, here, the various Parts have a Tendency to confound each other.

Their Ignorance of Counterpoint appears farther from hence, that no Difference is remarked between the Compositions for the Flute and those for the Lyre, with Respect to the Multiplicity of Parts. One Instrument they used, which had two Strings to every Note, and these two were tuned in thirds to each other: This Instrument was called the Magadis; and even this distant Approach towards playing in Counterpoint was regarded as a Thing so singular, that to play in thirds was called 〈 in non-Latin alphabet 〉. If therefore any other Kind of Performance had been used more complex than this, it must have been noted as a Circumstance still more singular.

It appears farther, that in HOMER's Hymn to MERCURY, the Poet represents APOLLO as holding his Lyre in one Hand, and playing with a Plectrum with the other. In an ancient Sculpture which represents the Deification of HOMER, some of the Figures which dance, are at the same Time playing on the Lyre, which they hold with one Hand, and strike with the other. Thus too, when SOPHOCLES played on the Lyre, and at the same Time led the Dance[e], he must have managed his Instrument in the same Manner. And again, it appears, that even in the latter Periods, the most celebrated Lyrists played with one Plectrum
[f]
. Now, all these Circumstances center in the Proof of this, that the Melody which they played was single.

We may farther observe, that their musical Notation (so far as it is supposed to be understood) generally implies a single, and that a very inartificial Species of Composition. Nay, the Letters which composed their musical Notation seem very inadequately to express even a single Part, did not the Measure of the Verse in some Degree fix that of the Melody.

Add to all these Arguments this farther Confirmation, that their Poets (who were generally at the same Time Warriours, Priests, or Statesmen) not only composed the Melody to their own Verses, but, in the early Periods, played and sung them at their Festivals: And that People of all Ages and Degrees were commonly able to bear a Part in the Chorus, both in public and private Entertainments. All these concurrent Circumstances center in one sufficient and satisfactory Proof, that their Melody was not only single, but of the most simple Construction.

One Kind of Addition did undoubtedly in many Instances take Place: I mean that of the Tympanum, the Sistrum, or the Cymbal added as an unvaried Groundwork, and accommodated to the Measure of the ruling Melody: But this was no more than the modern Drum added to the Fife or Trumpet, the Tabor to the Pipe, or the Drone to the Bagpipe: A Kind of Addition which we find in the Music of almost every barbarous Country.

Since therefore it appears, that the Force of the ancient Greek Melody consisted neither in its Compass, its Multisolicity of Parts, nor its artificial Construction; let us now proceed to consider the only Circumstance from which its chief Power could arise, I mean, its Rythm or Measure. That this was its real Source, may be evident from the following Considerations.

First, The Greek Language was admirably fitted for a various and powerful Rythm or Measure, by its Variety of Feet; which, when thrown into all their different Combinations, formed such a Variety of Numbers, as gave Room for an equal and correspondent Variety of Measure in the annexed Melody, beyond any other Language in the known World. When, therefore, such a Language offered itself as an Assistant to the Musician's Art, it was altogether natural that he should accommodate his Melody to the peculiar and happy Genius of his Native Tongue.

Secondly, such a Melody as this, marked by strong Changes and Varieties of Measure, must have greater Effects than the most extensive or most artificial Melody when unassisted by it. This argument is well pursued by the learned ISAAC VOSSIUS: I shall therefore give it in his own Words; the rather, because it is the most judicious and philosophic Passage in his whole Work; and contains as it were the Kernel of a large Tract; a considerable Part of which, it must be owned, may justly be thrown aside as Husk and Shell.

"Wherefore, I cannot enough wonder at those who in the present and past Age have written on Music; that while they diligently explained other Things, they should either have said nothing on Rythm, or else written in such a Manner, as to prove themselves ignorant of its Nature. They confine themselves entirely to Counter-point, neglecting that which is principal in Melody.—For certainly, as neither an Unit can produce Number, nor a single Word make Sense; so neither can any single Sound, separately considered, have any Power: Or if it hath, it must be very inconsiderable. For what Effect in moving the Passions can arise from the Collision of Stones or Wood, or even from the striking of one String, if Numbers and Rythm be wanting, and we hear nothing but a mere Sound[g]? Or if we compound various Sounds, and these be even harmonic and concordant, not even This will produce any Effect. Such an Harmony of Sounds may please the Ear; but the Pleasure will only be such, as if Words were (agreeably) spoken, which are either unmeaning or not understood. That the Soul may be affected, it is necessary that the Sound should imply, or bring before us, something which we can comprehend. That Sounds, therefore, may have their full Effect, the Melody must be animated by such Movements, as contain in themselves the Representations or Images of those Things which we mean to express or imitate by Song: And This if we can do, we may be sure to command the Passions of the Soul. But that we may indeed catch and call forth these Images, we must employ that Variety of Musical Feet, in which are so fully contained all the several Kinds of Movements, that no Affection can be conceived, which they do not most exactly express. For the Expression of light and voluble Motions, as of the Dances of Satyrs, the Pyrrichius and Tribrachys are proper: The grave and slow are expressed by the Spondee and Molossus: Whatever is soft and tender, the Trochee, and sometimes the Amphibrachys will describe, which itself moves with a broken and effeminate Pace. The Iambic is fierce and vehement; and the Anapaest nearly of the same Nature, as it imitates violent and warlike Motions. If we mean to express what is chearful and joyous, we must employ the Dactyl, whose Movements are of a correspondent Nature. Whatever is hard and rugged, the Antispast will happily describe. If we require Numbers that may express Fury and Madness, not only the Anapaest is at Hand, but, what is still more powerful, the Paeon quartus.—Of these various Measures, artificially combined, did the ancient Greek and Roman Music consist: And while this flourished, so long did Music maintain its Empire over the Passions[h]".
Thus the learned VOSSIUS: Whose Admiration of the Rythm of the ancient Melody leads him into some false Conclusions, as will appear below. In the mean Time, this general Exhibition of the Genius of the Greek Numbers may stand as a farther accumulative Proof, that the Power of the ancient Melody, which was universally accommodated to this Variety of expressive Numbers, lay chiefly in its Rythm or Measure.

Lastly, these Arguments are much confirmed by the express Testimony of PLUTARCH; who, speaking of the Variations which the Genius of ancient Music had undergone in the Progress of Time, says,
"If we compare Antiquity with the present Times, we shall find, that in ancient Days, there was a great Variety Measure, and this Variety often employed. For in that early Period, the Variety of Feet and Time was more highly esteemed: We now study and attend to Variety of Modes, the Ancients to Variety of Rythm or Measure [i]."
This Change he regards as one of the Corruptions of Melody; he gives an Account of the Inventors of the several new Modes, MELANIPPIDES, PHILOXENUS, TIMOTHEUS, and others; and insists, that the Art, which formerly had such Power in the Education of Youth, was now sunk into a mere Amusement of the Theatre[k]. A clear and full Indication, that the ancient Greeks relied on Measure or Rythm for the Force of their Melody; and that as it grew more artificial, it grew less powerful. These Facts fully coincide with the Reasons given above, on which this Article is founded; "Because a Simplicity of Melody, whose Power arose from mere Rythm or Measure, was most suited to the Powers of the first barbarous Legislators or Bards, as well as to the Capacity of the surrounding People."

10. "The Force of this simple Melody was much increased by the Power of early Association and continued Habit. For This, by appropriating certain Sounds to certain Subjects, raised their Melody into a Kind of natural and expressive Language of the Passions."—In the first rude Essays towards an expressive Melody in barbarous Countries, certain imperfect Modes of Sound must of Course be applied, as being expressive of certain Subjects, or Passions. The succeeding Generation will be naturally bred up to a like Application of the same Sounds. Hence these Modes of Melody, though imperfect in Expression, being impressed on infant Minds with all the Force of an early Application, must acquire a Power over These, which unaccustomed Minds can never feel. Thus certain Sounds being appropriated by Use, and having become the common Indications of Grief, Terror, Joy, Pity, Rage, or any other Passion, will naturally excite their respective Affections among those who have adopted them; while a Hearer from another Country, whose Associations and Habits are different, will be little, or, if at all, perhaps very differently affected by them. LAFITAU's Account of the Music of the Iroquois is a clear Confirmation of this Truth:
"The Music and Dance of the Americans have something in them extremely barbarous, which at first disgusts: We grow reconciled to them by Degrees, and in the End partake of them with Pleasure. As to the Savages themselves, they are fond of them even to Distraction [l]."
What we are told of the Swiss Song gives additional Confirmation to this Principle. This Song, which to foreign Ears is uncouth and barbarous, hath such an Effect on the Natives of SWITZERLAND, among whom it is generally taught and impressed on the infant Mind, that it is forbid to be sung among their Regiments hired in the Service of other Nations, lest it should tempt them to desert, and return to their own Country. The Jews, Chinese, Germans, French, Italians, have all some peculiar Appropriations of a similar Nature, which gives their native Music a general Power, which no other Music can ever obtain. Among ourselves, the Sound of Bells, Drums, Organs, Trumpets, have all an Appropriation of the same Nature: And a Highlander has the same warlike Ideas annexed to the Sound of a Bagpipe (an Instrument which an Englishman derides) as the Englishman has to that of a Trumpet or a Fife. MELODY therefore is to be considered as a relative thing, founded in the particular Associations and Habits of each People; and by Custom (like Language) annexed to their Sentiments and Passions: Thus it becomes the natural Vehicle of these Sentiments and Passions; but a Vehicle, which can never extend farther than to Those, upon whom such particular Impressions have been made. This, added to the Power of Rythm, affords a natural Solution to the Difficulties raised concerning the Power of the Greek Melody: For as it was taught and impressed on the infant Mind by early and continued Application (as will immediately appear) so it naturally acquired the Power of a Language of the Passions, which with Respect to other Nations, if it now existed, it would not possess.

There is a collateral Argument often urged in Favour of the artificial Excellence of the ancient Greek Melody; and drawn from what we know of the Elegance and Perfection of ancient Greek Sculpture. But the Weakness of this Argument will appear from the Principles here given; the Effects of the two Arts being by no means parallel, but rather contrary to each other. The Excellence of Sculpture is the Effect of repeated Experience, which refers itself to the Works of Nature, as to its Archetype: And the Pleasure arising from the Contemplation of this Art consists in seeing the Perfection of the Imitation; and is the Result of a fine Taste, founded on a correct Judgment. But the Force of Melody on the Passions depends not on its artificial Construction or Elegance, but solely on its being adapted to the Feelings, Passions, and Conceptions of the Hearer, be they just or false, polished or barbarous. Hence we shall find, that the Force of the two Arts will be generally in an inverse Proportion. For the Attention to Sculpture, being founded on a reflex Act of the Understanding, will always increase with increasing Taste and Knowledge: But the Power of Melody, being founded in Passion, will there be most general and strong, where Fear, Joy, Wonder, Terror, and Astonishment, are most easily and most frequently excited: And it is certain, these natural Passions are not so common in a State highly polished, as in that of Barbarity or simple Civilization. 'Tis granted indeed, nay insisted on, that the ancient Melody grew more artificial in the later Periods: But the same Authors who inform us of this[m], assure us that its Power was greatest in the early and barbarous Times; that this Power continued longest in that Society which continued longest in Barbarity, I mean the Commonwealth of SPARTA; and that as it grew more artificial, it degenerated every where into a mere Amusement, and lost its Influence on the Passions and the Mind.

11. "Their Songs were of a legislative Cast; and being drawn chiefly from the Fables or History of their own Country, contained the essential Parts of their religious, political, and moral Systems." We have seen above, that the Celebration of their deceased Heroes became naturally a religious Act: That the Maxims or Exhortations intermixed with these, and founded on the Example of their Heroe-Gods, became of Course the Standard of Right and Wrong, that is, the Foundation of private Morals and of public Law; and thus the whole Fabric of their Religion, Morals, and Polity, arose naturally from their Song-Feasts, in their Progress from savage to civilized Life.

The Records that remain concerning the Bards of ancient GREECE unite in confirming this Principle. Of this illustrious Catalogue, LINUS was perhaps the first: He writ the Exploits of the first BACCHUS; and sung the Generation of the World and the Rise of Things[n]. PAMPHO is supposed to have been his Disciple: And He composed Hymns in Honour of the Gods; and sung the Rape of PROSERPINE by PLUTO[o].

The next great poetic and musical Sage was ORPHEUS: He is said to have sung of Chaos and Creation; and a Variety of other Subjects religious and philosophical [p]. Some fine Fragments remain under his Name; but there is Reason, from some internal Marks in the Composition, to believe them spurious.

MUSAEUS is said to have been the Disciple of ORPHEUS: He, too, writ Hymns and Prophecies, and sung the Motions of the Stars, and the Battles of the Giants [q]. THAMYRIS was not less distinguished by the legislative Genius of his Songs: For he was not only the Author of a Titan's War; but celebrated the Gods in Hymns, and sung the Generation of the World [r].

These are the most celebrated Bards of ancient GREECE, whose Songs have perished in the Wreck of Time. If we come down to the most famous of those, whose Writings have been preserved, we shall find their Songs composed in the same legislative Style and Genius.

HESIOD seems to stand at the Head of these, in the Order of Time. And his Theogony is a living Witness how far HIS legislative Turn accords to the Principles here delivered. He gives, in Form, the Generation of all the Gods of GREECE; and mixeth his Narration with their Acts and Praises.

HOMER appears next in the Order of Time: And in his unrivaled Songs we find the Religion, Polities, and Manners of ancient GREECE displayed with all the Appearances of Truth, because delivered with all their Imperfections. During the early Periods of Civilization, the legislative Art is always of an imperfect Form. In the rude Progress of barbarous Manners, the moral Ideas are confined, and little distinguished. If the People be fierce and warlike (as were the Tribes of GREECE) Strength, Courage, Agility, and Cunning, are the ruling Virtues. Hence it follows, that the Pictures both of Gods and Men will accord to this Principle in such a Period: And hence many of the Fables of HOMER himself were of a Cast so different from the Spirit of improved Legislation, that PLATO refused them Admittance into his Republic
[s]
.

And here, while we acknowledge HOMER as the supreme Painter of natural Manners, and of a Genius truly legislative according to the Principles of his Time; critical Justice demands, that we take off some of those false Colourings of Praise, which both Ancients and Moderns have lavished on him, in Regard to the Excellence of the Morals which he taught. HORACE, it is well known, hath set him above the old Philosophers, as a Teacher of all Virtue[t]. PLUTARCH, in his Life of HOMER, hath advanced the same Positions: But whoever will examine his Poems with an impartial Eye, will find a very deficient Plan of Morals prevailing through them. There is not the least Vestige or Appearance of those abstract general Principles of moral Excellence or Blame, which take Place in the more refined Periods of social and polished Life: His Gods and Heroes fight and plunder, kill and ravish, boast and lye; are generous, fierce, prodigal, rapacious, cruel, or unrelenting, without much Controul from moral Ideas within, or from a refined legislative Art without.

It is remarkable that PLUTARCH, after labouring in vain through many Pages, to prove that the Principles of all the Virtues are to be found in HOMER, is forced at length to conclude;
"It is true, indeed, that bad Actions and Principles are intermixed and described in the same Manner; which was necessary, for the Introduction of the Sublime and Wonderful: But this only makes the Contrast the stronger; so that the Reader is necessarily led to select the Good, and reject the Bad [u]."
But as this great Ancient, along with others, allow that neither the good nor the bad is actually recommended by the Poet; the Consequence follows, that the Reader (if so disposed) may as easily elect the bad, and reject the good: That HOMER was a compleat natural Painter of the Ways of Men; but an imperfect moral Painter from the unpolished Genius and barbarous Legislation of the Age in which he lived.

The Inconsistency of a late learned Writer on this Subject is too glaring to pass unnoticed. He justly criticiseth VIRGIL, as being shackled by the refined Manners of his Times, and the political Forms of his Country. With equal Truth he displays the free Vein of Nature, which runs through HOMER's Poems.
"The natural Greek, in HOMER's Days, covered none of his Sentiments: He frankly owned the Pleasures of Love and Wine: He told how voraciously he eat when he was hungry; and how horribly he was frighted when he saw an approaching Danger: He looked on no means as base to escape it; and was not at all ashamed to relate the Trick or Fetch that had brought him off."—"Even AGAMEMNON is not ashamed to own his Passion for a captive Maid, in the Face of the whole Army: He tells them plainly, that he likes her much better than his Lady, the beautiful CLYTEMNESTRA, of the prime Grecian Nobility[w]."
All this Criticism is just and fine. But who can but wonder at what follows?—
"His Work is the great Drama of Life acting in our View: There we see Virtue and Piety praised; public Religion promoted; Temperance, Forgiveness, and Fortitude, rewarded; Truth and Character followed; and accordingly find it standing at the Head of human Writings[x]."
As a natural Picture of Manners, its Superiority is acknowledged: As a moral Picture, its Defects are no less conspicuous.—Where is Virtue praised? Is it in the Conduct of the natural Greek, who looked upon no means as base to escape Danger? Nor was at all ashamed to relate the Trick or Fetch that brought him off? Is it in the Conduct of AGAMEMNON, who declared his Passion for a Captive, and his Neglect of his Queen, in the Face of the whole Army?—Where is Piety praised? Is it in the Foot of DIOMEDE, who attacked and wounded one of the Gods?—Where is public Religion (in the improved Sense) promoted? Is it in his Descriptions of Heaven and Hell? In the first of which the Adultery of MARS and VENUS is treated as a Jest by all the Gods: In the second, the Souls of the best Men are represented wandering forlorn and comfortless.

In all this, the Poet is not blameable: He painted what he saw, and believed, and painted truly. The Fault lay in the Opinions and Manners of the Times: In the Defects of an early and barbarous Legislation, which had but half-civilized Mankind.

Our great Translator of HOMER hath often departed from the Character of his Original in this Respect: He hath frequently thrown in fine moral Traits, of which there is not the least Footstep in his Author. By this, indeed, he hath given us a Poem more accommodated to the Taste of our own Times; but hath lost the native and unpolished Simplicity which distinguishes the venerable old Prince of Epic Song.

The next great legislative Bard whom I shall now mention, was PINDAR. At the Period when He flourished, the Fortune and Glory of GREECE were rising to their Meridian: The legislative Arts had now obtained a higher Degree of Perfection: And accordingly we find, in his sublime Songs, the fullest and most perfect Union of salutary Principles, thrown out in Maxims religious, political, and moral. No Vices or Imperfections, either of Gods or Men, are there applauded or palliated; nor ever recited, but to be condemned: All Actions are praised or censured, according to their Influence on the public Happiness. The Intent of these Songs, sung by their Author at their most general and renowned Festivals, was to inspire his Countrymen with the Love of Glory and of Virtue. To this great End, he animated them, not only by the Example and Praise of the Victors in the Olympic Games; but ascended into past Times, and drew from thence the shining Acts of Gods and Heroes, who had distinguished themselves by Valour, Arts, or Virtues.

And here, in Justice to this great Poet we must observe, that PINDAR's Songs, considered in this legislative View, afford an easy and internal Solution of a Difficulty which hath at all Times embarrassed his Commentators and Critics; who have ever censured his seeming Irregularities and sudden Flights, from the declared Heroe of his Poem, to Gods and deceased Chieftains. But on the Principle here given, it appears, that the Heroe of the Day was but the occasional and incidental Subject of his Ode. The main Intent was the Praise of his Country's Gods and Heroes, who had signalized themselves by Actions beneficent and great. When therefore he seems to wander into the Celebration of their Names, he is indeed severely true to the leading Subject of his Song.

The very Objection itself, as it is urged by some of PINDAR's Critics, leads us to the Solution here given. A French Writer thus expresseth it.
"He is not always content with praising the Country of his Heroe; he proceeds to celebrate the great Men which it had produced, and then it is that he wanders indeed. So when his Heroe is of EGINA, after having celebrated the Isle in general, he descends to particulars, and praiseth AEACUS, PELEUS, TELAMON, ACHILLES, and NEOPTOLEMUS, AJAX and TEUCER, who all sprung from thence: He mentions CYPRUS, SALAMINE, PHTHIA, EPIRUS, which were Colonies founded by these Heroes [y]."
There cannot be a better Illustration of the Solution here given, than this very Objection thus presented at large.

There is a fabulous Story told, which strongly confirms the Principle here delivered; and proves it to have been the Opinion of ancient GREECE, that a Part of these festal Celebrations was due to the Gods and Heroes; and that it was even a Crime to omit their Praises.
"The Poet SIMONIDES, having agreed with an Olympic Victor, called SCOPAS, for an Ode of Celebration; SIMONIDES, according to Custom, went largely into the Praise of CASTOR and POLLUX. On this, SCOPAS gave him the third Part of the Price, and told him, that he must apply to CASTOR and POLLUX for the Remainder. SCOPAS being afterwards at a Banquet with SIMONIDES, Word was brought, that two Men covered with Sweat and Dust were at the Door, and desired to speak with SIMONIDES: He went out of the Chamber, and immediately the Roof fell in, and buried SCOPAS in the Ruins[z]."

The three Greek TRAGEDIANS are the last of this illustrious Catalogue of legislative Bards: And their Writings, though very different in their Style and Manner, yet all unite in holding forth the leading Principles of the Greek Religion, Polity, and Morals.

ESCHYLUS, who stands first in Order of Time, partakes much of the rude Genius of the early Periods. His Imagery and Sentiments are great; his Style rugged and abrupt; and of a Cast so totally different from that of HOMER, that it is astonishing to hear the Critics, one after another, affirming that HOMER was his Model[a]. His Writings present to us all the Characters of a sublime, original, and uncultivated Genius, which scorned any other Tutoress than Nature. He was Himself a great Warriours; and his warlike Genius threw itself out, in Subjects that were grand and terrible. Hence his Tragic Songs abound with the most gloomy and tremendous Exploits of the Grecian Heroes, striking the Soul with Admiration, Astonishment, and Terror.

SOPHOCLES appeared next; of a more sedate and tempered Majesty: He improved on ESCHYLUS both in Plan and Morals. For the legislative Arts were now advancing at ATHENS with great Rapidity. No Wonder, therefore, that the Disciple conquered his Master; when he had the improving Sense of his Country to elevate and inlarge his Genius. But still the Gods and Heroes of GREECE were the constant Subject of his Song.

EURIPIDES, considered in the legislative View, was on a Level with his Masters with Respect to the Subject of his Tragedies (for these were always drawn from the Grecian Gods or Heroes) but possessed himself of the Advantage which the still improving State of his Country gave him. For Philosophy was now in its Ascendant: The Poet was the Disciple of an eminent Sage: Hence the Genius of EURIPIDES carried the legislative Power of Song to its last Perfection; and threw itself out, in such a Variety of Maxims, political and moral, as far outwent the Art of his Predecessors.

Such then, through the various Ages of ancient GREECE, was the legislative Genius of their Songs; which, in their several Periods, contained the leading Principles of their Religion, Morals, and Polity; and thus became the natural and proper Object of the public Attention and Regard.

12. "MUSIC, in its more extensive Meaning, that is, including Melody and the Song [b], either with or without the Dance" (for this last, as will appear below[c], was soon separated from the other two, for an important End) "bore a principal and essential Part in the Education of their Children." The Authorities which prove this, are abundant, and even superfluous. Some of the principal may suffice.
"Among the Ancients" (says the wise PLUTARCH) "Music in Theatres was not known: They employed all their Art in the Worship of the Gods, and the Education of their Youth[d]."
The same Author gives several Instances of musical Education in CRETE and SPARTA; and tells us, that
"By Music the young Men were taught to abstain from every thing indecent in Word and Deed; and to observe Decorum, Temperance, and Regularity[e]."
Again:
"Music was the Foundation of a virtuous Education; because it was allied with Philosophy, Morals, and Heroism: ACHILLES was taught by CHIRON, and played and sung the great Actions of Heroes [f]."
Elsewhere he informs us, that
"the Spartans in their Songs talked high of what Exploits they had performed: And that the young Men echoed back their Triumphs in their Songs, proclaiming their Resolution to equal the Valour of their Forefathers [g]."

Such was the Nature of ancient Music when applied to Education; and not a mere Proficiency in the playing or singing Art, as it hath been generally misunderstood, and ignorantly ridiculed by many Moderns. Hence it was, that their greatest Captains and Statesmen studied Music, as an essential Part of Education. Thus PERICLES was taught by DAMON, who was likewise supposed to have instructed him in Politics[h]. Thus EPAMINONDAS was eminent in Music; though the Roman Historian[i], who informs us of the Fact, speaks like one who knew not the Nature and Extent of Music among the earlier Greeks.

PLATO confirms these Authorities; and recites more at large the particular Method of Education used in ancient GREECE.
"What then is the most proper Discipline? Will it not be difficult to find a better, than what was long ago established? One Part of this is the Gymnastic, which relates to the Body; the other is Music, which relates to the Mind. This Discipline ought first to begin with Music; and when we speak of Music, we include the Subject, Words, or Song. Of this there are two Kinds, the true and fabulous. Both ought to be applied; but the fabulous first. Yet the Fables ought to be regulated lest the young Mind being tinctured with such as are improper, it should be necessary at a more adult Age to counterwork the first Impressions[k]."
He then proceeds to a particular Detail of Fables proper and improper in the Work of Education, pointing out what ought to be admitted or rejected. In another Dialogue, he speaks again of the Remains of this Method of Instruction, which were found among the wiser Sort, even in his own Times; although in general (as will appear below[l]) Music was then totally corrupted.
"The Parents commit their Children to the Care of Masters; and are more sollicitous about their Morals, than their Proficiency in Learning, or playing on the Lyre. As soon as they have attained a Knowledge of Letters, and are able to understand what they read, the Masters give them the Works of the best Poets to peruse and get by Heart, especially such as contain the Praises of their Forefathers renowned for great Actions, that the Boys may be fired with an Emulation to imitate their Virtues. The Music-Masters are above all things careful to give them Habits of Wisdom and Temperance, and to see that they commit no unworthy Action. As soon as they have learnt to play on the Lyre, the Master proceeds to instruct them in the Songs of the most famous Poets: These they sing to the Lyre; and the Preceptors endeavour to bring their Boys to a Love of the Rythms and Numbers; that by this Discipline they may be more mild, modest, and orderly in their Manners, and become useful both in Speech and Action [m]."

Suitable to this Method of Education is PLATO's Direction in his Book of Laws.
"Therefore the Legislator will take Care, that the Youth's Mind may be so formed, that his Pleasures and Displeasures may accord to the Laws, and to the Taste of mature Age: And if it be necessary, he will compel the Poet to describe the Actions of brave and good Men; and to compose such Numbers and Harmonies as may be suited to the Subjects[n]."

In the same Place he assigns a particular Reason for this Method of Education:
"Because the youthful Mind is not apt to attend to serious Study, therefore the pleasing Vehicle of Song is to be administered[o]."
He then proceeds even to the particular moral Maxims which ought to be instilled by the Poet and Musician, on the Principles of a wise Legislator.

As these Authorities are clear and decisive, we may here properly obviate an Error of the excellent MONTESQUIEU, arising from his Misapprehension of the true Nature and Extent of ancient Music. He, with most other Writers, supposeth it to have consisted (according to the modern Acceptation of the Word) in the single Circumstance of Melody. In Consequence of this, when he comes to inquire why the ancient Greeks applied Music so universally in the Education of their Children, he says,
"As they were a warlike People, and therefore in Danger of degenerating into a savage Ferocity of Manners, they employed Music, as the best Means of softening their Tempers into a milder Character; and this, because Music, of all the Pleasures of Sense, has the least Tendency to corrupt the Soul[p]."
And so far, indeed, is true, that the ancient Greeks did consider this, as one of the salutary Effects arising from the Application of Music[q]. But we now find, that the Matter lay much deeper: That Music, in its ancient Sense, implied not only Melody but Verse or Song: That it was the established Vehicle of all the leading Principles of their Religion, Morals, and Polity; and therefore was the natural and most important Instrument or Means in the Education of their Children.

The learned DACIER falls into the same Error, with Respect to the wonderful Efficacy of Music, in the Education of the Arcadians, and the fatal Want of it among the Inhabitants habitants of CYNAETHE, as the fact is recorded by POLYBIUS and ATHENAEUS.
"If (says the Critic) POLYBIUS speaks thus of Music, and if he accuseth EPHORUS of having advanced a thing unworthy of him, in saying that this Art was invented to deceive Mankind; what may we not say of Tragedy, of which Music is but a small Ornament, and which as far surpasseth Music, as Speech is beyond inarticulate and unmeaning Sounds [t]."
In this Passage, the learned Writer evidently supposeth that the ancient Music, which wrought such Wonders in the Education of the Arcadians, was no more than mere Melody or unmeaning Sound. But the Account which both POLYBIUS and ATHENAEUS give of the musical Education of the Arcadians, confirms all that hath been here advanced; and proves, that it consisted in the Application of the united Powers of Dance, Melody, and Song.

The most learned VOSSIUS proceeds on the same Mistake in his first Book De Natura Artium: And continues under the Influence of this fundamental Error, through his whole Dissertation on Music. As it may seem unaccountable, how so capital a Mistake should creep into the Writings of these great Authors, let me here observe, as an Apology for them all, that ARISTOTLE, and some succeeding Writers, speak of Music as an Art distinct from Poetry [u]: It was therefore natural enough for these Writers to draw their Ideas of ancient Music from the great Master-Critic of GREECE. How it came to pass, that ARISTOTLE should speak of these Arts as two, which the elder Writers considered as one, will clearly appear below [w]; where we shall see, that in the Time of ARISTOTLE, a Separation of the Melody and Song had taken place; that the first retained the Name of Music, and the second assumed that of Poetry.

13. "MUSIC, in its inlarged Sense, acquired a great and general Power over the Minds and Actions of the ancient Greeks." It is presumed, that we have now gained an Ascent, from whence this Truth will appear evident and indisputable; though it hath long been regarded by many, as an incredible Paradox.—How, or whence, such an universal Passion for Music should have arisen in GREECE; or, after it had arisen, how it gained such a general Establishment in the important Article of Education; or, after it was thus established, how it could work such mighty Effects upon the Mind, supposing it to consist only in mere Melody;—are Questions which wise Men have asked, and Bigots to Antiquity have weakly answered: For the common Reply hath been, that their Music (meaning their Melody) was of a kind so much superior to ours, that all its wonderful Effects followed from its more exalted Nature.—On the contrary, it appears, that as to its particular Construction, we are ignorant of it: That we have no precise or practicable Idea of their Genera, their Modes; nor the Make, nor Power of their Instruments: But that by collateral Arguments we can prove, that their Melody was something altogether simple and inartificial; such as Statesmen, Warriours, and Bards, occupied in other Pursuits, could compose; and such as high and low, Children and Men busied in other concerns of Life, could learn and practise. That hence we are led to believe, that whatever ever Effects arose from the mere Melody, arose from its Rythm or Measure, heightened by early Association and continued Habit; by which it became a kind of natural Language of the Passions. It appears farther, that Melody formed but a Part of the ancient Music; and that its most important and essential Branch was that of Verse or Song. But for a clear and full View of the Origin and Union of their Melody and Song, it was necessary to go back, and begin our Inquiries at the early Period of savage Life, in which all the Seeds and Principles of civilized Society appear in their native and uncultivated State. This Method of Investigation hath opened to us an involved and clouded Subject. Hence it appears, that Melody, Dance, and Song, naturally arose in Union; that Measure, Rythm, and Numbers, were the certain Consequence: That in the earliest Times of GREECE, the Characters of Legislator and Bard did often and naturally coalesce: That hence their earliest Histories, Laws, and Oracles, were of course written in Verse; that their religious Rites were naturally, and without positive Appointment, performed or accompanied by Melody, Dance, and Song: That through the several improving Periods of Time, their Songs were more and more of a true legislative Cast; that they included all the great Actions of their Gods and Heroes, and that in these were contained the leading Principles of their Religion, Morals, and Polity: That Music, in this its inlarged Sense, bore an essential and principal Part in the Education of their Children; being the pleasing and powerful Vehicle, by which all the important Precepts of Life were instilled into their tender Minds.—Thus naturally Music arose, and was powerfully established in ancient GREECE: And from this View of its Nature and establishment, its general Influence must unavoidably follow: "For through the Force of early and continued Habit, together with the irresistible Contagion of public Example maintained by the general Practice of the whole Community, who had received the same Impressions in their infant State; and while every thing pleasing, great, and important, was conveyed through this Medium; such strong Associations did strike themselves into the Tribes of GREECE, as naturally produced the most lasting Effects, and such as no future Incidents of Life could easily weaken or efface."

On these principles we may naturally explain some of the recorded Effects of ancient Music, which according to the common Interpretation of the Word, have been liable to the Derision of modern Critics.

We read, that such was the Power of ancient Music, that when AGAMEMNON went to TROY, the designing EGISTHUS could not debauch CLITEMNESTRA, till he had decoyed away the Musician that was retained in the Palace. This Account, if we understand by Music no more than Melody, hath much the Air of Hyperbole and Fable. But if we regard the Musician as what indeed he was, the Dispenser of religious and moral Principles, and that he urged the great Duty of conjugal Fidelity with the united Powers of poetic Eloquence and Song; and urged them to one whose Education had made her susceptible of such Impressions, the fabulous Appearances dissolve; and we see, that no other Method could have been devised, so effectual for the Preservation of a weak Woman's Virtue.

Again; we are told, that certain young Men heated with Wine, had agreed to assault the Doors of a modest Woman, and abuse her as a Prostitute: but that an able Musician coming past, he sung and played to them in the Dorian Mode; on which they were struck with Shame, and desisted from their Enterprize[x]. This, to modern Comprehension, hath still more the Air of Fable: But when the Fact is well explained, the Ridicule vanisheth with the Mystery. For every different Subject had a different Mode annexed to it. This appears at large from PLATO.
"You must adapt the Mode to the Subject and Words, not these to the Mode or Harmony: On these Matters we will farther deliberate with DAMON, what Feet or Measures are fittest to express Illiberality, Petulance, frantic Folly, and other Vices; and what Measures best express their contrary Virtues. Hence it is, that Rythm and Numbers gain their Power in the musical Education, and exercise their mighty Influence on the Passions of the Soul[y]."
Tis plain, therefore, that when the Historian tells us, that the Musician conquered the young Debauchees by an Application of the Dorian Mode, he means to signify, that the Melody was accompanied by a poetic Exhortation suited to the Numbers; and this could be no other than a Lesson of Modesty and Temperance; which being conveyed by the pleasing Vehicle of Melody and Song, addressed to those who by the Tenor of their Education must feel its Force, and given by one whose Profession they had been taught to reverence, could hardly fail of its designed Effects, unless their Intemperance had prevented all Attention.

There are other recorded Effects of ancient Music of a similar Nature, which it is not necessary to produce here, because they may all be accounted for on the same Principle. With Respect to the traditionary Influence of this Art on wild Beasts, Stocks, and Stones, as it came down from the ignorant and fabulous Times, so nothing can be justly concluded from it, but the Force of Music over the Minds of uninstructed and wondering Barbarians.

Thus the boasted Power of the ancient Greek Music seems naturally and fully accounted for. And in Confirmation of this Solution, we may finally appeal to the savage Tribes with whom this Inquiry began. For by Means parallel in most other Respects, save only in the Article of Legislation and Letters, they animate each other by the early and continued Use of Melody, Dance, and Song, to Valour in Arms, to Constancy in Torments and Death[z]. This is found, in Fact, to be an Education of such mighty Influence, that the War-Song and Death-Song inspire whole Tribes with a Degree of Fury and Indurance, which hath become the Astonishment of all who have seen but never felt their Power.

Notes

e

PLATO, ALCIBIADES.

↵

f

Deipnosoph. l. xiv.

↵

g

De Legibus, l. i.

↵

h

PLATO de Rep. l. ii.

↵

i

STRABO Geog. l. x.

↵

k

PLUT. de Procreat. Animae, &c.

↵

l

Characteristics, vol. i. p. 237.

↵

m

LUCIAN. de Saltatione.

↵

n

Ep. ad Pisones.

↵

o

Ode.

↵

p

Hymn. in Apollinem.

↵

q

LUCIAN. de Saltatione.

↵

r

Ibid.

↵

s

Apud. ATHENAEUM Deipn. l. i.

↵

t

STRABO, l. i.

↵

u

PLUTARCH.

↵

w

Hist. de las Guerras Civil. de Grenada.

↵

x

Comment. Real.

↵

y

LAFITAU.

↵

z

BARTHOLIN. de Contemptu Motis, &c. HICKES Thes. Septentr.

↵

a

SHERINGHAM Orig. Gent. Angl.

↵

b

LONGIN. de Metr.

↵

c

Enq. into the Life of HOMER, p. 38.

↵

d
See the following Articles.
↵

e

Preface à Oedip.

↵

f

De Artis Poët. Nat. et Const. c. i.

↵

g

PLATO de Rep. l. vii.

↵

h

CLEMENS ALEXANDR. Stromat. l. vi.

↵

i

Problem. Sect. xix. Art. 28.

He is followed in this Opinion by the learned Mr. GOGUET, in his late Book on Laws and Government.
"The earliest Legislators set their Laws to Music, that they might be more easily retained." Tom. ii. L. i. Art. 8.

↵

i

In LAERT.

↵

k

STRABO, l.

↵

l

PLUT. de Musica.

↵

m

PLUT. Diss. Cur nunc Pythia non reddat oracula carmine.

↵

n

PAUS. in Phocicis.

↵

o

Loco supra citato.

↵

p

See the Passage from LAFITAU.

↵

q

On Poetry, &c.

↵

r

Reflex. Crit. Part. iii. c. ix.

↵

s

Ibid.

↵

t

See ALYPIUS; at the End of the Phaenomena of ARATUS: To whom I refer for the Truth of these Remarks on the three Genera.

↵

u

L. xiv.

↵

w

Ibid.

↵

x

By Sir FR. EYLES STILES.

↵

y

De Poem. Cantu, &c.

↵

z

PAUSANIAS, l. ix.

↵

a

Ibid.

↵

b

Ibid.

↵

c

See the Spartan Decree against TIMOTHEUS, given at large below.

↵

d

Probl. Sect. xix.

↵

e

Deipnosoph. l. i.

↵

f

Ibid. l. xiv.

They sometimes touched the String with a Plectrum, sometimes with the Finger. But that the Custom of playing with the Plectrum was the more ancient, appears from a curious Fact related by H. STEPHENS, from PLUTARCH,
"that Spartans punished a Lyrist for the Innovation of playing with his Finger." [Thes. Ling. Graec. Voc. 〈 in non-Latin alphabet 〉.]
VIRGIL introduceth MUSAEUS, as playing in both these Ways in the Elyfian Fields:—

"Nunc Digito, nunc Pectine pulsat eburno"

—But this proves little more than that Both were in Use in the Time of VIRGIL.—'Tis certain, that on the first rude Formation of Instruments, the Plectrum would give the more clear and effectual Stroke: As Instruments grew more more delicate, the Finger would come into Use. This (as will appear below, Art. 33.) explains the Foundation of the Spartan Conduct.
↵

g
The learned Writer is mistaken in this Paragraph. The mere Sound of Thunder excites Fear; other Sounds excite Sorrow; others Joy. See the next Article.
↵

h

VOSSIUS de Poem. Cantu et Viribus Rythmi, p. 72.

↵

i

De Musica.

↵

k

De Musica.

↵

l

See above, Sect. ii.

↵

m

ARISTOTLE, PLUTARCH, and others.

↵

n

DIODORUS, l. iii. and LAERTIUS.

↵

o

PAUSANIAS in Baeoticis.

↵

p

SUIDAS in Orpheo.

↵

q

LAERTIUS in Proaem.

↵

r

SUIDAS in Tham.

↵

s

De Rep. l. ii, iii.

—It is generally affirmed and believed, that PLATO was for banishing Poetry, without Exception, from his perfect Republic. So far is this from being true, that he affirms directly,
"that he only means to banish That which is pernicious; but to retain That which is useful." [De Rep. l. x.]
Nay, he hath written a whole Book

[De Leg. l. ii.]

to prove the Utility of Music in the Education of Youth: Through the Course of which, if is evident, that in His Idea, Poetry makes the most essential Part of Music.

↵

t
Qui quid pulchrum, &c.
↵

u

In Vita HOMERI.

↵

w

Enquiry into the Life and Writings of HOMER, p. 338.

↵

x

Ibid.

↵

y

Hist. de l' Acad. Royale des Inscrip. t. v. p. 96.

↵

z

CICERO de Oratore, l. ii. QUINTIL. l. xi. c. 2.

↵

a

See this Point considered below, Art. 20.

↵

b

See above, Art. 1.

↵

c

See Art. 15.

↵

d

PLUT. de Musica.

↵

e

Ibid.

↵

f

Ibid.

↵

g

In Lycurgo.

↵

h

PLUT. in Pericle.

↵

i

CORN. Nepos in Praefat. Vit. EPAMINOND.

↵

k

De Repub. l. ii.

↵

l

Art. 34, 35.

↵

m

In Protag.

↵

n

De Legibus, l. ii.

↵

o

Ibid.

↵

p

L'Esprit des Loix, l. iv. c. 8.

↵

q

PLATO de Rep. l. iii.

↵

t

DACIER Poët. d' Aristote. Preface.

↵

u

Poët. passim.

↵

w

Art. 35.

↵

x
This Story is ridiculed in the Memoirs of MARTINUS SCRIBLERUS: And the Ridicule is founded on an entire Misapprehension, or Misrepresentation, of the true nature of ancient MUSIC.
↵

y

De Repub. l. iii.

↵

z

LAFITAU, tom. iii. p. 171. tom. iv. p. g.

↵

SECT. VI. Of the Progressions of Music in ancient Greece.

THE Origin, Nature, and Power, of the ancient Greek Music being thus explained; let us now proceed to a like Application of the remaining Articles of the fourth Section; in which we shall endeavour to unfold the various Progressions of this Art in GREECE, and pursue it through its several Advances towards Perfection, to its final Corruption and Decay.

14. "The Dance was separated from the Song; and with or without Melody became itself a distinct Exercise or Art, under the Title of Gymnastic, for the Sake of increasing their Strength and Agility of Body, as the Means of rendering them invincible in War." This was the natural Effect of their warlike Character, for the Reason given above[a]. And that this was the real Generation of the Gymnastic Art, appears evidently from PLATO's Book of Laws: where, having spoken of the three constituent Parts of a compleat Choir (Melody, Dance, and Song) he proceeds to deduce from these the Origin of the Gymnastic Art.
"Is not this the leading Principle of the Gymnastic Art, that every Creature is born with a natural Inclination to leap or bound? But Man, being endowed with a Sense of Rythm or Numbers, naturally formed his Motions into Dance: Melody naturally begets Rythm; and these two united form the Gymnastic.—For That we call the Gymnastic, when the Dance is so artificially applied, as to improve the Powers of the Body[b]."
That this Art was applied by the ancient Greeks to the End of public and warlike Service, is generally known: However, if it needs a Proof, another Passage of the same Author will sufficiently confirm it.
"After these Instructions (in Music) the Parents send their Sons to the Masters of the Gymnastic Schools, that by gaining a firm Habit of Body, which may second a well-formed Mind, they may be able to indure the Toils of Enterprise and War [c]."

We trace the Foundation and Progress of the Gymnastic Art no less clearly in LUCIAN's Account.
"The Spartans, having received this Art (of Dancing) from CASTOR and POLLUX, went dancing to Battle, to the Sound of Flutes: Their Application to Music did not lessen their Attention to Arms: For a Musician sat in the midst of the Assembly, and played on the Flute, beating Time with his Foot; while they regularly followed the Measure, in a Variety of warlike Postures[d]."

To confirm these Evidences, we may add another Instance of a warlike Dance, which approacheth nearest to the Establishment of the Gymnastic Exercise, of any recorded by Antiquity. XENOPHON, in his "Expedition of CYRUS," describes one of these Dances in the following Manner. "The Feast being ended, the Libations made, and the Hymn sung, two Thracians, completely armed, began to dance to the Sound of the Flute: After skirmishing for some time with their Swords, one of them (as wounded) fell down, on which the Paphlagonians set up a loud Cry. The Conqueror having stripped his Adversary, departed, singing his Victory."—Here we see a near Approach to the Forms of the Gymnastic Exercise in their most essential Circumstances, yet the original Form of the Dance remains.

Thus the Origin of the Gymnastic Arts is clearly unfolded, as being no more than a Part of the savage Song-Feast; Feast; but separated from thence for the Ends of warlike Service. For Want of this Information, the learned VOSSIUS, among other Authors, stiles the Dance a Branch of the Gymnastic, instead of regarding the Gymnastic as the Offspring of the Dance [e].

Here we may farther observe, that this View of the Gymnastic, considered as having been originally a Branch of the Musical Art, clears up a Difficulty with which every other Account of it is encumbered. Thus a late Writer says,
"The Exercise of leaping in the Pentathlon was accompanied by Flutes, playing Pythian Airs, as PAUSANIAS informs us. Whence this Custom was derived, I cannot say: And the Reason assigned for it by that Author, which is certainly not the true one, may induce us to think, that in this Matter the Ancients were as ignorant as we[f]."
But on the Principle here given, the Custom accounts for itself. In the first Institution of the Gymnastic Arts, it appears that Melody made a Part of them: This Part had been disused (by Course of Time) in the other Exercises, but had been retained in that of Leaping in the Pentathlon.

15. "After a certain Period of Civilization, the complex Character of Legislator and Bard did separate, and were seldom united." This Separation, it hath been shewn above, would of course follow from decreasing Enthusiasm, and the increasing Labours of Government. And such was the natural Rise of the 〈 in non-Latin alphabet 〉 or Bards of ancient GREECE: Of whose Profession and Art a late learned Author[g] hath, in many Circumstances, though not in all, given a just Idea. Of its original Dignity and Importance, in the most ancient Times, he did not rightly conceive; through his Ignorance of its true Rise, and original Union with the Legislator's Office. He represents them as wandering Musicians only, who were welcome to the Houses of the Great. Such indeed they were, in the later Periods; when the Separation had been long formed, and their Office become rather an Affair of Amusement than Utility. But as in the earliest Periods the Legislators themselves were often Bards, so when the Separation of Character was first made, the known Influence and Importance of their Office could make them no other than Assistants to the Magistrate, in the high Task of governing the People. Of this we have a clear Instance in the Commonwealth of SPARTA (which maintained all its original Institutions the most pure and unchanged) where a dangerous Insurrection arose; nor could be quelled by the Magistrate, till the Bard TERPANDER came, and played and sung at their public Place of Congress[h].

HESIOD, who was himself of this Order, hath given us a noble Description of their Office and Dignity: Which, as it strongly confirms the Genealogy here given, I shall translate at large; together with his Picture of the Magistrate; along with whom the Bard appears to co-operate in the public Welfare, as the second Character in the Community.
"Therefore Kings (Magistrates) are watchful, that they may do Justice to the injured, at the Place of public Congress, soothing the Passions of Men by persuasive Speech: The People reverence him as a God, while he passes through the City.—Kings are from JOVE: Bards are from the Muses and the far-shooting APOLLO. Happy is He whom the Muses love: His Lips flow with sweet and soothing Accents. If any hath a keen and inward Grief, fresh-rankling in his Soul; the Bard, the Muses Minister, no sooner sings the Praise of ancient Heroes, and the Gods who inhabit OLYMPUS, than he forgets his Sorrows, and feels no more his Anguish.—Hail, Daughters of JOVE! Inspire Me with your persuasive Song[i]."

It seems probable that the original Dignity of the Bard's Character was always maintained longer in Commonwealths than under despotic or kingly Governments: For at the Court of ALCINOUS, so early as the Age of HOMER's Heroes, it appears, from the Picture given of DEMODOCUS, to have sunk into a Character of Dependance [k]. The Reason is manifest: The Republican Form subsists by an united Exertion of the Powers of every Rank: Under the despotic Rule, the Influence of these various Powers is swallowed up in the absolute Will of ONE. We shall see the Bard's Character rising again in its dignified State, in the early Periods of other barbarous Nations[l].

16. "In the Course of Time, and Progress of Polity and Arts, a Separation of the several Kinds of Song did arise. In the early Periods they lay confused; and were mingled in the same Composition, as Inclination, Enthusiasm, or other Incidents might impel."—This Fact is manifest enough, from the Catalogue already given of the Writings of the most ancient Bards of GREECE; for by this it appears, that they ranged at large through the Fields of Poetry and Song, without giving any precise or legitimate Form to their Compositions; which seem most generally to have been a rapturous Mixture of Hymn, History, Fable, and Mythology, thrown out by the enthusiastic Bard in legislative Songs, as different Motives or Occasions presented themselves, and according to the Exigencies or Capacity of his surrounding Audience.—"But repeated Trial and Experiment produced a more artificial Manner; and thus by Degrees, the several Kinds of Poem assumed their legitimate Forms."—For the Truth of this, we refer to the following Articles.

17. "HYMNS or Odes were composed, and sung by their Composers at their festal Solemnities." This Species of Song hath, in the Way of Preheminence, and beyond any other, gained the Title of lyric Poetry. Nor can we wonder at this, if we consider, that from its Nature it must have arisen first, must have been first moulded into Form, and must, from its peculiar Genius, continue united with Melody longer and more universally than any other. It arose first, because it was natural for the savage Mind, to throw itself out in sudden Exclamations of Grief or Joy, Love, Revenge, or Anguish, before it could find Means or Leisure to recite at large the Occasions of these powerful Feelings: It must be first moulded into Form, because its Extent is the smallest, and its Plan most simple: It must continue united with Melody longer and more universally than any other Species, because the very Essence of its Subject is that which the other Kinds only catch incidentally, I mean, the sudden Shocks and Emotions of the Soul; which are found to be the powerful Bands of Nature, by which Melody and Song are most closely bound together.

PLUTARCH confirms this Reasoning concerning the Priority of the hymnal Species; and says, that
"Music was first used in religious Ceremonies, being employed in the Praises of the Gods; and that afterwards it was applied to other Subjects[m]."
Accordingly we find, that in the several successive Periods, ALCAEUS, STESICHORUS, TYRTAEUS, and others, composed and sung their Odes at the public Festivals. The sublime PINDAR was not more celebrated for his mighty Strains, than for his powerful Performance of them at the Olympic Games: Nay, so high was his Fame in this Regard, that he had a golden Chair appropriated to him in the Temple of DELPHI, where he poured forth the Torrent of his Songs, which were attended to, and revered as Oracles issuing from the Inspiration of the God.

18. "The Epic Poem arose; and was sung by its Composers at their festal Solemnities."—When the first Fire of Enthusiasm had vented itself in the Rapture of Hymns and Odes, it naturally assumed a more sedate Manner; and found Time to relate at large those Actions which in its first Agitations it could only celebrate by sudden Bursts of Passion and Praise. Accordingly, we find many of the elder Poets of GREECE mixing the hymnal and enthusiastic with the historic or narrative Species. The Exploits of BACCHUS, the Rape of PROSERPINE, the Wars of the TITANS, were among their favourite Themes. After these, came the Authors of the Herculiad and Thesiad: DEMODOCUS, prior to HOMER, sung the Ambush of the Trojan Horse: PHEMIUS sung the Return of the Greeks under AGAMEMNON: The little Iliad comprised most of the subsequent Adventures of the Trojan War. A Thebaid was also written, the Author of which is not certainly known; though PAUSANIAS tells us, it was by many ascribed to HOMER[n]. As Example, Habit, and improving Arts and Polity, are the necessary Means of Progress in every Art, so these Accounts, though imperfectly conveyed to us (because the Poems they allude to are lost) sufficiently imply, that the Epic Muse advanced gradually towards Perfection; till at length she appeared in full Splendor, in the Person of her favoured HOMER.

HERODOTUS, indeed, has thrown out a Hint, as if the Iliad was prior to the oldest of the Poems ascribed to these most ancient Bards[o]. VELLEIUS PATERCULUS affirms the same thing in stronger Terms[p]: And Mr. POPE goes into this Opinion[q]. It must be confessed, the History of these remote Ages is so dark and fabulous, that nothing can with Certainty be collected from them. But the very Structure of HOMER's Poem carries in itself such an internal Evidence, as turns the Scale against the Historian's Conjecture. If we consider the Nature of the human Mind, we shall be led to believe, that the Epic Poem must have received a gradual Improvement through that long though unknown Tract of Time, during which its unpolished Rudiments existed before the Age of HOMER. The mere Powers of Fancy and Execution may, indeed, arrive at their highest Perfection by the Efforts of a single Mind: For what belongs to Nature only, Nature only can complete; and thus our immortal SHAKESPEAR arose: But that an Epic PLAN, so complex, so vast, and yet so perfect as that of the Iliad; which requires an uncommon Penetration even to comprehend in all its Variety and Art; which the thoughtful, the literate, the polished VIRGIL attempted to rival, and only proved his utter Inability by his Attempt; which succeeding Poets have made their Model, yet none have ever equalled or approached, save only the all-comprehending Mind of the sublime MILTON;—that such a Plan as This, which required the highest Efforts of an improved Understanding, opened and strengthened by a Succession of preceding Examples, should at once emerge in all the Extent of Art, in the midst of rude and unformed Fables, sung at Festivals as vague Enthusiasm might inspire;—this is an Opinion repugnant to all our Notices concerning the Progress of the Powers of the human Mind. We may as rationally suppose that St. PAUL's was the first built Temple, its Organ the first musical Instrument, the LAOCOON and his Sons the first Attempt in Statuary, the Transfiguration the first Essay in Picture, as that the stupendous Iliad, the Wonder of all succeeding Ages, was the first Attempt in Epic Poetry.

What the Nature of the Thing so strongly declares, ARISTOTLE seems to confirm in his Poetics: For he says, that
"although we know not the Names either of the Poems or their Authors; yet there is Reason to believe that many had been written before HOMER; and that his Margites brought this Species to its Perfection, in the same Manner as the Iliad and Odyssey had compleated the Form of the Epic Poem[r]."

We may reasonably conclude, therefore, that from the Days of LINUS, down to those of HOMER, there had been a Succession of Writers, among whom the Form of the Epic Poem had been gradually advancing towards Perfection, till it received its full Completion in the Birth of the Iliad.

That these Epic Songs, in their several Periods, were sung by their Composers to the surrounding People, we have the general Testimony of ancient Writers. This Fact is so clear, with Respect to the elder Poets of GREECE, that it is much questioned whether ever their Songs were committed to Writing: Whether they were any more than the extempore Efforts of a sudden Enthusiasm, kindled by the sympathetic Power of religious Rites, or State-Festivals. That HOMER followed the honourable Profession of a Bard, and sung his own Poems at the public Feasts, hath been proved at large by a learned Writer[s]. HESIOD was of the same Order; and seems to have maintained it with truer Dignity[t]: TERPANDER held the same Employment, and sung both his own Poems and those of HOMER[u].

19. "From an Union of these two Kinds, a certain rude Outline of Tragedy arose."—For when a Bard sung the great or terrible Atchievements of a Heroe or God, the surrounding Audience, fired to Enthusiasm, and already prepared by a correspondent Education, would naturally break forth into the Raptures of a choral Song.—This Progression of Poetry is so natural, that it is Matter of Astonishment to hear the learned at all Times ascribing the Rise of Tragedy to Causes merely accidental; and confining it to the single Adventure of THESPIS and his Route, singing the Praises of BACCHUS at a casual Vintage. Thus DACIER, among others, affirms roundly, that
"The first dramatic Person which THESPIS invented, was only designed to give Respite to the Choir; and what he recited was no more than an Appendage to Tragedy[w]."
In the same Manner the sensible and learned BRUMOY delivers at large the common System, with Respect to the Birth and Progress of the tragic Species[x]. All this is in Contradiction to the Workings of Nature; and, without Proof, supposes That to be a casual Invention in a particular Instance, which was indeed the natural Progress of Passion expressed by Melody, Dance, and Song. We have seen, that an Union of Narration and concurrent Shouts of Praise takes Place even in the rude Festivals of the savage Tribes: 'Tis altogether repugnant, therefore, to the Nature of Things to suppose, when Letters had given Accents to the Rapture of the surrounding Audience, and moulded the Ode into Form, that this natural Union should not be upheld. Though, therefore, the first Rise and Progress of the tragic Species in GREECE were hid in Darkness, through a Want of recording History, yet, from a Similarity of Causes and Effects which we find among the barbarous Nations of AMERICA, we might fairly conclude, that it had not a casual, but a certain Rise from Nature; according to the Principles here given.

But ancient History is not silent on this Subject. It gives us a Variety of Facts, which overturn the common System, and tend to confirm what is here advanced. PLATO says expresly, that
"Tragedy was very ancient in the City of ATHENS, and practised there, long before the Age of THESPIS[y]."
We are assured, on the Authority of other Writers, that
"a Report prevailed in GREECE, that certain tragic Poets had in ancient Times contended at the Tomb of THESEUS[z]."
SUIDAS even mentions one EPIGENES by Name, a tragic Poet, prior to the Age of THESPIS.

But a still stronger Evidence presents itself: For even the very Substance and Form of one of these rude Outlines of savage Tragedy remains in a respectable Author of Antiquity. "In ancient Times (saith STRABO) there was a Contest of Musicians who sung Paeans in Celebration of the God APOLLO: This was established by the Inhabitants of DELPHI, after the Chrissaean War." The Description of this Contest is not incurious.
"The Poem was composed by TIMOSTHENES: The Subject was the Victory of APOLLO over the Serpent: The first Part was the Prelude to the Battle; the second was the Beginning of the Engagement; the third, the Battle itself; the fourth was the Paean or Triumph on the Victory; the fifth was an Imitation of the Agonies and Hissing of the dying Serpent [a]."

Here we have the very Form and Substance of a first rude Essay towards Tragedy, compounded of Narration and Correspondent Songs of Triumph.

Nay, as a farther Confirmation, not only of this particular Article, but of the general Principles on which this Dissertation is built, we learn from other Authors, that APOLLO himself was the Founder of these Contests [b]: that the God was the first who sung his own Exploit; that He first described his Engagement with the Serpent; and that a Part of the Contest consisted in an Imitation of APOLLO, who danced after his Victory [c]. In this whole Scene, of the God of Music singing, dancing, and praising his own Atchievements, we have the genuine Picture of a savage Chieftain [d].

It appears, therefore, that Tragedy had a much earlier and deeper Foundation in ancient GREECE, than the accidental Adventure of THESPIS and his Rout: That it arose from Nature, and an unforced Union and Progression of Melody, Dance, and Song.

At the same Time it is manifest, that THESPIS added something to the rude and savage Form of Tragedy, as it existed in his Age. 'Tis probable that He was the first Declaimer or Interlocutor to his own Choir; that he first established the Profession of a Player in ATTICA, and first transported his Company from one Village to another; whereas, before his Time, the Exhibitions of the rude tragic Scene had been fixed, and merely incidental [e]. This Institution of an itinerant Company must necessarily increase the general Attention of ATTICA to these rude tragic Scenes: And hence the Opinion seems first to have arisen, that THESPIS was the Inventor of this Species[f].

20. "In Process of Time, this barbarous Scene improved into a more perfect Form: Instead of relating, they represented by an assumed Character, and by Action and Song, those great or terrible Atchievements which their Heroes had performed." How soon the savage Tribes fall into this Kind of dramatic Representation, we have already seen[g]: How natural such a Progression of Art must be to the human Mind, will appear by reflecting, that dramatic Action is but another Mode of Narration; and that even the Narration of the savage Tribes is found to have such a Mixture of Action in it, as strongly tends to produce the dramatic Imitation[h]. Time, therefore, and repeated Efforts must naturally advance the narrative Episode into personal Representation. And thus we are arrived at the Form which Tragedy wore, when the inventive Genius of ESCHYLUS advanced the Art one Step higher; and by adding a second Person to the Drama, brought in the Use of Dialogue.

Here, for the Sake of Truth, we must again depart from the general Body of Critics; most of whom, from ARISTOTLE down to our own Times, unite in supposing rhat ESCHYLUS was only a casual Imitator of HOMER, and drew the Idea of all his Tragedies from the ILIAD. A noble Critic of our own Country hath affirmed this in the fewest and strongest Terms; and says, that
"There was no more left for Tragedy to do after him (HOMER) than to erect a Stage, and draw his Dialogues and Characters into Scenes[i]."

It may be deemed presumptuous, perhaps, to question a Point wherein the great Master-Critic of GREECE hath himself decided. But let us remember, that the Days are now past, when it was held a Point of Honour, to swear to the Opinions of a Master. ARISTOTLE is often admirable, generally judicious, yet sometimes perhaps mistaken, even in his Judgment of Men and Things relative to his own Country. He was more especially capable of being misled by the common Opinion in this Point; in which neither He nor any of his Countrymen could be sufficiently informed, for Want of a competent Knowledge of the Genius and Character of savage Manners.

That ESCHYLUS was not a mere Imitator of HOMER, that he was a great and original Poet, who exalted his Art one Degree beyond his Predecessors in his own Country, seems a Point which collateral Arguments strongly confirm. We are informed, in general Terms, that there were no less than fifteen tragic Poets who writ before him: And the Probability is much stronger, that he should draw his Improvement from the scenic Representations already established, in which he found one dramatic Person and an accompanying Choir, which, in all Probability, stood in the Place of a second Person, and often sustained a Kind of Dialogue with the principal Interlocutor[k]; than that he should have Recourse to HOMER's Poems, in which no dramatic Representation was to be found.

To this Argument may be added another, drawn from the Style and Manner of ESCHYLUS, so different from that of HOMER. For HOMER is equal, large, flowing, and harmonious: ESCHYLUS is uneven, concise, abrupt, and rugged: The one leads you through the grand but gentle Declivities of Hill and Dale; the other carries you over a continued Chain of Rocks and Precipices. Now if HOMER had been the Model of ESCHYLUS, some Similarity of Manner would probably have ensued.

A third and still stronger Proof arises from the essential Difference of their Subjects, both in Extent and Nature: In Extent, because the one is of long, the other of short Duration: In Nature, because HOMER's Poems are chiefly employed in the Exhibition of Character and Manners; those of ESCHYLUS in the Representation of Terror and Distress. Had he been that mere Imitator of HOMER which the Critics have adjudged him, and had nothing to do but to erect a Stage, and to draw HOMER's Dialogues into Scenes, he would have been content to have taken his Subjects from the Iliad, and, according to HORACE's sober Rule, have never ventured beyond the Siege of Troy [l]. He would have brought upon the Stage the Anger of ACHILLES, the Battle of PARIS and MENELAUS, the Parting of HECTOR and ANDROMACHE, the Feats of DIOMEDE; and would have contrasted the strength of AJAX with the Cunning of ULYSSES. Nothing of all this appears: On the contrary, his Subjects and Manner are equally his own; and both of a Genius opposite to those of HOMER.

What PLUTARCH says of HOMER, though brought for the contrary Purpose, tends to confirm all that is here advanced.
"Even Tragedy took its Rise from HOMER: For his Poems comprehend every thing that is sublime and great [m]."
This, you will say, is a very insufficient Reason, because the Critic forgets the pathetic and the terrible, which were the essential Constituents of the Greek Tragedy. But mark the Sequel; which is still more extraordinary.
"Neither do they (HOMER's Poems) contain Descriptions of those atrocious Actions which have been feigned by the later Tragedians, such as Incest, and the Murder of Parents or Children. Nay, whenever he happens to touch on any thing of this Kind, he always softens and throws it into Shades [n]."
Thus while PLUTARCH is labouring to prove, that the Greek Tragedy was drawn from HOMER, he proves, that HOMER's Poems were destitute of that which was of the Essence of the Greek Tragedy.

SCALIGER is a venerable exception to the general Body of the Critics on this Subject; and seems to have viewed the Question in its true Light.
"In the Iliad (saith he) there is nothing like the Progression of a Tragedy, if you take the whole together: For, from Beginning to End, there is a perpetual Succession of Deaths: He begins with a Pestilence, which destroys more Men than the whole War[o]."
The Critic then goes on to prove, by a large Enumeration of Circumstances, the Iliad hath very few of the essential Characteristics of Tragedy.

We may fairly conclude, then, that the Improvement which Tragedy received from ESCHYLUS was not casual, but the Result of a natural Progression: That he drew not from HOMER's Poems, as a mere Imitator; but exalted his Art one Step higher, from the Force of true Genius in the tragic Species.

What followed is well known: SOPHOCLES added a third Person to the Drama: And by this Improvement is said by the Critics to have compleated the Form of Tragedy. The Truth of their Decision I much doubt: but this Disquisition lies beyond the Limits of our present Enquiry.

21. "As the Choir was established by Nature and Custom, and animated their Solemnities by Dance as well as Song; the Melody, Dance, and Song, did of Course regulate each other; and the Ode or Song naturally fell into Stanzas of some particular Kind." This arose by an easy Progression from the savage State; where
"they who dance, go round in a circular Movement, and after a short Interval being a second[p]."
The Greeks not only fell into this Manner, but improved upon it: They went round, first to the one Hand, then to the other, and then paused. The Learned have found out mystical Reasons for these circular Movements; referring them to the Motion of the Planets[q]. Much Labour cannot be necessary for the Confutation of these Refinements, as the Practice arose so evidently from the Dictates of Nature: It was a natural and sensible Improvement; for the plain Reason of preventing Giddiness, which ariseth from running round in the same Circle.

Let us attend, therefore, to its Consequences. As each Dance or Return was marked by its peculiar Measure, this of Course fixed both the Melody and poetic Numbers of the accompanying Song: And as they likewise sung during the Interval of Rest, we see, that from this easy Improvement on the savage Song-Feast, the Strophe, Antistrophe, and Epode, naturally arose.

22. "Another Consequence of the established Choir was a strict and unvaried Adherence to the Unities of Place and Time." This Effect is so manifest as to need little Illustration. A numerous Choir, maintaining their Station through the whole Performance, gave so forcible a Conviction to the Senses, of the Sameness of Place, and the Shortness of Time, that any Deviation from this apparent Unity must have shocked the Imagination with an Improbability too gross to be indured. Notwithstanding all the Panegyrics of the Critics, therefore, upon the Greek Tragedians on Account of these Unities; it is evident, they arose in the rudest Periods; and were continued through the more polished Ages, on the same Principle of untaught Nature and established Custom.

23. "Not only the Part of the tragic Choir, but the Episode, or interlocutory Part, was also Sung." The most sensible of the Critics have ever regarded this as a Circumstance equally unnatural and unaccountable. Thus DACIER speaks.
"It must be owned, that we cannot well comprehend, how Music (Melody) could ever be considered as in any Respect making a Part of Tragedy: For if there be any thing in the World that is at Variance with tragic Action, it is Song [r]."
The learned Critic is so shocked with this supposed Union, in Appearance so unnatural, that upon the whole he questions its Existence; and is of Opinion, that when ARISTOTLE speaks of Music, as being annexed to Tragedy, he speaks of the Choir only[s]. This, however, is contrary to the united Voice of Antiquity, which universally admits the Fact, though its Origin was never accounted for. But how naturally this union took Place in ancient Tragedy, we now clearly discover, by investigating the Rise and Progress of this Poem from the savage State. For it appears, that the Epic and Ode were both sung from the earliest Periods; and therefore, when they became united, and by that Union formed the tragic Species, they of Course maintained the same Appendage of Melody, which Nature and Custom had already given them.

The Abbé du Bos endeavours to prove, indeed, that the Song which was employed in the Episode of ancient Tragedy was no more than a Kind of regulated or measured Declamation [t]. But his Inquiries are partial; for he goes no higher than to the Practice of the Romans: And it is probable, from several Circumstances, that in the late Period when the Romans borrowed their Music from, the Greeks, the Tragic Song had been brought down from a measured Melody to a kind of regulated Declamation. Thus, TULLY mentions the Cantus Subobscurus; and again saith, "Delicatiores sunt falsae Voculae quam certae et severae." But though these, with several other Arguments alledged by the Abbé, seem to imply that the tragic Song was little more than a measured Recitation; yet this will by no means prove, that a more full and direct Song had not been used in Tragedy thro' the more early Periods. In the Course of this Dissertation, the Practice of singing Tragedy hath been traced from its first Rise in savage Manners; which at once destroys the Improbability of the Custom, and proves that it was even founded in Nature; a Circumstance, of which the Abbé had not the least Suspicion. This Foundation being laid, we cannot but listen attentively to what the early Writers of GREECE tell us on this Subject: Now these unite in informing us, that the Episode of Tragedy was Sung; and even name the Modes of Music which were appropriated to the Episode, in Contradistinction to the Choir [u]. That the Song should approach nearer, by Degrees, to mere Declamation, will appear probable, when we consider the gradual Separations which successively took Place in the musical Art, during the successive Periods of GREECE and ROME. To mention only one Instance here, similar to what we now treat of: ARISTOTLE informs us, that in His Time the Rhapsodists, whose Profession it was to sing the Poems of HOMER and HESIOD, were beginning to make Inroads into the ancient Practice; and now recited those Poems, which in former Times had been always sung [w].

The Abbé falls into an Error with Respect to the Dance, parallel to that which he adopts with Regard to the Melody of the Ancients. As he insists that their tragic Melody was only a measured Recitation, so he affirms, that their tragic Dance was no more than Action [x]. It is true, that in the later Periods of Rome, when the musical Separations had taken Place, this was the general Meaning of the Word Saltatio: And hence, as in his Opinion of the tragic Song, his Mistake arose. For it is evident from the concurrent Testimony of the elder Greek Writers, that the tragic Dance was performed in the very Manner here described. We now see, that this Dance (no less than the tragic Song) arose from untaught Nature; and that it was the genuine Parent of the Strophe, Antistrophe, and Epode.

24. "As the Greek Nation was of a fierce and warlike Character, their tragic Representations rowled chiefly on Subjects of Distress and Terror."—On this Topic, I doubt whether ARISTOTLE hath not mistaken an Effect for a Cause. For he says, that
"Tragedy, by means of Pity and Terror, purgeth in us Those and other such like Passions [y]."
MARCUS AURELIUS[z], MILTON[a], DACIER[b], and BRUMOY[c], all understand him, as meaning that Tragedy was formed with this View. It is not the Writer's Design to remark on this great Critic, farther than what relates to his main Subject. Therefore it will suffice to say, that if ARISTOTLE meant to assign this moral End, as the Cause why Tragedy assumed this Form in ancient GREECE, and adopted Subjects of Distress and Terror, He seems to have taken That for a Cause, which was a natural Effect of the ruling Manners of the Greek Republics. The Reasons which support the general Truth, already given in the correspondent Article, will hold their Force when applied here. For thus the Greeks animated each other to Victory and Revenge, by a Representation of what their Friends had done and suffered. These Subjects would likewise be most accommodated to the natural Taste of the poetic Chiefs of such a People; whose Atchievements produced and abounded with Events of Distress and Terror. Such then was the natural Origin and Adoption of these Subjects in the Greek Tragedy: But after they were established on this Foundation, 'tis probable that the Statesmen encouraged and applied them to the Ends of Policy. For as the leading View of a fierce and warlike People must be to destroy Pity and Fear; so This would most effectually be done, by making themselves familiar with distressful and terrible Representations. Under these Restrictions, the Opinion of ARISTOTLE may have a Foundation in Nature: Farther than this; and as applied to any People whose End is not War and Conquest, it carries the Appearance of a refined Idea, which hath no Foundation in Nature. The grand scenic Representations of the Peruvians and Chinese (as will appear below[d]) whose leading Object was Peace, are known to be of a quite contrary Nature, formed on their gentler Manners; and such as would have been altogether incompatible with the warlike Character, and insipid to the Taste of the Tribes of ancient GREECE.

25. "Their Tragedy being designed as a visible Representation of their ancient Gods and Heroes, they invented a Method of strengthening the Voice, and aggrandizing the Visage and Person, as the Means of compleating the Resemblance." It is generally known, that the old Grecian Gods were supposed to be of a Stature exceeding that of ordinary Men: And the true Reason of that Opinion was, because in the early Ages they (like every other barbarous People[e]) selected the tallest and strongest Men for their Chiefs: Which Chiefs in Course of Time became their Gods. Hence the Buskin and Masque had their natural Birth: For the first hightened the Stature, as the second inlarged the Visage, and strengthened the Voice of the dramatic Actor. And although the common Accounts mention nothing of the Inlargement of the Body; yet we learn from LUCIAN, that the Breast, Back, and all the Limbs, were amplified in Proportion to the Visage and Stature [f]: Manifestly as the Means of compleating the Resemblance of their Gods and Heroes.

By thus tracing the Buskin and Masque to their true Origin, we shall now be able to give a Reason for a Fact, which hath hitherto been regarded as merely the Effect of Whim and Caprice. THESPIS and his Company bedaubed their Faces with the Lees of Wine. Whence arose this Practice, seemingly so wild? THESPIS and his Company were the Votaries of BACCHUS, and exhibited his Exploits, and sung his Praises to their Countrymen: Their use of the Lees of Wine, therefore, was intended as the Means of compleating the Resemblance of their drunken God and his Crew.

26. "As their tragic Poets were Singers, so they were Actors, and generally performed some capital Part, in their own Pieces for the Stage." This Fact hath generally been held extraordinary and unaccountable: And hath been resolved, it seems, by some Talkers on this Subject, into the Want of Actors in the early Periods. We now clearly discover a contrary Cause: The Practice took Place when the highest Characters were proud to signalize themselves as Actors: When Legislators and Bards assumed the Lyrist's and Actor's Character, as the Means of civilizing their surrounding Tribe: Therefore, till some extraordinary Change in Manners and Principles should ensue, the original Union established by Nature and Custom was of course maintained in GREECE. SOPHOCLES was the first on Record who quitted this honourable Employ: And He, only because his Voice was unequal to the Vastness of the Athenian Stage. That he quitted it on this Principle alone, appears from his Conduct on other Occasions: For he not only Sung his own Verses, but likewise led the Dance at a public Triumph[g].

27. "MUSICAL Contests were admitted as public Exercises in the Grecian States." For the Truth of This, we have the concurrent Evidence of many ancient Writers. That Union of Gymnastic and musical Exercises which took Place in the early Periods of the Greek Republics, hath by some Writers been regarded as unnatural: by all, as accidental. Thus a learned Author says,
"To these Gymnastic Exercises were added others of a quite different Nature [h]."
But by following this Establishment up to its first Principles, we have now found, that in Fact the Gymnastic Exercises were originally a Part of the musical [i], being no more than the improved Dance, which was a Branch of ancient Music. In Process of Time, as hath been proved, the Dance or Gymnastic Art was generally separated from the Melody and Song: But it is remarkable, that in all their public Games or Contests, from the earliest to the latest Periods, these several Branches of Music, either separate or in Union, composed the essential Parts of their public Exhibitions.

The learned STRABO hath left us the most particular Account of the Rise and Progress of the Pythian Games; which entirely coincides with the Principles here given[k]. "In ancient Times, there was a Contest of Musicians, who sung Paeans in Celebration of the God APOLLO. This was established at DELPHI, after the Crissaean War."—So far, we see, the musical Contest maintained its original Savage Form, without any Separation of the Dance.
"Afterwards, the Amphictyons, under EURYLOCHUS, instituted the equestrian and gymnastic Contest; appointing a Crown as the Conqueror's Reward: And these Games were called the Pythian [l]."
Here, we see, in a later Period, the Establishment assumed its political Form; a Separation ensued; the Dance was heightened into the Gymnastic Art, for the Reasons assigned above.

We have already seen the Form of this musical Contest, as described by STRABO[m]. We have observed, that other ancient Authors, with great Shew of Probability, deduce its Origin from APOLLO himself[n]. SCALIGER, speaking of the Rise of these Pythian Games, makes no Doubt of their having been instituted by APOLLO[o]. But not knowing the true Origin of the Gymnastic Art, as having originally made a Part of the musical, and supposing (according to the common System) that these Games were established as an imitative Memorial of the particular Action performed, he adds with great Candour,
"I wonder, considering that he killed the Python with an Arrow, that he did not institute a Contention of Archers, rather than Musicians [p]."
This Doubt, so candidly expressed, throws new Light upon the Question; and is a collateral Circumstance of Proof, that these Games had their Origin in the savage Song-Feast, which in aftertimes branched out into the Gymnastic Arts.

So much concerning the Rise and Progress of the Pythian Games; which sufficiently clears our Subject. As to the Origin and Progress of the Olympic Games, it is much hid in the Darkness of distant Ages. They are generally ascribed to the Idaean HERCULES, who is said to have given them the Name of Olympic. But if we attend to Arguments of Probability, arising from the Analogy of Names, we shall rather be led to attribute their Institution to the Olympian JUPITER; especially, as Tradition supports this Conjecture at least as strongly as the other. For PAUSANIAS informs us, that
"there are who say, that JUPITER contended for Empire with SATURN, in this very Place: Others affirm, that having vanquished the Titans, He (JUPITER) instituted these Games, in which others too are said to have been Conquerors; that APOLLO vanquished MERCURY in the Race, and overcame MARS at boxing [q]."
All this agrees so entirely with the Character and Contentions of savage Chieftains, as to create a strong Probability of the Truth of the Tradition. This we know, however, that Musical Contests made an essential Part of these magnificent Exhibitions; and that PINDAR sung his Odes, and was often crowned as Victor in these public Contests.

The Isthmian and Nemean Games, having been instituted in later Periods, when a Separation of the Dance had been already made, and consequently the Gymnastic Arts already established, we cannot properly draw any Conclusions from These, relative to the present Question.

The tragic Contests, which followed on the Improvement of that Species of Poetry, are too well known to need any particular Delineation. Let it suffice, that we have traced them up to their first rude Form and Origin, in the musical Contest at DELPHI, as described by STRABO[r]. They were re-established in their more improved State by CIMON, when that General brought the Remains of THESEUS to ATHENS. The three great tragic Bards, ESCHYLUS, SOPHOCLES, and EURIPIDES, all contended and were crowned by turns.

This general Establishment of musical Contests, which hath been so often held trifling and unaccountable, appears now to have been founded in true Policy and Wisdom. "For as the leading Articles of their Religion, Morals, and Polity, made a Part of their public Songs; so, public Contests of this Kind were justly regarded as the surest Means of keeping up an Emulation of a most useful Nature; and of strengthening the State, by inforcing the fundamental Principles of Society, in the most agreeable, most striking, and most effectual Manner."

28. "The Profession of Bard or Musician was held as very honourable, and of high Esteem." We have seen the Foundation of This, in the fifteenth Article of the present Section. For he was vested with a Kind of public Character; and if not an original Legislator, was at least a subordinate and useful Servant of the State: And as the Utility of his Profession was such as arose from Genius, personal Respect and Honour was the natural Consequence in a well ordered Republic. The Facts which support this Truth, with regard to ancient GREECE, are commonly known, from the Crowns, Triumphs, and other Marks of public and appointed Regard, bestowed on the Victors in the musical Contests.

29. "ODES and Hymns made a Part of their domestic Entertainment; and the Chiefs were proud to signalize themselves, by their Skill in Melody and Song."—This is generally known; and needs no particular Proof. It is introduced here, that it may be accounted for: Because it hath been held a Practice unworthy the Character of Legislators and Heroes, to be ambitious of singing and playing on the Lyre. But if we examine the Nature of the ancient Songs of GREECE, we shall find that the Performance of them was worthy of the highest Characters. It was usual for all who were at their Entertainments, first to sing together the Praises of the Gods[s]: Then they sung successively, one by one, holding a Branch of Myrtle in their Hand, which was sent round the Table[t]. In later Times, when the Lyre came more into Use, this Instrument was sent round instead of the Myrtle; and in this Period it was, that their Songs assumed the Name of Scolia [u].

The Songs were chiefly of the three great Classes, religious, political, and moral. Of the first Class, ATHENAEUS hath preserved no less than five: One to PALLAS, one to CERES, one to APOLLO, one to PAN, and one to all the tutelary Gods of ATHENS[w].

Of the second Class, the political, in which their Heroes were celebrated, though not advanced to the Rank of Gods, the same Author hath given us several; in which, AJAX, TELAMON, HARMODIUS, the Heroes who fell at LEIPSYDRION, ADMETUS, the Olympic Victors, and others, were celebrated at their private Entertainments[x].

Of the third or moral Class ATHENAEUS hath likewise transmitted to us a Collection. Of this Kind we find one upon the Vanity and Mischiefs of Riches, one upon Prudence, one upon the comparative Excellence of the Goods of Life; one upon Friendship, one upon the Choice of Friends, one upon false Friends; and a fine one of ARISTOTLE on the Force of Virtue, which may be said in some Measure to comprehend all the three Kinds, religious, political, and Moral. [y]

Such being the Nature of the old Grecian Songs, and the whole Nation having been prepared to perform and listen to them with Reverence by a correspondent Education; no Wonder that the highest Characters in the Commonwealth bore a Part in their Performance at private Entertainments: "For their Songs being enriched with the great and important Subjects relative to their public State, and being the established Vehicle of Religion, Morals, and Polity; nothing could be more suitable to a high Station in the Commonwealth, than a Proficiency in this sublime and legislative Art."

30. "When Music had attained to this State of relative Perfection, it was esteemed a necessary Accomptishment: And an Ignorance in this Art was regarded as a capital Defect." Of this we have an Instance, even in THEMISTOCLES himself, who was upbraided with his Ignorance in Music[z]. The whole Country of Cynaethe laboured under a parallel Reproach[a]: And all the enormous Crimes committed there, were attributed by the neighbouring States to the Neglect of Music.—What Wonder? For according to the Delineation here given of the ancient Greek Music, their Ignorance in this noble Art implied a general Deficiency in the three great Articles of a social Education, Religion, Morals, and Polity.

31. "The Genius of their Music varied along with their Manners." Of this Truth we have had abundant Proofs, in the Course of this Dissertation; where we have seen Music (in its ancient and inlarged Sense) emerge from the Rudeness of barbarous Life, and improve through the successive Periods of improving Manners. We shall soon see a parallel Decline of this noble Art, arising from an equivalent Cause: For Manners being the leading and "most essential Quality of Man, All his other Tastes and Acquirements naturally correspond with These; and accommodate themselves to his Manners, as to their original Cause."

32. "As every Change of Manners influenced their Music, so by a reciprocal Action, every considerable Change of Music influenced their Manners." The Facts which prove this, will be given in the thirty fourth Article. In the mean Time, the Reason is evident: For not only the Passion for Novelty and Change was immediately dangerous to the Stability of small Republics; but still farther, as Music was the established Vehicle of all the great Principles of Education, a Change in Music inevitably brought on a Change in These.

33. "There was a provident Community, of Principles uncommonly severe, which fixed the Subjects and Movements of Song and Dance, by Law." This provident Community was that of SPARTA. The Practice was not peculiar to this wise though barbarous Commonwealth. It was borrowed from CRETE; and came originally from EGYPT; where the same provident Institution had taken Place in earlier Ages.—In that great Fountain of ancient Polity, not only the Art of Music in its inlarged Sense, but even that of Painting, was fixed and made unalterable by Law[b]. PLATO, who informs us of This, gives a particular Detail of the musical Establishment, which sets the Principle in a clear Light, and corroborates what is here advanced.
"All their Songs and Dances are consecrated to the Gods: It is ordained, what Sacrifices shall be offered to each Deity, and what Songs and Choirs shall be appointed to each Sacrifice: But if any Person makes use of Hymns or Choirs in the Worship of the Gods, other than what is appointed by Law, the Priests and Magistrates expel him the Community[c]. "Hence (saith PLATO in another Place) "their Music is found to have continued uncorrupted, and the same, for thousands of Years[d]."
A Stroke of Polity, fatal indeed to Art, but excellent with Respect to the Stability and Duration of a State. This uncommon Effort of Egyptian Legislation the Spartan Lawgiver adopted from CRETE; and by this severe Establishment is said "three Times to have saved the State." Innovations were attempted by three different Musicians, TERPANDER, TIMOTHEUS, and PHRYNNIS[e]: And as the very Sentence of the Spartan Senate against one of these Incroachers on the severe Simplicity of the Commonwealth is yet preserved; it may not be disagreeable to the Reader, to present him with this curious Remnant of Antiquity.
"Whereas TIMOTHEUS the Milesian, coming into our City, and despising the ancient Music; rejecting also that Melody which ariseth from seven Strings; and setting off his Music by a Multiplicity of Strings, and a new Species of Melody, corrupts the Ears of our Youth; and instead of That which is legitimate and pure, corrupting the Enharmonic by new, various, and Chromatic Sounds; and being called to the Eleusinian Mysteries, did divulge the Secrets of that Institution; —It seemed good to the Senate and Rhetors, that TIMOTHEUS should be called to Account for these Proceedings; that he should be compelled to cut off the four superfluous Strings from his Lyre, leaving the seven ancient Tones; and that he be banished to a Distance from the City; that hence forward none may dare to introduce any new and dangerous Custom into SPARTA; lest the Honour of our musical Contests should be defiled[f]."

In this Edict, we see the jealous Spirit of a Republic, which could only subsist by a rigorous Simplicity of Manners, and an unalterable Obedience to its Laws. There hath been much ill-founded Ridicule thrown on the Spartans for this Decision: For if we consider the dangerous Effects of mere Innovation in small Republics, and the close Connexion between the Melody and the Subject in ancient Music, together with the early and continued Application of These to the Education of their Youth, we shall find, that in this Instance the Spartans only acted a cautious and consistent Part. Their Principle was, to admit no Change in Manners, and therefore no Change in Music. The designed Innovation of TIMOTHEUS, therefore, would have destroyed the first leading Principle, the very Genius of their Republic; and, consequently, must have been fatal to the Republic itself.

34. "In the Commonwealths which were of more libertine and relaxed Principles, and particularly in that of ATHENS, the Corruption of Manners brought on the Corruption of Music; and this Corruption of Music still farther corrupted Manners; the Musicians, Bards, or Poets, being the immediate Instruments of the Corruption." This mutual Influence of Manners and Music on each other hath been already explained in two preceding Articles[g]. And the Truth of these Reasonings is confirmed by Facts, which PLATO gives us at large, in the following most remarkable Passage.

"The People (of ATHENS) did not in former Times controul the Laws, but willingly obeyed them. I mean those Laws which were made concerning Music. For Music was then precisely distinguished into its several Kinds: One was appropriated to the Supplication and Praises of the Gods: These were called Hymns. Another Species was the lamenting or pathetic: A third was the Paean or Song of Triumph: A fourth was the Dithyrambic; and a fifth consisted in singing ancient Laws or Proverbs [h]. In These and other Subjects established by Law, it was not allowed to use one Kind of Melody instead of another: Each Kind had its particular Appropriation. The Power of deciding on These, and of condemning in Case of Disobedience, was not committed to the Hisses and foolish Clamours of the Multitude, as is now the Practice: Neither was the Liberty of intemperate Praise allowed to a noisy Croud: This Decision was left to Men distinguished by their Sense and Knowledge; and a general Silence was maintained, till they had heard the Conclusion of the Work. The young Men, their Governors, and all the People, were obedient to the Motions of a Wand. While this good Order was maintained, the Multitude willingly obeyed, nor dared to decide any thing in a tumultuous Manner. But in Course of Time, the Poets themselves were accessary to a fatal Change in Music: They wanted not Genius; but had no Regard to what was just and legitimate; running into Extravagance, and too much indulging the Vein of Pleasure. Hence they confounded all the several Kinds together; affirming that mere Taste and Pleasure, whether it were that of a good or a wicked Man, was the only Criterion of Music. In Consequence of this, they composed their Poems on the same Principle; and thus rendered the Multitude so bold and daring against the established Music, that they assumed to themselves the sole Right of deciding on it. Hence the Theatres began to be in Uproar, where formerly Silence had reigned: And thus the Privilege of judging fell from the Rulers of the State to the Dregs of the People. Had this Authority been assumed by the liberal Part of the City, no great Harm had followed: But now, from this corrupt Change in Music, a general Licentiousness of Opinion hath ensued.—The Consequence of this hath been, that we no longer are disposed to obey the Magistrate: Hence too, that other Evil flows, that we despise the Authority and Precepts of our Parents, and the Advice and Wisdom of Old Age. And as we are rising towards the Extreme of this Corruption, we now refuse Obedience to the Laws: And to fill up the Measure of our Iniquities, all Religion and mutual Faith are lost among us[i]."

Such is the Picture which the philosophic PLATO hath lest of his Time and Country: A Picture too well confirmed by the concurrent Testimony of XENOPHON[k], in whose Accounts, together with those of PLUTARCH[l], we shall soon see a particular Delineation of the Progress of this Evil, which PLATO here describes in general Terms.

Let us conclude this Article with the Explanation of Subjects which hath not hitherto been clearly treated of, for want of a just Idea of the ancient Greek Music. The learned VOSSIUS thus expresseth himself:
"It is a doubtful Point, whether we should say, that on a Change of Music, a Change of Manners ensues; or that a Change of Manners produceth a Change in Music: The first was DAMON's Opinion which PLATO follows: But CICERO leans to the latter System[m]."
On this Passage it is necessary first to observe, that both VOSSIUS and CICERO use the Word Music in its modern Acceptation, as implying mere Melody. No Wonder, therefore, if they had but an imperfect Comprehension of PLATO's Argument. Secondly, On the Principles delivered in this Dissertation, it will appear, that PLATO was of both these Opinions, "That Manners influenced Music, and Music influenced Manners." In the Passage which VOSSIUS refers to, where the Opinion of DAMON is delivered, PLATO speaks of a Change in Music as influencing the Manners of a Commonwealth: This Change he regards, as opening a Door for Confusion and Novelty in an Affair of public Consequence; similar to a Neglect of Reverence to old Men, Parents, or Magistrates, or any other ancient and approved Customs that were connected with the public Welfare: and in this Respect, the Influence of the Greek Music, as now explained, on the Manners of Mankind is too evident to need any farther Proof.

On the other Hand, it is no less evident, that PLATO was of Opinion, that a Corruption of Manners must corrupt Music. He hath shewn us in the Passage given above, that the Boldness and Degeneracy of the People of ATHENS first allured the Poets to debase their Art, by singing such Poems as were accommodated to their vicious Taste founded on their vicious Manners: That as Manners had thus debased Music, so this corrupt Music by a natural Reaction still farther corrupted Manners, and compleated the Destruction of Religion and Virtue.

35. "In Consequence of these Progressions, a gradual and total Separation of the Bard's complex Character ensued. The Leader of the State no longer was ambitious of the musical Art; nor the Poet descended to the Profession of Lyrist, Singer, or Actor: Because these Professions, which in the earliest Ages had been the Means of inculcating every thing laudable and great, grew by Degrees of less and less Importance; and being at length perverted to the contrary Purposes, were in the End disdained by the wise and virtuous." These gradual Separations of the several Branches of the Bard's complex Office, and of Melody, Dance, and Song, are not incurious in their Progression.—We have seen, that in the earliest Ages, the Gods or Legislators themselves assumed the full and complex Character; that they were Poets, Lyrists, Singers and Dancers. The Dance seems first to have been sepated from the Melody and Song, being soon heightened into the Gymnastic Art. The Legislators by Degrees quitted the several Parts of the Musician's Character; a Separation which naturally arose from decreasing Enthusiasm, and increasing Cares of Government. As LINUS and ORPHEUS were the first, so PYTHAGORAS and SOLON seem to have been the last, who composed Songs and sung them to the surrounding People.—The Profession of Bard or Musician was now become a secondary, but respectable Character, as being an Assistant to the Magistrate, and an useful Servant of the State, a Teacher of Religion and Morals. The Bard sung and played always, and led the Dance occasionally: But when HOMER's Poems had eclipsed every other Epic Strain, another Separation followed: The Rhapsodists arose in GREECE: They sung HOMER's Poems to large surrounding Audiences: They were strictly his Representatives, who now gave his Poems to the People, with that poetic Fire and Rapture which the Bard himself had possessed and exerted: For in PLATO's Ion, the Rhapsodist says, that "when he sings a piteous Tale, his Eyes swim with Tears; when he sings a terrible Event, his Heart beats, and his Hair stands erect." In the earlier Ages of Tragedy, the Poet both acted and sung: But in the Time of SOPHOCLES, another Separation, parallel to the last, ensued; and the Province of Actor began to be distinct from that of Poet.—Soon after this Time, we find in the Passage quoted above from PLATO, that a Separation of the whole Art of Music from its proper Ends took Place at ATHENS: Its salutary Effects were now lost: and as at this Period the Passion for illiberal Comedy came on, so we learn from the concurrent Testimony of PLUTARCH[n] and other Authors[o], that the Exhibition of Tragedy at ATHENS had now degenerated into mere Pomp and Shew, equally expensive and pernicious. The same respectable Ancient assures us, that the Dance, which had formerly been separated from the Song for warlike Purposes, was now corrupted by the Mimes in a very extraordinary Degree[p]. The Consequence of these Corruptions soon shewed themselves in a subsequent Period: Hence, in the Age of PLATO, another Separation had come on: For now the complex Name of 〈 in non-Latin alphabet 〉 or Bard was disused; and that of 〈 in non-Latin alphabet 〉 or Poet had assumed its Place: And as the Legislator's Office had formerly been separated from the Bard's; so now, in Consequence of this Corruption, and as a natural Effect of Music's sinking into a mere Amusement, the Poet's Character became quite distinct from that of Chorist, Actor, or Dancer, and these distinct from each other[q]. For the moral End being now forgot, and nothing but Amusement attended to, a higher Proficiency in these Arts became necessary, and consequently a more severe Application to each.—We must now go back a little, to catch the Rise of another Separation: An Inroad was made into the Muse's Territories: The public musical Contentions admitted Prose, as an Aspirant to the Palm originally due to Poetry and Song. HERODOTUS was the first who was crowned for writing and speaking (or more properly for singing) History at the public Contest[r]: And it is remarkable, that although He brought down the Song to the prosaic Manner, yet still his Work retained the fabulous Air, as well as the Appellation of the Muses: All which Circumstances, considered in Union, may lead us to the true poetic and fabling Genius of his celebrated History. THUCIDIDES hints at this Practice in the Beginning of his noble Work[s]: Declaring, that he means it not as a mere Exercise for the public Contest; but as a valuable Possession for After-Ages. In later Times it became a common Practice for Sophists and Rhetoricians to contend in Prose, at the Olympic Games, for the Crown of Glory[t].—The Delphic Oracles kept Pace with these progressive Separations: In the early Periods they were delivered by the Pythia, with frantic Gesture (Dance) Melody, and Rythm [u]. In a succeeding Age, we find the Pythia hath quitted her complex Character; Poets are appointed for the Service of the Temple, and turn the Oracles into Verse: But in the later Times, this Practice had also ceased; and the Oracles were given in plain Prose[w].—In the Days of ARISTOTLE, a general and almost a total Separation had taken Place. The Art of playing on the Lyre, which had been the Glory of their early Legislators, was now regarded as a Reproach to a young King: The Art of singing, which had once been a distinguishing Attribute of their Gods, was now reckoned an ignoble Practice for a Man [x]: The Chorus of some of their Dramas gave Way to Melody merely instrumental, which now first assumed the Name of Music: The Rhapsodists had, about this Time, begun to quit a Part of Their Profession; and instead of singing, often recited HOMER's Poems[y]. To conclude all, the great Master-Critic and Politician of GREECE, viewing Music in that corrupt State which it held in his own Time, though he still asserts its Use in private Education, gives up the public Musical Exhibitions, as only fit to gratify the Taste of an abandoned people[z]. But in the later Period when PLUTARCH writ, its Utility had vanished even in private Life: For He declares, that Music, which had formerly been so important and salutary in its Effects, was now become a mere Amusement of the Theatre, and no longer applied to the Education of Youth[a].

36. "Hence the Power, the Dignity, and Utility of Music sunk into a general Corruption and Contempt." This is a Consequence too manifest to need a Proof.—And thus we have attempted to unfold the Nature, Rise, Progress, Power, Perfection, and Corruption, of MUSIC in ancient GREECE; from the earliest Times, when it was the Glory of their Legislators, down to the later Periods when it became the Employment of their Slaves.

Notes

a

See Sect. iv. Art. 14.

↵

b

De Leg. l. ii.

↵

c

In Protag.

↵

d

De Saltatione.

↵

e

De Nat. Art. l. i. c. 3.

↵

f

WEST's Transl. of PINDAR's Odes: Pref.

↵

g

Enquiry into the Life and Writings of HOMER.

↵

h

SUIDAS, on the Lesbian Song.

↵

i

HES. THEOG.

↵

k

Odyss.

↵

l

See below, Sect. viii.

↵

m

De Musica

↵

n

L. ix.

↵

o

In EUTERPE.

↵

p

L. i. c. 5.

↵

q

Diss. prefixed to his Trans. of the Iliad.

↵

r

Poet. c. iv.

↵

s

Life of HOMER, Sect. vii, viii.

↵

t

THEOG. Exord. ver. 23, &c.

↵

u

PLUTARCH de Musica

↵

w

Sur les Poet D' Arist. p. 47.

↵

x

Theat. des Grecs. tom. vi. p. 310, &c.

↵

y

MINOS.

↵

z

See VOSSIUS Poët. l. ii. c. 12.

↵

a

STRABO, l. ix.

↵

b

See J. SCALIGER Poët. l. i. c. 23.

↵

c

JUL. POLL. Onomast. l. iv. c. 10.

↵

d

See above, Sect. ii.

↵

e

HOR. Ep. ad PIS.—DIOG. LAERT. SOLON.

↵

f

The most learned BENTLEY fell into the common System, with Regard to the Rise of Tragedy: Attempting to prove, that THESPIS was its Inventor. Thus, for Want of the true Data, and from an Unacquaintance with Man in his savage State, this great Critic hath thrown out a Chain of Errors: While, if he had been led up to the true Fountains of Information, he would probably have caught the various Progressions of Poetry at a Glance.

Mr. BOYLE, in his Examination of BENTLEY's Dissertation, seems once or twice to get out of the common Track of Criticism on his Subject: Yet, for Want of knowing the true Origin of Tragedy, as founded in human Nature, he throws little or no Light upon the Question. He insists, that Tragedy is more ancient than THESPIS, on the Authority of PLATO and LAERTIUS: But he falls again into the vulgar Track, in affirming, that till the Time of THESPIS, the Episode had no Existence, but only the Choir. In Confutation of which Opinion we have now shewn, that the full Form of savage Tragedy had appeared many Ages before, in the first Institution of the Pythian Games.

↵

g

Above, Sect. ii.

↵

h

Ibid.

↵

i

Characteristic, vol. i. p. 197.

↵

k
This Opinion receives a strong Confirmation from the following Circumstance, that in the Greek Tragedies which have come down to us, whenever there is a single Interlocutor on the Stage, the Choir frequently maintains a Dialogue with him.
↵

l

RECTIUS ILIACOS, &c.

↵

m

In Vita HOMERI.

↵

n

Ibid.

↵

o

Poët. l. i. c. 5.

↵

p

See Sect. ii.

↵

q

ATHENAEUS Deip. l. i.

↵

r

Sur ARISTOTE, p. 85, &c.

↵

s

Ibid.

↵

t

Reflec. Crit. Part iii. c. 4, &c.

↵

u

ARISTOT. Prob. 19.

↵

w

Poët. c. 26.

↵

x

Reflec. Part. iii. c. 13.

↵

y

Poët. c. 6.

↵

z

L. xi. Art. 6.

↵

a

Preface to SAMSON AGONISTES.

↵

b

Poët. d' Arist.

↵

c

Theat. des Grecs, tom. i. p. 85.

↵

d

Sect. viii.

↵

e

See LAFITAU, and other Travellers.

↵

f

De Saltatione.

↵

g

ATHEN. Deipn. l. i.

↵

h

POTTER Arch. Graec.

↵

i

See above, Art. 19.

↵

k

Ibid.

↵

l

STRABO, ib.

↵

m

Art. 19.

↵

n

Ibid.

↵

o

Poet. l. i. c. 23.

↵

p

Ibid

↵

q

PAUSANIAS, l. v.

↵

r

See above, Art. 19.

↵

s

PLUT. Symp. l. i. q. i. ATHEN. Deip. l. xv.

↵

t

PLUT. ib.

↵

u

PLUT. ib. ATHEN. ib.

↵

w

ATHEN. ib.

↵

x

ATHEN. ib.

↵

y

ATHEN. ib.

↵

z

CICERO Tusc. l. i.

↵

a

ATHENAEUS, POLYBIUS.

↵

b

PLATO de Legibus, l. ii.

↵

c

De Leg. l. vii.

↵

d

Ibid. l. ii.

↵

e

ATHEN. Deip. l. xiv.

↵

f

ARATI PHAENOMENA, Ed. Oxon. at the End of which this Edict is preserved.

↵

g

Art. 31, 32.

↵

h

See Art. 6.

↵

i

De Legibus, l. iii.

↵

k

See below, Sect. vii. Art. 5.

↵

l

See ib.

↵

m

VOSSIUS.

↵

n

Sympos. l. vii.

↵

o

JUSTIN, l. vi.

↵

p

Sympos. l. ix. qu. 15.

↵

q

PLATO de Repub. l. ii.

↵

r

LUCIAN, HERODOTUS.

↵

s

L. i. c. 6.

↵

t

LUCIAN de Salt.

↵

u

Above, Art. 8.

↵

w

STRABO, l. ix. CICERO de Div. l. ii.

↵

x

ARISTOT. Polit. l. viii. c. 5.

↵

y

ARISTOT. Poet. c. 26.

↵

z

Polit. l. viii. c. 7.

↵

a

De Musica.

↵

SECT. VII. Of the Origin and Progression of Comedy in ancient GREECE.

THERE is one considerable Branch of the MUSIC of antient GREECE, I mean COMEDY, the Rise and Progression of which, together with their Causes, have been designedly passed in Silence: Because, if this Disquisition had been mixed with what hath been delivered concerning the Ode, Epic, and Tragedy, the Chain of Argument would have been broken; and that Order and Clearness destroyed, which it was necessary to preserve as much as possible in this involved Subject.

Let us now proceed, therefore, to reduce the Origin and Progress of the Greek Comedy to their natural and essential Causes.—To point out the Rise of this Poem from savage Life; to unfold the true Reasons why it was so late in taking its legitimate Form in GREECE; and then to explain, on what Foundation the old, middle, and new Comedy, appeared in their respective Successions.

In the Description of the savage Song Feasts, given above from LAFITAU, it appears that these warlike Tribes
"are still quicker at rallying, than at praising, each other. He who dances, takes whomsoever he pleaseth by the Hand; and brings him forth into the midst of the Assembly; to which he yields without Resistance. Mean while the Dancer continued to sing, and sometimes in his Song, and sometimes in the intervals, he throws his Sarcasms on the Patient, who hears him without Reply.—At every bon Mot, loud Peals of Laughter arise along the Galleries, who animate this Sport, and often oblige the Patient to cover his Head in his Mantle[b]."

Now, if we again suppose, as we have already done, that the Use of Letters should come among these savage Tribes, and be cultivated with that spirit which is natural to a free and active People; from this Picture, as given by LAFITAU, the following Consequences would naturally arise.

1. "Their casual Strokes of Raillery would improve into written Invectives, which would occasionally be sung by their sarcastic Choirs." Because nothing could be more alluring to a People of this satyric Turn, than such a Repository of Wit and Raillery; which, like a Quiver stored with the keenest Arrows, would be ever at Hand, ready to be discharged against the occasional Objects of their Resentment.

2. "Narrative or Epic Poems of the invective or comic Kind would likewise arise, and be occasionally sung at their public Festivals." For the Spirit of Sarcasm being once awakened, it would of course proceed from occasional Strokes of Raillery, to the Recital of ridiculous Actions, for the Gratification and Entertainment of a lively and satyric People.

3. "From these two Species (the choral and narrative united) the first rude Outline of Comedy would arise." We have seen how Tragedy arose from parallel Causes: And These would naturally take Place in producing Comedy. For the Narrative, already animated by Action, would easily slide into dramatic Representation, as in the Rise of Tragedy; and the correspondent Peals of Laughter (by the Assistance of written Invectives) would assume the Form of a comic Choir.

4. "While the salutary Principles of Legislation should prevail, Comedy thus formed, would be little encouraged by the Leaders of the State." For the grander Kinds of Poetry, already treated of, containing the Principles of Religion, Polity, and Morals, would draw their main Attention; while their Comedy, being no more than the Vehicle of Ridicule and vague Invective, would (at most) be only endured by prudent Legislators.

5. "A provident Community, of Principles uncommonly severe, might even banish this Species of Poem, as destructive to their State." Because nothing could be more dangerous to a Commonwealth established on Severity of Manners, than the unbounded Licentiousness of Sentiment and Speech, which this Comedy must tend to produce.

6. "If in a State of more relaxed Principles, where such Comedy had been tolerated, a general Corruption of Manners should take Place among the People; and if by any means, such a corrupt People should overpower the Magistrates, and assume to themselves the Reins of Government; then, this Species of Comedy would rise into Credit, and be publicly established." For the upright Leaders of the State being deposed, and the Creatures of such a corrupt People being seated in their Place, that Comedy would now be authorized by Law, which was most accommodated to the Taste and Vices of such a corrupt People.

7. "The Ridicule and Invective of their Comedy, thus established, would be pointed chiefly against those Magistrates, or private Men, whose Qualities would be hateful to the debauched Populace." For Corruption being now established as it were by Law; that is, by the Voice of a degenerate People which stood in the Place of Law; the Poets would find it necessary to gratify the People's Vices as the surest Road to Success; and the most certain Road to this must be by the Ridicule of Virtue.

8. "If a Tyranny should suddenly erect itself on the Ruins of such a People, it would by its Authority silence this Species of Comedy."—For every thing hateful to the People being now the established Subject of the comic Muse, the Tyrants, who had taken away the public Liberty, must expect to become the Subject of Comedy, if permitted to revel in its former Licentiousness.

9. "The Poets would probably find a Subterfuge, for the Gratification of the People; and continue to represent real Characters under feigned Names." For this would be the only Species of Comedy they could pursue with a Probability of Success: And this might be continued without much Danger, if they were cautious with Respect to the Persons of the Tyrants.

10. "If a great Conqueror should arise, and, by subduing a Variety of Nations, should open a Communication between such a State and others of more luxurious and refined Manners, this second Species of Comedy would naturally receive a Polish; and, instead of the indirect personal Invective, would assume the more delicate Form of general Raillery, and become a Picture of human Life."—For one of the first Efforts of a growing Politeness is to avoid all Occasions of Offence; and this, without Respect to any Consequences, either good or bad, which may affect the Public; but merely from a selfish Regard to the Opinion of Elegance, and the Pride of Urbanity.

In Support of these Deductions, let us now endeavour to realize them; by shewing, that such Consequences did arise in GREECE: And in the Course of this Argument, the Writer hopes he shall be able to disclose the true Causes of the Progression of the ancient Comedy, so different from that of the higher Kinds of Poetic Composition.

1. "In the earliest Periods of the Greek States, their Casual Strokes of Raillery were improved into written Invectives, and were occasionally sung by their sarcastic Choirs." These written Invectives were in Fact so early, that all the Greek Writers with one Voice confess themselves altogether ignorant of their Origin. Their first Appearance is ascribed by different Authors to different Nations[c]; and no Wonder if Evidence be wanting in Support of each Pretence, when it is probable, that these sarcastic Choirs arose in many of the Greek States nearly at the same Time; that is, in or about the first Periods of Civilization and Letters. For we have seen, that such a Period would naturally produce them: "Because nothing could be more alluring to a People of the satyric Turn, than such a Repository of Raillery and Sarcasm." However, we must not omit to observe, that their Traditions are much more accommodated to Nature and Probability on this Subject, than on the Rise of the tragic Choir, which they seem generally to have attributed to the single Practice of the drunken Votaries of BACCHUS.

2. "Narrative or Epic Poems of the invective or comic Kind arose, and were occasionally sung at their public Festivals." For the truth of this Fact we have the Testimony of ARISTOTLE, who tells us,
"that although we know not the names either of these Poems or their Authors; yet there is Reason to believe that many had been written before HOMER; and that his Margites brought this Species to its Perfection in the same Manner as the Iliad and Odyssey had compleated the Form of the Epic Poem[d]."
That HOMER, as well as other Bards of the early Periods, sung their comic Poems at the festal Solemnities, needs no farther Proof here.

3. "From these two Species (the Choral and Narrative united) the first rude Outline of Comedy arose." The Narrative, already animated by a lively Action, did easily slide into dramatic Representation; and the correspondent Peals of Laughter excited among the surrounding Audience, by means of written Invectives, assumed the Form of the comic Choir. In this Point, we have again to contend with the general Body of Critics, from ARISTOTLE down to the present Times, who all concur in ascribing the Rise of the legitimate Form of Comedy to HOMER's Margites; in the same Manner as they have ascribed the Rise of Tragedy to the Iliad and Odyssey. But notwithstanding this general Concurrence of Opinion, it seems evident that the Progression of Comedy was founded in the same Causes with that of Tragedy: That they both naturally arose in the Course of Things, from an Union of the Narration and the Choir, without any Respect had to HOMER's Poems. The same Arguments that have proved the one, will confirm the other. We see the natural Seeds of Comedy and scenic Representation in savage Life, no less than those of Tragedy[e]: Nay, even in the earliest Periods of GREECE itself, we shall find the first rude Form of Comedy, arising from an Union of dramatic Representation and a Choir, long before HOMER existed. In the Account already cited from STRABO and others, of the musical Contest established at DELPHI, which in Time branched out into the Pythian Games, as we have found the first rude Form of Tragedy; so now we shall find likewise a faint Outline of the first rude Form of Comedy. For it appears, that APOLLO with his Choir, and his Worshipers in after-times, not only represented his Victory, and sung a Paean in Consequence of it (in which Union we see the first rude Form of Tragedy) but likewise, in the Way of Ridicule they represented the Hisses of the dying Serpent, and sung an Invective or Sarcasm on his overthrow[f]. For so I understand the Word 〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉, used by these ancient Writers on this Occasion; as implying only Sarcastic Verses, and not Iambics in the strict Sense; which are generally believed to have been first formed by ARCHILOCHUS, many Ages after the Fact here alluded to. And hence the true Reason appears, why the Greek Comedy was written in Verse; because it was originally sung.—Now, in this Union of comic Representation and a satyrical Choir, we see the genuine, though imperfect and rude Form of the old Greek Comedy.

4. "While the salutary Principles of Legislation prevailed, Comedy, thus formed, was little encouraged by the Leaders of the State." The Authority of ARISTOTLE is clear and decisive on this Point. "Comedy remained obscure and unknown, because little Regard was had to it from the Beginning; the Magistrate being late in appointing it a Choir." He assigns no Reason for this Conduct of the Magistrate: But a sufficient Reason appears to be given above. "For the grander Kinds of Poetry containing the Principles of Religion, Polity, and Morals, drew their main Attention; while their Comedy, being no more than the Vehicle of Ridicule and vague Invective, was only endured by prudent Legislators." The Truth of this Article will receive Confirmation from the two succeeding.

5. "There was a provident Community, of Principles uncommonly severe, which even banished this Species of Poem, as destructive to their State." We have already seen the Providence and Caution of the Spartans in regulating their Music for the Security of their Republic[g]. We shall now see the admirable Consistency of their Conduct, with Respect to the very Beginnings of Comedy, when it first dawned among them in the Verses of ARCHILOCHUS.
"The Spartans ordered the Writings of ARCHILOCHUS to be banished from their City, because they thought the Perusal of them was dangerous to the Purity of Manners. They did not chuse that the Minds of their Children should be tainted with them, lest they should more hurt their Morals, than sharpen their Wit[h]."

6. "In the Republic of ATHENS, which was of more relaxed Principles, where this Comedy had been tolerated, a general Corruption of Manners took Place among the People: The corrupt People overpowered the Magistrates; assumed to themselves the Reins of Government, and on this Foundation the old Comedy arose into Credit, had a Choir appointed by the Magistrate, and was publicly established." This was the natural and necessary Consequence of the Power of a corrupt People. For the upright Magistrates being deposed, and the Creatures of this corrupt People seated in their Place, that Comedy was now authorized by Law, which was most accommodated to the Vices and Taste of a dissolute Populace.

These Causes clearly account for the Establishment of the old Comedy, at that very Period when it took Place. But as other Causes, void of all Foundation, have been assigned for this, by various Authors; it will be necessary to prove the Truth of the Causes here alledged, from the Authority of the Greek Writers.

PLATO, in the Passage cited above[k], gives us the History of the Corruption of the People, and of Music; but in such general Terms, that, without some farther Evidence, it is impossible clearly to fix the Time when, or the Means by which, this Change was brought about, so fatal to the Republic of Athens. It happens fortunately, that PLUTARCH hath recorded the Event with such Particularity of Circumstance, as leaves no Room to doubt on this Subject. PERICLES was the Man, who for his own private Ends of Popularity, effected this ruinous Change: For
"By giving the People the Plunder and Possession of the Lands taken from the Enemy, and by squandering the public Monies (formerly reserved for the Uses of War) in SHEWS and PLAYS for their Entertainment, and by Grants of Largesses and Pensions, he changed them from a sober, modest, and thrifty People, who maintained themselves by their own Labour, into a riotous and debauched Multitude; and thus roused them into sedition against the Court of the Areopagus [l]."
From this Passage it is evident, that PERICLES not only debauched the Athenian People; but that the Exhibition of Plays and Shews was one of the very Engines of Corruption
[m]
.—The concurrent Testimony of XENOPHON clears the whole Affair; and gives as a full View of the Consequences of this general Corruption, so far as the old Comedy is concerned. For in his Discourse on the Athenian Republic, he informs us, 1st, That, at the Period we have now fixed, "The Body of the People expelled All Good Men from the Magistracy, and advanced wicked Men in their Places." 2dly, That "they took the Gymnastic and Musical Exercises out of the Hands of the better Sort; and gave the Practice and Profit of them to the Dregs of the People." 3dly, That
"in their Comedies they suffered none to be ridiculed, but those of higher Station and Worth; unless one of their own Rank happened to distinguish himself by something praise worthy; and then He became the Object of theatrical Derision[n]."

These Evidences are so clear and precise, as to leave no Foundation of a Doubt on this Subject.

Lord SHAFTESBURY hath greatly mistaken this Matter in his Advice to an Author [o]; and is as careless or defective here in the Circumstance of Erudition, as at other times in that of Reasoning. He seems in one Passage to attribute the late Cultivation and Establishment of the old Comedy to its being of more difficult Composition than Tragedy: "In this Part (Tragedy) the Poets succeeded sooner than in Comedy, or the facetious Kind; as it was natural indeed to suppose, since this was in reality the easiest (easier) Manner of the two." This is deciding a doubtful Point by a mere Affirmation: For the comparative Difficulty of these two Kinds hath been treated at large by a learned and most judicious Writer, who after a candid and profound Discussion of the Question, thinks it best to leave it undecided[p]. The noble Writer, next, seems to attribute the late Cultivation of Comedy to "the Spirit of literary Criticism, which in the Nature of things could not arise, till it had Materials to work on; and This he supposeth to have been the false Sublime of their Tragedies, which were often parodied in the old Comedy."—But neither can this Cause be sufficient to account for the Effect; because it appears that the best Men, as well as the best Tragedies, were parodied or ridiculed more commonly than the worst. Of this, the Fate of SOCRATES may stand as a convincing Proof. This Fact could not entirely escape the Notice of the noble Writer; for he acknowledges, that
"even this Remedy itself was found to turn into a Disease [r]."
But we have already proved, that it was a Disease even on its first Appearance. In a Word, the Authorities given above, in Support of the true Causes of the Cultivation and Establishment of the old Greek Comedy at ATHENS, contain the clearest Proof that the noble Writer's Deductions on this Subject are specious, but not solid; and that he discovers but little of what he seems to value so much, "a Comprehension of ancient Manners and ancient History."—But, what is odd enough, after having separately assigned these fictitious Causes as being each the Foundation on which the old Comedy arose and was established, He at length glances accidentally upon the true one: Yet manifestly without any particular Knowledge of the Facts which support it.
"According to this Homerical Lineage of Poetry, Comedy would naturally prove the Drama of latest Birth. For though ARISTOTLE cites HOMER's Margites as analogous to Comedy, yet the Iliad and Odyssey, in which the heroic Style prevails, having been ever highest in Esteem, were likeliest to be first wrought and cultivated [s]."
We may conclude, then, upon the Authority of the three great Ancients cited above, that "the Cultivation and Establishment of the old Greek Comedy arose from the united Corruption and Power of the Athenian People."

7. "The Ridicule and Invective of their Comedy, thus established, was pointed chiefly against those Magistrates or private Men, whose Qualities were hateful to the debauched Populace." For the Proof of this, the Reader is referred to the Passages already cited from PLATO, and XENOPHON: And on this Solution, the Fate of SOCRATES is clearly accounted for. Nor could any thing be more natural, if the Causes here assigned for the Establishment of the old Comedy be true. "For Corruption being now established, as it were, by Law: that is, by the Voice of a degenerate People, which stood in the Place of Law; the Poets found it necessary to gratify the People's Vices, as the surest Road to Success; and the only Road to this, was now by the Ridicule of Virtue."

8. "A Tyranny suddenly erected itself on the Ruins of the corrupt Athenian People, and at once silenced this Species of Comedy." This Event happened on the taking of ATHENS by LYSANDER; and thro' the Authority of the thirty Tyrants whom he established there. These Oppressors did That from Fear, which upright Magistrates would have done from Virtue. The plain Reason hath been assigned above: "Because every thing hateful to the People being now the established Subject of the comic Muse, the Tyrants who had destroyed the public Liberty, must expect to become the Subject of Comedy, if permitted to revel in its former Licentiousness." Here again the noble Author of the Characteristics seems to assign a fictitious Cause for this Event, drawn from his own Conjectures, instead of History. "Nothing could have been the Cause of this gradual Reform in the Commonwealth of Wit, beside the real Reform of Taste and Humour in the Commonwealth or Government itself."—For, saith he,
"it little concerned the Foreigners in Power (the thirty Tyrants) after what Manner those Citizens treated one another in their Comedies; or what sort of Wit or Humour they made Choice of, for their ordinary Diversions[t]."
It can hardly be necessary to point out, in what Circumstance this Reasoning is defective. Had the private Citizens buffooned each other only in their Comedies, the Thirty Tyrants would indeed have had little to fear: But as it is evident, that the public Magistrates, and their Conduct, had been the standing Objects of theatrical Ridicule, it certainly much concerned these Foreigners in Power, to prevent that sarcastic Representation of their oppressive Government, which they must necessarily expect from the keen Spirit of an exasperated and licentious People. The noble Writer endeavours to confirm his Opinion by a parallel Instance drawn from the Roman Commonwealth; where a similar Prohibition took Place with regard to the Atellane Fables, at a Time, when no Effects of foreign
"Power, or of a home Tyranny can be pretended[u]."
But this Instance, joyned to the Evidences already given on the Subject, instead of confirming, overturns his System: It only proves what was alledged above, that the Athenian Tyrants did that from Fear, which the Roman Magistrates did from Virtue.

9. "The Poets found a Subterfuge, for the Gratification of the People; and continued to represent real Characters under feigned Names." Thus the middle Comedy was naturally established. For this was the only Species which they could now pursue with any Probability of Success: And this was continued without much Danger, as we find they were cautious with Respect to the Persons of the Tyrants.—That such was the true Origin of this Change in the Character of the Greek Comedy, appears farther from the two following Considerations. First, there is not the least Reason to believe the Athenian People were at all changed from their coarse Manners and profligate Character, at the Time when the old Comedy was silenced: And secondly, by the Accounts left concerning the Genius of the middle Comedy, it appears, that it was in all Respects as illiberal and buffooning, in its Beginnings as the old Comedy had been; the single Circumstance of nominal Designation only accepted.

10. "A great Conqueror arose: And, by subduing a Variety of Nations, opened a Communication between the Commonwealth of ATHENS, and the eastern Kingdoms which were of more luxurious and refined Manners: On this Event, the second or middle Species of Comedy naturally received a Polish; and, laying aside the indirect personal Invective, assumed the more delicate Form of general Raillery; and became a Picture of human Life." The learned Reader will easily see, that ALEXANDER the Great is the Conqueror here alluded to: in his Reign it was, and not till that late Period, that the middle Comedy was polished into the new. This was the natural Effect of that Politeness, which was introduced at ATHENS by a frequent and familiar Commerce with the effeminate Nations of the East. Till then, although the Athenians justly boasted a Superiority in the Arts, yet in their Converse and Treatment of each other, the concurrent Authority of ancient Historians, as well as the more certain Testimony of their own remaining Comedies, assure us, that they were of an illiberal and buffooning Turn. But no sooner were the Asiatic Luxuries and Refinements brought to ATHENS, by the Conquests of ALEXANDER, than their coarse Manners melted gradually into false Politeness and Effeminacy. Now, "one of the first Effects of a growing Politeness, is to avoid all Occasions of Offence; and this, without Respect to any Consequences, either good or bad, which may affect the Public; but merely from a selfish Regard to the Opinion of Elegance, and the Pride of Urbanity."

This Reasoning coincides in all Respects with the last Progression of Comedy at ATHENS: And those Writers, as Lord SHAFTESBURY and the Author of the Life of HOMER, who have attempted to resolve the Establishment of the new Comedy into a Reform or Improvement of Manners, in a virtuous Sense, have mistaken Shadows for Realities, and confounded Decency with Virtue. For it is certain, that both private and public Virtue were at the lowest Ebb, while Comedy was assuming its new and finished Form. This we are assured of by the concurrent Testimony of PLUTARCH, JUSTIN, and other ancient Writers: Even so far were the Athenians from regarding the public Welfare or Defence of their Country, that it was made a capital Crime for any Man to propose the Reestablishment of their Militia, or the Application of the public Funds to its Maintenance[w]. Their Vices therefore were not lessening, but refining: And the Idea of Decency was sliding in, to supplant the rougher Appearances of Virtue. We know a neighbour Nation, in which parallel Effects prevail: a Nation who are too generally "licentious in private Morals, though in public Conduct decent:" And it is remarkable, that from this Refinement in Vices, a Species of Manners and of Comedy there prevails, altogether similar to those of the later Greeks. For while their private Conversation abounds with Irreligion, Immorality, and Obscenity, nothing is admitted on their Stage, but what is consistent with Piety, good Morals, and good Breeding.

Notes

b

See above, Sect. ii.

↵

c

See VOSSIUS Inst. Poët. l. ii. c. 23.

↵

d

Poët. c. 4.

↵

e

See above, Sect. ii.

↵

f

See the Authors cited above, Sect. v. Art. 16.

↵

g

See above.

↵

h

VELL. Patere. l. vi. c. 3.

—In after Times, when the severe Manners and the Glory of this Republic sunk together, we find its Conduct altogether correspondent with these Principles. The Mimes, the most dissolute Species of Comedy, were then admitted. See SUIDAS, ATHENAEUS, and other Authors of the later Periods.
↵

k

See Sect. v. Art. 34.

↵

l

In Pericle.

↵

m
Thus CICERO speaks of the old Greek Comedy.—
"Esto: populares Homines, improbos, in Rempublicam seditiosos, Cleonem, Cleophontem, Hyperbolum laesit:—Patiamur:—Sed PERICLEM, cum jam suae Civitati maxima Auctoritate plurimos annos Domi et Bello praefuisset, violari Versibus, et eos agi in Scena, non plus decuit, quam si Plautus noster voluisset, aut Naevius, P. et Cn. Scipioni, aut Caecilius M. Catoni, maledicere." Ex Frag. CIC. de Rep. l. iv.
—Where, we may observe, the Judgment of CICERO is false concerning PERICLES: As it appears, that he was the first Corrupter of the People: And it seems to have been a just Punishment, that he was lashed by that illiberal Comedy, which His own Influence first let in upon the State.

↵

n

XENOPHON de Rep. ATHEN.

↵

o

Characteristics, vol. i.

↵

p

BRUMOY Theatre des Grecs, tom. vi.

—This Question hath indeed been said, by a learned Writer, to admit of a decisive Answer, on this Principle; that
"Tragedy, whose End is the Pathos, produces it by Action, while Comedy produces its End, the Humorous, by Character. Now it is much more difficult to paint Manners, than to plan Action; because That requires the Philosopher's Knowledge of human Nature; this, only the Historian's Knowledge of human Events."
—But in the Course of this Argument, it seems entirely forgot, that the tragic Poet's Province is not only to plan, but to paint too. Had he no farther Task, than what depends on the mere Historian's Knowledge of human Events, the Reasoning would hold. But as it is the first and most essential Effort of his Genius, in the Construction of a compleat Tragedy, to invent and order a pathetic Plan, consistent in all it's Parts, and rising towards it's Completion by a Succession of Incidents which may keep up and continually increase Terror or Pity; it is manifest, that the Perfection of his Plan depends not on his mere historic Knowledge of human Events, but on his philosophic Discernment of human Passions; aided by a warm and enlarged Invention: Talents as rare, at least, as the Knowledge or Discernment of human Characters.—If to this we add the subsequent Task, of giving the high Colourings of Passion to the tragic Plan thus ordered, the Difficulty of writing a compleat Tragedy may seem to be in some Respects equal, in others superior to that of producing a compleat Comedy: For in the Conduct of this last Species, it is acknowledged, that a small Degree of poetic Invention will support it.

↵

r

P. 248.

↵

s

Characteristics, vol. i. p. 253. Notes.

↵

t

Characteristics, vol. i. p. 250.249.

↵

u

P. 251.

↵

w

LIBANIUS Arg. ad OLYNTH. I.

↵

SECT. VIII. Of the natural Union and Progressions of Melody and Song, in other European Countries.

THUS we have traced the Progression of the ancient Greek MUSIC in all its Branches, through the various Stages of their Union and Power, down to their final Separation and Corruption in the later Periods. As a Confirmation of the essential Principles offered in this Discourse, let us now consider this natural Union and Progression, as it hath appeared in other Nations, where these Arts never arrived at so compleat a Form; where the Progression ceased before any high Degree of Perfection came on, either through a Want of improving Literature, or by other Obstructions from internal or external Causes.

The nearest Approach we can make to the savage State, in any Instance drawn from the Records of Antiquity, seems to be found in the History of the Curetes, or Corybantes of the Island of CRETE. STRABO and DIODORUS, who give us their History, describe them as barbarous Tribes of Men, living among Caves and Mountains, at once Warriors, Priests, Poets, and Musicians; who celebrated their public Festivals with enthusiastic and clamorous Music, Song, and Dance, accompanied with Drums, Cymbals, and other noisy Instruments, almost in the very Manner of the savage Iroquois[x]. RHADAMANTHUS first, and then MINOS, civilized this barbarous Route; and regulated their Manners and their Music, on the Model of the severe Egyptian Legislation. After MINOS, THALES arose: In whom we find the united Characters of Legislator and Musician: He composed Laws, for the Cretan State, and sung them to his Lyre[y]. But Music being fixed to certain Forms by Law, we are not to wonder that its Progression stopped, as at SPARTA; which Commonwealth was modelled on the rigorous Establishment of CRETE.

With Respect to EGYPT, the Beginnings of that famous Kingdom are so lost in its Antiquity, that we know nothing of the first Advances there made in Music from its original Savage State. We only read, that in some early Period of Civilization its Forms were unalterably fixed by Law, and therefore all Improvement and Corruption alike prevented.

As to the more northern Nations of Europe, it is remarkable, that we know little of them from ancient History till the second Period of Music commenced, that is, till the Legislator's Character had been separated from that of the Musician. The clearest Instance of the Union of the Legislator's and Bard's Character is found in SNORRO STURLOSON, who, about five Hundred and fifty Years ago, was at once the chief Legislator and most eminent Bard in the Isle of ICELAND[z]. In the second Period, we meet with the poetic and musical Character united in almost every northern Clime, under the revered Denomination of Scaldi or Bards. It hath been already observed, that ODIN the Scythian Legislator, boasted that the Runic Songs had heen given him by the Gods[a]. A Circumstance which proves, that the Character of Heroe and Musician had been united in the Chiefs of that fierce and savage People, in the Period which immediately preceded him. We learn from SHERINGHAM and BARTHOLINE, that after the first Separation had been made, the Scaldi, Musicians, or Bards, were a Race of Men highly honoured among the Scythian or Danish Tribes: That their Songs were of the legislative Cast; that they sung the great Actions of their Ancestors, were themselves renowned Warriors, and kindled the Valour of their Armies by their Songs: That none were admitted of the Order, but those of the most distinguished Families[b]: That they were above the Meanness of Flattery; and were revered, even in the Courts of Kings[c].

We meet with the Gaulish Bards under the same Period of Separation: But their Spirit seems to have been controuled by a more peaceable Species of Legislation. For STRABO tells us, that
"throughout the whole District of GAUL, there are three Kinds of Men, who are held in singular Honour: The Bards, the Vates, and the Druids: The Bards are Poets, and sing their Hymns: The Vates perform Sacrifice, and contemplate the Nature of Things: The Druids, besides this, hold Discourses on Morals. They are esteemed the justest of Men; and therefore are intrusted with the Determination of all Differences, public and private; and sometimes peaceably end a Quarrel, when Armies are drawn out, and ready to decide it by the Sword[d]."
The Evidence of DIODORUS is still more particular; and proves, that they were not insensible to the original Sallies of comic and sarcastic Wit.
"They sing (saith He) to Instruments resembling our Lyres; praising some, and satyrizing others. When Armies are ready to engage, if they but come between, they immediately put an End to the Battle; as if their Warriors were so many wild Beasts, which they had charmed by the Power of their Songs [d]."

The British Bards, about the same Time, were precisely of the same Character; as we learn from their contemporary Roman Authors
[e]
. In a succeeding Period, when the Distractions of our Country, had driven the native Britons into WALES, an English King still felt their Power, amidst the Mountains and Poverty of that barren Region. He was so highly exasperated by the Influence of their Songs, which breathed the Spirit of Liberty and War, and retarded his Conquest over a hardy People, that he basely ordered them to be slain: An Event, which hath lately given Birth to an elegant and sublime Strain of Poetry[f].

Of the Genius of those British Bards who inhabited the northern Districts of the Island, we have a noble Proof in the Poems lately published under the Name of OSSIAN. These appear to have been composed and sung, during the second Period of Music; that is, when the Bard's Profession had separated from that of the Legislator, yet still retained its Power and Dignity in full Union. For OSSIAN, the declared Author of the Poems, was the Son of the royal FINGAL, accompanied him in his Wars, and sung his Atchievements to the Harp. These Poems give a noble Confirmation to many of the Principles advanced in this Analysis. They are of various Forms; though none of them properly unmixed. The Song, in the Days of this sublime and original Bard, appears evidently to have worn the inartificial and mixed Forms of Composition, which we have found generally and of Course to prevail in the early Periods. Thus, FINGAL is chiefly Epic; yet the hymnal Species abounds in it: Others are dramatic; yet in these, the narrative often takes Place: Others, again, are in the Form of Odes; yet even these are strongly mixed and marked with the Epic and dramatic Manner
[f]
.

The natural Flame of savage Music and Poetry is now almost entirely quenched in the several Parts of this Island: In England, it lost its Power by the Migration of the native Britons into WALES: In Wales, it was quenched by the Cruelty of EDWARD: In the Highlands of SCOTLAND, the Writer is well informed, that the Bard's Profession was upheld in some Degree of Honour, till near the Beginning of this Century. About which Time, the Communication of the Inhabitants with the more civilized Parts of the Kingdom by Degrees assimilated their Manners to those of their Neighbours; by which means the Profession became extinct[g].

The History of the Irish Bards is perhaps of all others the most extraordinary; and will therefore deserve a particular Regard. History doth not carry us up to the first Period, in which the Legislator's and Bard's Character are united in the same Person. But of the second Period we have large Accounts in the Irish Historians. For we are informed, there were three principal Tribes among the ancient Irish. "The First were Leaders, Chiefs, or Legislators: The Second were Druids or Priests:" The Third were Bards. The two last were honoured with an Appellation equivalent to the Name of Gods [g].

The Bards had estates settled on them, that they might be free from worldly Cares: They lived in perfect Independence, and were obliged to no Service: Their Persons were inviolable: To kill them, was esteemed the blackest Crime; and it was held an Act of Sacrilege to seize their Estates, even for the public Service, and in Times of the greatest Distress[h].

The Profession was hereditary: But when the Bard died, his Estate descended not to his eldest Son, but to the most accomplished of his Family in the musical Profession. A Law was made by OLLAMH FODHLA, one of their greatest Kings, that none should be invested with the Dignity of a Bard, but those of the most illustrious Families[i].

The Bards, the Druids, and Nobility, were summoned by the same King, to a triennial Festival, which was thus by him established, to transmit to Posterity the Authentic Songs of the Bards, as the Materials of their future Histories. In Consequence of this, the approved Songs of the ancient Bards were preserved in the Custody of the King's Antiquary; and are appealed to by KEATING, as the Foundation of his History[k]. Many of them were fabulous; but this Circumstance hath no essential Relation to our present Inquiry.

Garments of different Colour were appropriated to the various Ranks of the Kingdom: So high was the Power and Dignity of the Bards, that they wore the same Colour with the royal Family [l].

Thus invested with Honours, Wealth, and Power; and possessed of an Art which gave them a natural Influence over the Minds of the People; we find, that about the year 558, they had become insolent, deeply corrupted, and dangerous. Hence, the reigning King convened a general Council of the Nobility and Gentry (for Christianity being now planted in IRELAND, the Druids were no more) with Intention to expel them the Island. They were now become a Kind of sacred Order, or College; which was grow so numerous, that one third of the Kingdom is said to have ranked themselves in this Class, as a safe Asylum for Idleness and Hypocrisy. When the Principal Bards assembled in a Body to divert this impending Storm, they met, to the Number of a Thousand. This may account for the Numbers that claimed to be of the Profession; for every Principal Bard retained thirty of inferior Note, as his Attendants; and a Bard of the second Order was followed by a Retinue of fifteen. In this Convention, after many Debates, it was resolved that they should leave the Island, and retire into SCOTLAND, before the Sentence of their Banishment was pronounced.—However, the Sentence was mitigated: They were allowed to disperse themselves over the Island, and promised to live in a Manner less offensive to the Public[m].

In a succeeding, and no very distant Period, we find them again grown troublesome to the Kings, who complained of them, as a Burthen to the People, lazy, covetous, and insatiable. On this, their Number was lessened and regulated: By the Advice of St. COLUM CILL, every provincial Chief had one learned Bard allowed him in his Retinue, to record the Atchievements of his Family: Their Independance, with a competent Revenue, was preserved: And this Regulation was the Standard, by which the Society of Bards were directed in succeeding Ages[n].

'Tis to be observed, that in some unrecorded Period, a Separation had taken Place in the Bard's Profession: In the early Times, the Offices of Poet and Lyrist were united in the same Person: In the later Ages, it appears, that the Bard only composed the Poem; and that it was sung by a Rhapsodist or Harper at the public Festivals.

However, we find that on the Extinction of Learning, and Increase of Barbarism in this Kingdom, the native Vigour of the poetic Stock again shot up in a succeeding Age; and for Want of a proper Culture, was again become one of the ruling Evils of the Country, in the Time of SPENSER; Who gives the following animated Description of their Songs and Character:
"There is amongst the Irish a certain Kind of People called Bardes, which are to them instead of Poets, whose Profession is to set forth the Praises or Dispraises of Men in their Poems or Rythmes; the which are had in so high Regard and Estimation amongst them, that none dare displease them for Fear to run into Reproach through their Offence, and to be made infamous in the Mouths of all Men. For their Verses are taken up with a general Applause, and usually sung at all Feasts and Meetings by certain other Persons, whose proper Function that is, who also receive for the same great Rewards and Reputation amongst them."—"These Irish Bardes are for the most Part so far from instructing young Men in moral Discipline, that they themselves do more deserve to be sharply disciplined: For they seldom use to choose unto themselves the Doings of good Men for the Arguments of their Poems; but whomsoever they find to be most licentious of Life, most bold and lawless in his Doings, most dangerous and desperate in all Parts of Disobedience and rebellious Disposition; Him they set up and glorify in their Rythmes, Him they praise to the People, and to young Men make an Example to follow."—Thus "evil things being decked and attired with the gay Attire of goodly Words, may easily deceive and carry away the Affection of a young Mind that is not well stayed, but desirous by some bold Adventures to make Proof of himself. For being (as they all be) brought up idely without Awe of Parents, without Precepts of Masters, and without Fear of Offence; not being directed, nor employed in any Course of Life which may carry them to Virtue; will easily be drawn to follow such as any shall set before them: For a young Mind cannot rest: If he be not still busied in some Goodness, he will find himself such Business, as shall soon busy all about him. In which, if he shall find any to praise him, and to give him Encouragement, as those Bardes and Rythmers do for little Reward, or a Share of a stoln Cow, then waxeth he most insolent and half mad with the Love of himself, and his own lewd Deeds. And as for Words to set off such Lewdness, it is not hard for them to give a goodly and painted shew thereunto, borrowed even from the Praises which are proper to Virtue itself: As of a most notorious Thief and wicked Outlaw, which had lived all his Life Time of Spoils and Robberies, one of their Bardes in his Praise will say, that he was none of the idle Milk-Sops that was brought up by the Fire-side; but that most of his Days he spent in Arms and valiant Enterprises: That he did never eat his Meat, before he had won it with his Sword: That he lay not all Night slugging in a Cabin under his Mantle; but used commonly to keep others waking to defend their Lives; and did light his Candle at the Flames of their Houses, to lead him in the Darkness: That the Day was his Night, and the Night his Day: That he loved not to be long wooing of Wenches to yield to him; but where he came, he took by Force the Spoil of other Men's Love, and left but Lamentation to their Lovers: That his Music was not the Harp, nor Lays of Love, but the Cries of People, and the clashing of Armour: And finally, that he died, not bewailed of many, but made many wail when he died, that dearly bought his Death."—"I have caused divers of these Poems to be translated unto me, that I might understand them: And surely, they savoured of sweet Wit and good Invention; but skilled not of the goodly Ornaments of Poetry: Yet were they sprinkled with some pretty Flowers of their natural Device, which gave good Grace and Comeliness unto them: The which it is great Pity to see so abused, to the gracing of Wickedness and Vice, which with good Usage would serve to adorn and beautify Virtue [o]."

This Account of the Irish Bards is not inserted here, as a mere History of Facts; but with a farther View of confirming the Principles on which this Dissertation is built. And the Writer thinks that all the Facts (from the early State of the Bards when they were esteemed as Gods, down to their last Condition when they were sunk into the Abetters of Thieving and Robbery) arise so naturally from the Principles given above, that he is disposed to leave the particular Application to the Reader's Sagacity.

Notes

x

STRABO, l. x. DIODORUS, l. v.

↵

y
As THALES succeeded RHADAMANTHUS and MINOS, who had both copied the EGYPTIAN Forms of Legislation; his composing Laws in Verse could only be the Effect of mere Imitation.
↵

z

Preface to NICHOLSON's Irish Hist. Library.

↵

a

See above, Sect. v.

↵

b

SHERINGHAM de Angl. Orig. p. 173.

↵

c

BARTHOLINUS de Contemptu Mortis apud Danos, l. i. c. 8.10.

↵

d

L. iv.

↵

d

DION. l. v.

↵

e
A singular Circumstance relative to the British Bards deserves Notice. It is said, that
"although they were inferior to the Druids in Rank, yet they were prior in Antiquity." [SAMMES's Phoenic. Ant. of Brit.]
A Circumstance which, though improbable in it's first Appearance, is clearly accounted for, on the Principles of this Dissertation; as it only implies that Melody and Song were prior to religious Rites.

[See Sect. v. Art. 7.]

↵

f

An Ode, by Mr. GRAY.

↵

f
As these Circumstances are internal Proofs of the Antiquity of the Poems; so there are other collateral Evidences of the same Nature, which seem clearly to confirm it. Such are the grand Simplicity of Imagery and Diction, the strong Draughts of rude Manners and uncultivated Scenes of Nature, which abound in all these Poems; Pictures, which no civilized Modern could ever imbibe in their Strength, nor consequently could ever throw out. Such, again, are the frequent Allusions (wrought into the very Essence of the Poems) to the Principles of the old Celtic Religion, which in ancient times had overspread these Kingdoms: Of this Nature is That which the Translator calls the most extravagant Fiction in all OSSIAN's Poems; I mean, the Battle between FINGAL, and the Ghost or Spirit of LODA[*]: Now this, though it carries the Appearance of Extravagance, and ill-judged Improbability, yet, upon a nearer View, will be sound to contain an internal Evidence of the Antiquity of the Poem; as it is drawn from the very Essence of the old Celtic Belief. Thus speaks the learned BARTHOLINE:—
"Summa Audacia credebatur Lucta cum Spectris non formidata[†]." "It was esteemed the highest Act of Courage, to dare to encounter a Ghost."
—But it must be observed, that the Spirit of their chief God ODIN was an Exception to this Rule: The Living and the Dead were all deemed subject to his Controule therefore, the Spirit of LODA was not the Spirit of ODIN, but of some inferior Deity.

↵

*

Carric-Thura: A Poem.

↵

†

De Contemptu Mortis apud Danes, l. ii. c. 2.

↵

g
About the Close of the last Century, JOHN GLASS and JOHN MACDONALD, Bards by Profession, who resided and were respected as such in the Houses of two Highland Chiefs, traveled fifty Miles and met by Appointment in LOCHABAR, to vindicate their own Honour and that of their respective Chiefs at a public Meeting, in a poetic and musical Contest.
↵

g

KEATING's Hist. of IRELAND, p. 48.

↵

h

Ib. p. 132. &c.

↵

i

Ibid.

↵

k

Ib. p. 132. & Preface, p. 23.

↵

l

KEATING's Hist. of IRELAND, p. 127.

↵

m

Ib. 370, &c.

↵

n

KEATING's Hist. of IRELAND, p. 380, 381.

↵

o

SPENSER's View of the State of IRELAND.

↵

SECT. IX. Of the natural Union and Progressions of Melody and Song in CHINA, PERU, and INDIA.

SUCH have been the natural Union and Progressions of Melody and Song, in the babarous Nations of EUROPE. If we travel to the Extremes of East and West, on the vast Continents of ASIA and AMERICA, we shall find new and strong Confirmations of the Progressions of these Arts, as they have been here deduced from savage Life and Manners.

The Chinese have ever been of a mild and peaceable Character: Their Music will be found analogous. 'Tis generally supposed, that CONFUCIUS established their Music and Rites: but it appears from some curious Fragments of ancient Chinese History, that Music and the Rites existed in Union, long before the Age of that Philosopher[p].
"TCHOYONG, the sixteenth Emperor of the ninth Period, hearing a Concert of Birds, invented a Species of Music, whose Harmony was irresistible. It touched the intelligent Soul, and calmed the Heart of Man; so that the external Senses were sound, the Humours in a just Poise, and the Life of Man lengthened[q]."
Here we find the genuine Picture of a Chief, at once Legislator and Bard, civilizing a savage People.

The Dance was improved in the same Manner, by the twentieth King of the ninth Period, to the Ends of peaceful Life[r]. And of such Importance has this Branch of the musical Art been always held in CHINA, that it it is an established Maxim,
"that you may judge of any King's Reign, by the Dances that are then in Use[s]."

These Evidences are traditionary, and relate to the fabulous Times: But even in a later Period, we find the kingly and musical Characters united, in the Person of FOU-HI, their first great imperial Legislator.
"FOU-HI delivered the Laws of Music: After he had invented the Art of Fishing, he composed a Song for those who exercised that Art. He made a Lyre, with Strings of Silk, to banish all Impurity of Heart: And in his Time the Rites and Music were in great Perfection [t]."
All this is evidently in the true Spirit of a peaceable Legislation.
"CHIN-NONG (a succeeding Emperor) composed Songs on the Fertility of the Earth. He made a beautiful Lyre, and a Guitar adorned with precious Stones, which produced a noble Harmony, curbed the Passions, and elevated Man to Virtue and heavenly Truth [u]."
This is the same Character continued under a Period of higher Civilization. The last Emperor whom I find to have retained the poetic or Musical Character, was CHAO-HAO; who is said to have invented "a new Species of Music, to unite Men with superior Beings." After him, the complex Office seems to have separated: And the first great Bardlike Character we meet with is CONFUCIUS, who established Music and the Rites, according to that Form which they still maintain in CHINA[w]. For here, as in ancient EGYPT, CRETE, and SPARTA, every thing is unalterably fixed by Law; by which Means, Improvement and Corruption are alike prevented.

With Respect to the Extent of the Progression of Music in this vast Empire; it appears, that they have no musical Notation; that Composition in Parts is altogether unknown; and that the whole Choir sings the same Melody: That their Music is altogether of the diatonic Kind, and even wretched to an European Ear[x]: Yet they boast of its wonderful Powers in former Times: Whence some of the Historians seem to guess that it hath degenerated; while in reality, no other Consequence can be justly drawn, but that either the People are less ignorant and barbarous; or that Music is now less assiduously and powerfully applied; or that certain Separations have ensued, similar to those which took Place in ancient GREECE: Any of which Causes must naturally destroy its Force.

It appears, however, that the Progression had advanced so far in some former Period, prior to CONFUCIUS, as to produce dramatic Representation, mixed with Song: And in Conformity, to the Principles given above, we find, that as they regard not the Unities of Action, Place, or Time, so neither is any continued Choir in use; though there be manifest Remains of it in their Plays: For at the Conclusion of Scenes or Acts, as well as at other Times when a pathetic Circumstance occurs, the Persons of the Play, instead of declaiming, begin to sing. The Prologue resembles that uncouth one of GREECE, that is, he tells you who he is, and what is his Errand. All their Plays have a moral or political Direction, suited to the Genius of the People and the State. They know not the Difference between Tragedy and Comedy; another Circumstance which confirms the Principle given above, concerning the true Rise and Distinction of these two Kinds in GREECE: For the Chinese, as they have ever been of a timid and peaceable Character, so neither are they given to Raillery or Sarcasm, but altogether to Civility and mutual Respect. Hence, neither the Tragic nor comic Drama could probably arise, so as to be marked as a distinct Species. Accordingly, their Plays are generally of an intermediate Cast, between Terror and Pity on the one Hand, Sarcasm or Ridicule on the other. The "little Orphan of CHINA," indeed, which is given as a Specimen by DU HALDE, borders on the tragic Species: But this Play is but one of a hundred, most of which are of a different Cast; and was selected by him, because he thought it the best adapted in its Genius, to the Spirit and Taste of the Europeans: For he tells us expresly, that the general Character of their Plays are altogether different from this; that they are commonly of a middle Kind, and neither Tragedy nor Comedy. Another Circumstance of the Progression must be marked; which is, that their Actors are a separate Rank from their Poets; that they are formed into Companies, and have lost their original Dignity of Office and Character.

In the ancient Kingdom of PERU, the Progression of Music had reached the same Period, though somewhat different in its Circumstances. GARCILASSO DE LA VEGA informs us, that their fabulous Songs were innumerable; that he had heard many, and learnt some of them, from his Ancestors, who were the last of the royal Family of the INCAS. They were of various Kinds, founded on a Variety of Passion, religious, warlike, and amorous. They had invented a Kind of unequal Pipe, formed of Reeds of different Lengths, precisely the same with that of ancient GREECE. They had also a Species of Flute, with four or five Stops: Their Music was simple, like that of all unpolished Countries. Their INCAS or Chiefs had been Poets or Musicians in the early Periods; and the Author of the Commentaries gives a Poem composed by one of them, which bears all the Marks of a spirited and savage Original. They had their dramatic Representations, in Part resembling, and in Part differing from those of the Chinese. Their Manners and Character, brave though not ferocious, had naturally produced Tragedy, though of a Kind rather grand than terrible [x]. But their mild Temper, in Time of Peace little given to Sarcasm, seems to have prevented the Birth of Comedy. GARCILASSO, indeed, divides their Drama into Tragedy and Comedy: But this was manifestly the Effect of his own preconceived Opinions, and arose from a Habit of considering all dramatic Composition as belonging to one of these Species. For he tells us that "their Tragedies represented their military Exploits; the Triumphs, Victories, and heroic Actions of their renowned Men: And the Subject or Design of their Comedies was to demonstrate the Manner of good Husbandry in cultivating and manuring their Fields, and to shew the Management of domestic Affairs, with other familiar Matters." A Circumstance, which ought to give them the Title of Bucolic or Georgic Drama, rather than that of Comedy. For not a Word occurs concerning Ridicule or Character; the Union of which two Circumstances may seem to constitute the Essence of true Comedy. These Plays were composed by the Amautas or Bards, whose Office was separated from that of the INCAS, but still held in Honour, as in other barbarous Polities. But in another Respect, the Progression was different from that in CHINA. The Actors maintained the original Dignity which they had held in the early Periods: For the Lords and Officers of the Court were the Actors; and as soon as the Play was ended, they took their Places according to their Degrees [y].

To these we may add one Instance more, concerning the natural Union and Progression of Music and Poetry: An Instance less known, yet more singular than any of these already given. When the Christian Missionaries arrived on the Coast of proper India, they found a Sect called the "Christians of St. THOMAS," living in great Simplicity and Innocence; and retaining many of the original Customs of their savage Forefathers[z]: among others, they found these Christians, as well as the Pagans of the Country, possessed of rude Music and Poetry, in their natural Union and Power. They acquiesced in the Application of these Arts, already made by the Christian Tribe, and wisely laid hold of their Influence, for the Conversion of the Pagan Natives. Under these Circumstances, the following Accounts will appear natural and probable, on the Principles already delivered.

First, it appears that the general and Fundamental Practice of singing the Praise of great Men, had been maintained from the most ancient Times. In Consequence of this,
"The Synode being ended, the Partisans of the Union composed in the Malabar Tongue a long Ode or Song, which contained the whole History of the Portuguese Prelate, and a pompous Detail of what had passed at the Synod. This Nation hath preserved the ancient Custom of consecrating to Posterity by this Kind of Poem all the most remarkable Events. The Song was caught and immediately dispersed every where; and during the Visits which the Prelate made, the People sung it in his Presence; which together with their Dances and Music made the chief Part of his Entertainment[a]. When he went to ANGAMALE, the Way was spread with Carpets: And it was a fine Sight, to see a Child of six Years old, very beautiful, and richly dressed, who sung melodiously the whole Song we have spoken of, as containing the Labours of the Prelate [b]."

The religious Song and Dance were no less remarkably and singularly maintained in a Kind of imperfect Union, as they had been transfered from Pagan Objects to those of Christianity.
"In the same Place, the Christian Malabars, to amuse the Archbishop, gave him a Ball after the Manner of the Country. It was of so singular a Nature, that I am persuaded, the Reader will not be displeased with the Description. These Dances are generally practised at Night. This begun at eight in the Evening, and lasted till an Hour after Midnight. None but the Men dance; and their Modesty and Reserve are admirable. Before the Dance begins they all make the Sign of the Cross, and sing the Lord's Prayer, which is followed by a Hymn, in Honour of St. Thomas. Their other Songs rowl chiefly on the illustrious Actions of their Forefathers, or the Virtues of their Saints. In a Word, this Entertainment has all the Air of an Act of Devotion; on which, the Portuguese Historian takes Occasion to inveigh against the prophane Songs of the Europeans, which seem composed only to inspire Debauch and Immodesty [c]."

The Missionaries who have visited the opposite Coast of COROMANDEL, give us Proof, that the Progression of Music and Poetry had not stopped at this early Period, but advanced to theatrical Representation; which, we shall see, they were bold enough to apply even to the great Purpose of Conversion.
"In this Country they have an extreme Passion for the Theatre. Good Poets are held in great Veneration among this People, who are by no means of a barbarous Cast. In INDIA, Poetry enjoys the Favour of the Great. They give its young Professors the Honour of the Palanquin, which is a very high Distinction. The Theatre, which was prepared near our Church, was of vast Extent. Indeed I found not there the Rules of HORACE or BOILEAU put in Practice; but was agreeably surprized to find the Acts distinguished, and varied with Interludes or Choirs, the Scenes well connected, the Machines judiciously invented, Art in the Conduct of the Piece, Taste in the Dresses, Propriety in the Dances, and a kind of Music, harmonious though irregular and wild. The Actors displayed great Freedom and Dignity in their Speech: They were taken from one of the Superior Orders or Castes. Their Memory was good, and there were no Prompters. That which edified me most was, that the Piece began with an authentic Profession of Christianity: And contained the keenest Ridicule and severest Invectives on the Gods of the Country. Such are the Christian Tragedies, which they oppose here to the prophane Tragedies of the Idolaters [d]; and they are, for this Reason, an excellent Mean of Conversion[e].—The Audience was composed of at least twenty thousand Souls, who listened in profound Silence.—The Character of their Theatre is that of a lively and perpetual Action; and a strict Caution of avoiding long Speeches, without proper Breaks [f]."

Such is the State of Melody and Song in proper INDIA. Some of its Appearances are singular; and at first View, may seem unnatural. But after a mature Consideration of what hath been delivered on the Union, Progression, and Separation of these Arts in ancient GREECE, 'tis presumed, the sensible Reader will easily account for all these apparent Singularities.

Notes

p

Extraits des Hist. Chinois, published by Mr. GOGUET, p. 550.

↵

q

Extraits des Hist. Chinois, published by Mr. GOGUET, p. 552.

↵

r

Ib. 555.

↵

s

Ib. p. 556.

↵

t

Ib. p. 567.

↵

u

Ib. p. 572.

↵

w

DU HALDE Hist. Chinois.

↵

x

See Specimens of it, in DU HALDE.

↵

x

See above, Sect. vi. Art. 24.

↵

y

GARCILASSO DE LA VEGA Comment. Real. l. ii. c. 14, 15.

↵

z

LA CROZE Hist. du Christ. p. 38, &c.

↵

a

LA CROZE Hist. du Christ. p. 282.

↵

b

Ib. p. 294.

↵

c

LA CROZE Hist. du Christ. p. 296.

↵

d
Hence it appears that the History of their Gods made the Subject of their native theatrical Representations.
↵

e
How far this was a proper Method of Conversion, will be considered in the Work advertised at the End of this Dissertation.
↵

f

Lettres Edifiantes, Recueil, xviii. p. 28.

↵

SECT. X. Of the natural Union and Progressions of Melody and Song amongst the ancient Hebrews.

LET us now, in Conclusion, analyze the State of Melody and Song, among the ancient Hebrews.

The leading Singularity of this extraordinary People was their Rejection of Idolatry, and their established Worship of the one GOD, the Creator of the World. As this Circumstance gave a peculiar Colour to their Religion; so, upon the Principles of this Dissertation it will follow, that it must give a Peculiar Turn to their Music; because we have seen, that the Genius of the original Music of every Country depends on its Religion as its chief Basis.

In Consequence of this Principle, their Song or Poem was chiefly dedicated to the Celebration of the true GOD, the Creator of all things: At other Times it is composed of moral Exhortations, delivered as the Dictates of his Will, or thrown out in prophetic Raptures concerning the great Intents of his Providence.—Hence the Hymn, Ode, or poetic Rapture, which we have found to be naturally the first Form of Composition among all Nations, appeared with unrivaled Splendor in the Hebrew Poetry, because its Object is so much Superior to that of other Nations: The one being no more than the limited and narrow Power of supposed local Gods; the other, the Omnipotence and Wisdom of an eternal and universal Creator. Of this Distinction their Bards were fully sensible. "As for the Gods of the Heathen, they are but Idols; but it is the Lord, that made the Heavens." The Book of Psalms, the Lamentations, the Songs of MOSES, DAVID, ISAIAH, and other Prophets, all written in Measure, and sung by those who composed them, are so many striking Instances of the true and unequaled Sublime.

With Respect to the Form, it may be observed, that their Songs or Hymns are of that mixed Species which naturally ariseth first, before any Separations take Place, or produce the several Species of Composition. Though the hymnal Form be chiefly predominant, yet we find them frequently to be a Mixture of Ode, Narration, and Dialogue; and thus they contain the Seeds or Principles of the three great succeeding Kinds, of unmixed Ode, Epic, and Tragedy.

It may be regarded as an extraordinary Circumstance, that this first mixed Form of Composition should have continued unchanged for a Period of at least a thousand Years; and that from first to last it should never move forward, so as to produce the Epic and Dramatic Species: But on Examination it will appear, that the same Cause (the Worship of the one GOD) which produced the highest Degree of Sublime in the hymnal Species, naturally checked the Course of poetry among the JEWS; and prevented that Progression which we have found to arise from the natural State of Things, in Pagan Countries.

With Respect to the Epic Poem, we have seen that, in its first and original Conception and Formation, it is no other than "A fabulous History, rowling chiefly on the great Actions of the Gods and Heroes of the Nation; and composed under certain Limitations with Respect to its Manner, for the Ends of Pleasure, Admiration, and Instruction." Hence, the true GOD being the sole Object of the Adoration of the HEBREWS, and their Records being the sacred Depositary of the History of his Providence, the Truth of which it was deemed the highest Crime to violate; the Invention and Construction of an Epic Fable could never be the Result of a natural and untaught Progression.

If the Epic Form was thus naturally prevented by the Severity of Truth, the first Form of Tragedy, and dramatic Exhibition must of Course be checked from the same Principle: For we have seen that the native and original tragic Species is but an Union of the Ode and Epic Fable, animated by personal Representation. To this we may subjoin, that an additional Absurdity would here present itself: The Absurdity of cloathing the Deity in a visible and human Form: A Circumstance strictly forbidden by the Jewish Law.

If it be said, that although these Reasons are good, against their introducing the Deity as the leading Subject either of Epic or dramatic Fable, yet still their Heroes might have furnished Subjects for Both: We may reply, that all the great Actions of their Heroes were so intimately connected with the important History of Providence, which this People were destined both to execute and preserve, that even These became improper Subjects for the Mixture and Alloy of Fable. And farther; The very Tendency of Fancy towards such a Progression of Poetry was quenched here also, in its first Conception. For the first and original Enthusiasms of an untaught Tribe are awakened by the Belief, that their deceased Heroes are advanced to the Rank of Gods, and still maintain their former Relation and Affection to their native Country: Hence the Imagination is kindled by Hope of their Favour and Assistance: Hence Adoration riseth; flattering Fables of their Power, Prowess, and Atchievements, are invented; and the Genius of Epic and Tragic Song is awakened into Action. But where (as among the JEWS) their greatest Men are represented as what they were, weak, ignorant, and mortal; often humbled for their Sins; always under the Controul of an over-ruling Providence; and after Death, lost to every earthly Connexion; here, the first natural Enthusiasms of the Soul could meet with no Objects to excite them: A Collision was wanting: And the artless Mind, instructed only in sacred Things, returned of itself to the unmixed and inartificial Celebration of the all-wise and all-powerful GOD.

As, from these Causes, the Forms of their Song never had any Progression; so, it seems probable, that their Melody stood still, in the same Manner. Its Application was chiefly to the Service of Religion; and as their Hymn continued unchanged in its Genius, we may reasonably believe that the Melody which accompanied it, had the same Fate. For though there was nothing particular ordained, with Respect to Music, in the Mosaic Law; yet, where almost every other Circumstance relative to Worship was particularly prescribed, this Severity of Institution would give a Kind of Sanctity to every ancient Custom that stood connected with it; and hence their Modes of Melody would probably remain unchanged. CLEMENS ALEXANDRINUS informs us, that their Hymns were composed in the Dorian Mode[g]: Which, whatever it was, we know to have been one of the most ancient, as well as grave and sedate; and therefore fit for the Service of the Temple.—Their Instruments were various, but simple: That which DAVID chiefly used, appears to have been the Nabla or Trigonon; a three-cornered Instrument, of the Harp-Species. Its Compass we know from his own Authority; and that it was an Instrument of ten Strings. We may be assured, too, that his Melody was not only simple, but single: For he must have held his Harp with one Hand, and played with the other, when he led the religious Dance before the Ark.

As their Song and Melody, so their Dance seems to have been chiefly employed in the Service of Religion. The most frequent Exercise of this religious Rite devolved upon the Women. It appears too, that the Prophets had some Kind of solemn Movements, suited to the State and Circumstances of their divine Enthusiasm: This Branch of the triple musical Alliance seems (as in other Countries) to have made the earliest Separation. It appears to have been chiefly exercised by the lower Ranks, in the Time of DAVID: And hence it was, that MICHAL, the Daughter of SAUL, like a true fine Lady, despised that Monarch, for exercising a Mode of Piety, which in her Days was no longer fashionable.

As to the united or complex Character of Legislator and Bard, it is remarkable, that this was preserved among the JEWS through a longer Succession of Ages than in any other Nation, from the same Cause which prevented any Progression or Change in the Forms of their Song: For the musical Art being chiefly exercised in the Praises of the true GOD, was in less Danger of being corrupted, and therefore not only its Utility was longer preserved, but likewise its Professors were in less Danger of being debased, than in other Countries where trifling or immoral Applications of the Art ensued. Consequently, the Rulers of the People could have no Temptation to quit any Part of that Character or Office, which still maintained its pristine Use and Dignity. Accordingly, we find, that from MOSES down to SOLOMON, during a Period of at least a thousand Years, the complex Character of Legislator and Bard often appeared in the most distinguished Leaders of their State, and from first to last remained unbroken. MOSES, their first great Lawgiver, led the Song of Triumph, on the Overthrow of the Egyptians in the Red-Sea [h]: MIRIAM, a distinguished Prophetess, led the female Dance and Choir, on the same Occasion[i]. While the Judges ruled in ISRAEL, this complex Office still remained: DEBORAH is an Instance of this Truth: She judged ISRAEL; and sung her noble Song of Triumph, on the Death of SISERA and JABIN. We find, that whoever was raised to the Station of a Judge, or Chief, was commonly invested not only with the prophetic but the bard-like Character: For we know, that the Prophets generally sung their prophetic Raptures to the Harp[k]. In After-times, when SAUL was elected King, he too assumed at once the prophetic and musical Office. The Songs and bard-like Powers of DAVID, his kingly Successor, are too well known to need an Illustration. The same musical and poetic Character maintained its Union with that of King, in his Son SOLOMON; whose Songs, we are told, were no less than a thousand and five. After him the complex Office of Legislator and Bard seems to have separated: The peculiar Causes which had so long upheld it in the Jewish State, now began to cease: For Idolatry more and more prevailed, Manners became corrupt, and public Misery and Ruin ensued. The Prophets and Bards were now no longer found in the Courts of Kings, or among the Rulers of the People: Yet still they continued to throw out the Emanations of prophetic and moral Truth, accompanied with the Enthusiasm of Song, in the more retired, and yet uncorrupt Situations of private Life: And such were the later Prophets, whose Writings still remain in Scripture.

As this appears to be a true Analysis of the State of Music among the ancient HEBREWS; it will now lead us to an easy Solution of a Fact which hath been regarded as mysterious by some of the Learned;
"That while most other Nations had their Bards or Poets; the JEWS, though their Compositions are uncommonly sublime, never had any Poets by Profession, nor even a Word in their Language which denotes the Character[l]."
The Principles here given afford a clear Solution of this Singularity. Their Prophets were indeed their Bards; and appear to have been invested with all the Dignity belonging to that Office in its most honoured State. But as the Almighty GOD, and the great Events of his Providence, were the continued Object of their Songs; so, the poetic or musical Character was but secondary to the religious: Therefore the Name of Bard was swallowed up and lost in the higher Title of "The PROPHET of the MOST HIGH."

Notes

g

STROMAT. l. vi.

↵

h

EXODUS.

↵

i

Ibid.

↵

k

1 SAM. x.—1 CHRON. xxv.

↵

l

CALMET. Dissert. sur la Poesie, &c.

↵

SECT, XI. Of the State of Music and Poetry in ancient ROME.

WE have now traced the Progress of Melody and Song, through the most remarkable Periods of those various Nations, in which their Rise, Union, and Progress was native and original. Let us now view them in their more weak, borrowed, and separate State: This Inquiry will bring us down to our own Times: And here we must occasionally quit the ancient Names of Melody and Song; and sometimes adopt those Titles which the two Arts (now separate) received in the later Ages of GREECE, and which they have ever since retained among the polished Nations of EUROPE, I mean those of MUSIC and POETRY.

The first Flight which Music and Poetry took from GREECE was to ROME: For in this imperial City, they were not native. The Causes of this original Defect, together with the State and Progressions of these Arts at ROME, on their Arrival from GREECE, will make the Subject of this Section.

The only Cause that hath been assigned for the Want of Music and Poetry among the Romans in the early Ages of the Republic, hath been "that their Attention to War and Conquest swallowed up all other Regards; and therefore Music and Poetry were of course neglected." This Reasoning might hold, if these Arts made no more than a mere Amusement in the early Ages, as they generally do in the later Periods of a State. But as it appears in the Course of this Dissertation, that Melody and Song are the natural Produce of savage Life, however warlike; that the Continuance of this warlike Character tends rather to heighten than extinguish their Power; and that the History of human Nature confirms this Truth; We must therefore seek for this peculiar Defect in some other, and more hidden Cause.

There is a Principle which relates to the Establishment and Character of Colonies, which will hereafter appear attended with extensive Consequences, and which will assist us in unfolding the true Foundation of this Defect.

Melody, Dance, and Song, being the natural Effects of savage Manners continuing through several Ages, it must follow, that Colonies will in general be found to possess them in a very imperfect State. Fox Colonies are seldom sent out, till that early Period is past, when the Legislator's and Bard's Character are united in the same Person. Hence, the Leader of the new Colony not being possessed of the poetic and musical Enthusiasm, can neither have Ability nor Inclination to instil or propagate these Arts among his Followers. Thus the first leading Flame of Enthusiasm is quenched: And the inferior Ranks, being busied in the Affairs of their new Settlement, have not that Leisure which the unemployed savage State affords, to turn their Attention on these natural Pleasures: For Colonies of Men seldom depart from their native Country, unless when driven by some Kind of Necessity: And therefore must betake themselves, for Subsistance, either to Industry or War. The last of these was the chief Occupation of the Roman State: And thus, not because they were a warlike People, but because they were a needy Colony, the musical Arts which were so powerful in early GREECE, were so weak in early ROME.

This Observation will hold true of most other Countries peopled by foreign Nations after a certain Period of Civilization. Thus CARTHAGE was a Colony which went out from TYRE: And Music, which was of Weight in the native City, was of no Consideration in the descendant State. Thus again, the Irish, Welsh, and Scots, are strictly natives; and accordingly, have a Music of their own: The English, on the contrary, are a foreign Mixture of late-established Colonies; and as a Consequence of this, have no native Music. He who would find the original Music of ENGLAND, must seek it in WALES.

Here, then, appears the true Cause of this Defect in the early Ages of ROME. So ignorant were the Trojan Founders of the Empire in the musical Arts, that they had not even the first Rudiments of Song: For we are told by a learned Roman, that when ENEAS brought the Images of the Gods to Shore,
"the Women howled and danced at the Solemnity[m]."

The History of the musical Arts in ROME confirms this general Principle: Their Music and Poetry was always borrowed and adopted: Let us trace its Progress through the several succeeding ages.

NUMA POMPILIUS first introduced these Arts into the Roman religious Ceremonies. Had he been a Native of ROME, he had been a clear Exception to the Principle here given: But instead of overturning, he confirms it: For he was a retired, philosophic, and illustrious Sabine: And the Salian Priests which he established, were Musicians or Bards, who had been brought by EVANDER from ARCADIA into ITALY[n]. Thus, the Salian Songs were not native, but transplanted into ROME.

We find no farther Progress in the musical and poetic Arts, for many Ages: Save only, that a vague Rumour prevailed in the later Periods of the Commonwealth, that in ancient Times it had been usual to sing the Praises of great Men at Feasts[o].

The next Progression of the musical Arts in ROME, was the Adoption of the Thuscan Shews: These, as LIVY informs us, were called in from ETRURIA during a fatal Pestilence, with a View of appeasing the angry Gods[p]. The borrowed Flame was soon caught and spread among the Roman Youth; who by Degrees gave Voice to the mute Action of the Thuscans.

To these the Atellane Plays succeeded; being in the same Manner borrowed and adopted by the Roman People from the OSCI, a neighbouring Province: Both these, and the Thuscan Shews seem to have been native in their respective Districts; and therefore we need go no farther in Quest of their true Origin, than to the untaught Progression and Separation of Melody, Dance, and Song: But on their first Entrance into ROME, these dramatic shews were no longer in their natural, but in an ingrafted State. The first Idea, then, of Comedy was caught by Adoption in this Republic: Here, as in the Adoption of the Salian Songs, they were mere Imitators. And thus, contrary to the natural Course of Things (as we have proved above[q]) Comedy had, by Accident, an Establishment prior to Tragedy in ancient ROME.

As it appears that in the first Periods of theatrical and dramatic Representation, it is natural for the Poet to act a Part in his own Plays[r]; so LIVIUS ANDRONICUS, the first known dramatic Poet of ROME[s], maintained this natural Union of the Poet and Actor, which he had received from the adopted Shews. But so little were theatrical Representations the Effect of Nature at ROME, and so much were they received as mere Shews of Pleasure and Amusement, that even at this early Period an unexampled Separation commenced; a Separation more absurd than any that had taken Place in GREECE. For now,
"LIVIUS acting his own Play according to the Custom of the Times, was compelled by the People to repeat some favourite Passages, till his Voice grew hoarse: On which, he obtained Leave to substitute a Slave to sing the Poem along with the Musician, while he himself performed the Action in dumb Shew[t]."
Thus an absurd Separation was established; and continued so established through the succeeding Ages of the Roman Empire[u]. Hence ROSCIUS himself, of whom the World hath heard so much, was often no more than an Imitator by mute Action. We may safely pronounce it impossible that this Separation could have come on, unless the theatric Representations had already degenerated into a mere Amusement. When a slave was permitted to sing the Poem, we may be sure the chief Attention was turned on the Gesticulation of the Actor. That which in a sound State of things had been subordinate, was now become principal.

However, the theatrical Shews in this Period seem to have had little Effect; the Manners of the People continuing much the same with those of more ancient Times. After the Succession of a few Ages, the principal Progressions came on; and these arose from their Acquaintance with, and their Conquest of GREECE.

As this Event happened many Years after the musical Arts had lost their Union, their proper Ends, and original Genius in the Mother-Country; so it was natural, that the Romans (now verging towards a Decline of Manners) should greedily borrow and adopt them, in that separate, imperfect, and perverted State which these Arts held when the Greeks were conquered by the Romans. Let us therefore trace them from their first to their last Progressions in ROME; where we shall find, that from being of mere Amusement or little Utility, they degenerated by Degrees into Things pernicious.

In the early Periods of GREECE, the Poet composed the Melody for his Plays: In the Decline of the Greek States, the Melody was the distinct Labour of another Person[u]. This Separation the Romans maintained: A Conduct natural among those who considered these Arts as the Instruments of Pleasure only. The necessary Consequence of this was the gradual Introduction of an effeminate and luxuriant Melody; of which both CICERO[w] and HORACE[x] in their respective Times complain.

In Consequence of these, a new and fatal Separation ensued. The Player, who in the uncorrupted Ages of GREECE was often of the first Rank in the Republic, was generally of slavish Birth at Rome; and was by Law excluded from the Freedom of the City[y].

A whimsical Change was made in the Form of the Masque: For in order to give a Variety of Expression, which became necessary as the Fable of their Comedy grew more complicated, the two Sides were marked with different Passions.
"The Father, who is a principal Character in the Comedy, as he is sometimes pleased, and sometimes angry, hath one of his Eyebrows even, and the other raised aloft: and the Roman Actors take Care to shew that Side of the Masque to the Audience which suits with his present Temper [z]."

With Respect to the Subjects of their Tragedy, they were here no less mere Imitators. For although they had one Species in which their own Great Men were the Heroes of the Poem, yet even this was not original, but altogether built on the Grecian Model. But farther, we learn from HORACE, that the most approved Subjects were those which were drawn from HOMER's Poems. He gives this as a Rule to the Poets of his Time and Country; "That to throw the Fables of the Iliad into tragic Scenes is a safer and better Practice, than to attempt Subjects yet untouched." A Passage which contains the clearest Proof, that Tragedy was now separated from its highest Purposes; and that the great Ends of this Poem, which gave it so much Power in GREECE, were utterly lost to the Roman People.

The primary Applications of Tragedy being thus little known in ROME, even on its first Admission; we cannot wonder that it became a weak and languid Amusement: Especially, among a People whose Manners were, now sinking into That Character which tended to give Comedy the Ascendant, as in the declining Period of the Greek States. Thus the true Cause appears, why Comedy was cultivated so much more than Tragedy, in every Period of this Republic.

The Ode or hymnal Species seems to have been as effectually separated from the Ends of Public Utility, as the Tragic Poem. HORACE often declares his Inability to attempt any thing Great in this Kind. The general Character of his Odes corresponds much with his own Sentiment: They are always elegant, seldom majestic. His Irreligion even disqualified him from excelling in the highest Species of the Ode: For of this, we have seen, Religion must be the Object: And although there be a variety of fine moral Apothegms, and frequent Allusions to the public State of ROME; yet these are always checked, and made subservient to the Favour of MAECENAS and AUGUSTUS. In a Word, they are but secondary: Urbanity of Sentiment, Elegance of Phrase, and of Compliment to his Masters, were manifestly his first Object.

With Regard to the Character of the famed Roman Epic Poem; notwithstanding the inordinate Praises that have been lavished on VIRGIL's Aeneid, it may with Truth be affirmed, that neither the original nor legislative Spirit of ancient GREECE appear with any uniform Splendor through the Course of this celebrated Work. Elegant in Diction, a Master in Rythm and Numbers, nervous in Figures, majestic in Description, pathetic in tragic Incidents, strong in the Delineation of Character, accomplished in all the secondary Qualities of an Epic Poet; yet still VIRGIL wanted that all-comprehensive Genius which alone can conceive and strike out a great original Epic Plan, no less than that independent Greatness of Soul which was quenched by the ruinous Policy of the Times, and which alone can animate true Genius to a full Exertion of its Powers in the Cause of public Virtue and Mankind. Through the first of these Defects, the Aeneid abounds with Incidents that are borrowed, unconnected, broken, and ill-placed; through the second, though here and there the Spirit of general Legislation appears, yet the great Subjects peculiarly relative to the Roman State, the Glories of the Republic, the Atchievements of its Heroes, all these are cast into Shades, and seen as through a Veil; while the strongest Lights and highest Colourings of his Pencil are prostituted to the Vanity of the ruling Tyrant.

As both the Ode and Epic had thus degenerated from their original Character in GREECE, so we shall find that the Recitation of them kept Pace with this spurious Birth. We have already seen, that in the more early Periods of the Greek Republics, their Poems were sung to the surrounding Audience for the important Ends of Religion, Morals, and Polity. In ROME, as in the later Periods of GREECE, we find the Song brought down to Recitation, and these great Purposes swallowed up and lost in the Vanity and Self-Importance of the Poet. Hence we find their best Writers declaring their Dislike to the Practice of public Recitation, because Flattery was now become the Food of every reciting Poetaster. The whole Farce and Foppery of this Practice, which was indeed no other than the spurious Issue of the old Grecian Song-Feast, is given at large by VOSSIUS, to whom, for Brevity's Sake, we refer[a].

The musical Arts, being thus separated, and perverted from their proper Ends, no Wonder that we hear so little of their being applied to the Education of Youth, in any Period of ancient ROME.

On the contrary, as Manners and Principles grew more profligate, along with the inordinate growing Power and Luxuries of the Empire; so the Genius of the poetic and musical Arts kept Pace with them. Poem, which in the Days of ancient GREECE had been the Handmaid of Virtue, was now declared to be the Bawd of Licentiousness; and to write immodest Verses was held a blameless Practice[b]. Thus the Art sunk so low, that the Name of Poet, was held unworthy a Man of Age or Dignity [c]. The mimetic and musical Arts grew not only an intolerable Burthen, but became at length of most pernicious Influence on the State. The Attention to the mimetic Art was now carried to a most ridiculous Extreme. CICERO informs us, that the Players practised several Years, before they ventured upon the Stage[d]: That the Actors, in Imitation of the degenerate Greeks, gradually awakened their Powers of Speech in the Morning, lest by too sudden an Exertion they should endanger the Voice[e]. They gargled the Throat with a Composition proper for the Purpose: And the Methods of managing and improving the Voice were now formed into a separate Science[f]. In a Word, LIVY complains, that
"an Amusement which was harmless in its Beginnings, had now grown to such a Madness of Expence, that the wealthiest Kingdoms were hardly equal to it[g]."

In the later Periods the Mischief grew still more intolerable: For now, the serious Arts were cultivated by Few: Nothing was heard but light and effeminate Music: The Singer took the Philosopher's Place; the Libraries were shut up; and the general Attention was turned upon musical Instruments proper to accompany and sustain the Gesticulation of the Actors. The Effects of this Dissolute Taste soon appeared: For QUINTILIAN tells us, that
"the effeminate and immodest Music of the Stage had no inconsiderable Part in destroying that small Degree of manly Character which had been left among them[h]."

The Evil still increased: So that in the Time of NERO,
"The City swarmed with Pantomimes: Every private House now became a Theatre; and the Husband and Wife contended, which should most successfully prostitute themselves to the Favour of the Actors [i]."

There is a Time, when Nature struggles hard to free herself from peccant and deadly Humours. This Time was now come at ROME; but it came too late: The Body politic was expiring, and was not able to shake off the Evil: The Pantomimes were twice expelled; but still returned again[k]. At length, the barbarous Nations of the North broke in upon the dying Empire. TOTILA attacked and pillaged ROME: The degenerate Arts sunk with the degenerate City: And the Patrician Ladies, who lately had reveled amidst the Spoils of a subjected World, now begged before their own Doors.

The extravagant Passion of some of their later Emperors for the musical Arts, and these too of the most debauched and profligate Characters, particularly CALIGULA and NERO, is too well known to need a Delineation: This Essay is not intended as a History of Facts, but an Investigation of the Causes that produced them. On this Subject, therefore, there is one Circumstance which may demand our attention. We have seen above, that the first original Legislators turned their Attention strongly on the musical Arts; and we now find, that the abandoned Rulers of a decaying Empire adopt them with no less Eagerness: Doth not this Contrariety of Facts seem to shake some of the Principles which we have attempted to establish? So far from this, that it confirms them: For in both Instances, Music was made subservient to the Views or ruling Passions of those who led the People. The honest Legislators of early Times employed it for the Ends of public Utility; the profligate Emperors abused it to the Purposes of Licentiousness. Among the former, by a legitimate Use, it became the Instrument of establishing Common-wealths: Among the latter, by a perverted Application, it shook the Foundations of Empire: ORPHEUS drew the barbarous Tribes, from Theft, Adultery, and Murder, by his Songs and Lyre: NERO plundered his Patricians of their Estates to load his Musicians with Wealth; and amidst the forced Acclamations of a corrupted Theatre, violated a vestal Virgin on the Stage.

Notes

m

DIONYS. Halicarn. l. i. c. 55.

↵

n

DIONYS. Hal. l. i.

↵

o

CICERO de Leg. l. ii.

↵

p

LIV. Hist. l. vii.

↵

q

Sect. vii.

↵

r

Sect. vi.

↵

s

Art. 26.

↵

t

LIV. Hist. l. vii.

↵

u

LUCIAN de Salt.

↵

u

See above, Sect. vi. Art. 35.

↵

w

De Leg. l. ii.

↵

x

Epist. ad Pis.

↵

y

LIV. Hist. l. xxiv.

↵

z

QUINTIL. Inst. l. ii. c. 11.

↵

a

De Imitatione, c. 7, &c.

↵

b

Castum decet esse Poetam: Ipsos Versiculos nihil necesse est.

↵

c

Turpe est Senem Versus scribere.

↵

d

CIC. de Oratore, l. i.

↵

e

Ibid.

↵

f

PERSIUS Sat. I.

↵

g

L. vii.

↵

h

Inst. l. i.

↵

i

SENECA Nat. Quaest. l. vii.

↵

k

TAC. An. l. xiii, xiv.

↵

SECT. XII. Of the State and Separation of Music and Poetry among the polished Nations of EUROPE through the succeeding Ages.

THUS the musical and poetic Arts sunk along with the Roman Empire.—But Mankind, emerging from the Ruins of Luxury, Profligacy, and Invasion, are of a different Character from that of human Nature arising from mere Barbarity into Civilization. We have traced the natural Progress of these Arts in the last of these; but from the former, nothing consistent or steady can arise. The Views, Manners, Principles, and Passions of a furious Conqueror, meeting and mixing with those of a subdued and abandoned People, produce such a Compound of dissimilar and contending Causes, as approach in their Effects to the Appearance of mere Chance or Fortune.

But the Circumstance most worth remarking is this, that in such a Period, all the natural Seeds and Principles of the musical Arts are lost. The whole local Fabric of Religion, Polity, and Morals, is commonly sunk in the general Ruin; and a barbarous Conqueror followed by an enraged Soldiery, who have left their own Country to invade another, have generally the Vices of Savages, without their Virtues.

Hence the musical Arts could not arise from the Ruins of the Roman Empire, but from the ineffectual Principle of mere Imitation. They wanted that native Force and Vigour which had given them so free and full a Growth in ancient GREECE.

Such therefore being the Birth of the modern Poetry and Music of EUROPE; having been the casual Offspring of the corrupted Roman Arts, which were themselves no more than partial Imitations of the Greek, in their State of Separation and Weakness; no Wonder if the modern Transcript be inferior, not only to the Original, but the first Copy.

This general Principle being given, we might perhaps end our Inquiry here: Leaving the more particular Investigation to the good Sense and Judgment of Mankind: But to give all possible Satisfaction on a Subject which may by some be regarded as a Matter of Curiosity, we shall trace the Rise and Progress of these Arts in their chief Appearances, so far as they have Relation to each other.

Before the Roman Empire fell to Ruin, its Rulers took Care, to the utmost of their Power, to extirpate the native Music of the barbarous Countries which they conquered. Of this JULIUS CAESAR, AMMIANUS MARCELLINUS and SUETONIUS inform us. This was a high Stroke of Policy: For their native Songs being (as in ancient GREECE) the Repository of their Religious and Political System, nothing could so effectually subdue the Minds of these Barbarians, as the Banishment or Destruction of their Bards and Druids. We have already seen Edward the First of ENGLAND acting the same Tragedy in WALES, on the same Principle.

On the Revival of Learning, the three greater Kinds of Poetry were, in many Instances, necessarily divorced from Music. For the Greek and Roman Poets being the only approved Models, could be read and imitated by Scholars only. Thus, the Art which in ancient GREECE had been the genuine Effect of natural Enthusiasm, and aided by a native and correspondent Melody, had been delivered to the People by the inraptured Bard, could now be studied and attained only by the sequestered Few, who were swallowed up by a literary Application, often ignorant of the Powers of Music, and little acquainted with Society and Mankind.—Hence the Epic Poet (the Manners of the Times likewise forbidding[l]) could no longer appear at the Place of public Concourse, with his Lyre and festal Robes, to charm the listening Audience with his legislative Songs; but retired to the Closet, and with a more composed Mien delivered his Inspirations in written Verse, for the Pleasure, Admiration, and Instruction of Mankind.—This might have been indured: Because some of the general Ends of that calmer Species may be obtained by a Home-application. But the Misfortune was, that even Tragedy and Ode, whose End is to shake the Soul with Terror, Pity, or Joy, by a theatrical Exhibition [m], and the Powers of Music;—even these, in many Instances and in different Periods, were divorced from their Assistant Arts, and became the languid Amusement of the Closet. For being often written by retired and speculative Men, unacquainted with the Workings of the human Soul, and attending only to the external Form and poetic Ornaments of the Greek Drama; their Vanity hath been either to soar or dive into Obscurity, to substitute mere Imagery, in the Place of Passion, to plan and write in a cold Style, so far removed from Nature, as to be incapable of a living Representation; in a Word, to compose Tragedies that cannot be acted, and Odes that cannot be sung.

This false Taste in Ode-writing hath so strongly established itself in ENGLAND, that an Ode of the true Character is stiled (by Way of Distinction) An Ode for Music: Of this Kind we have two noble ones in our Language, by DRYDEN and POPE: But these will be considered more at large below.

As the modern Poetry thus became often unfit for Music, so from a singular Cause the Separation was confirmed, and Music in its Turn became often unfit for Poetry. After many Centuries had passed in Darkness, GUIDO arose: And with a Force of Genius surpassing that of all his Predecessors, invented the Art of Counterpoint, or Composition in Parts: Yet this very Circumstance, which seemed to promise so noble an Improvement in Music, was a strong concurrent Cause of compleating its Divorce from Poetry. For now, instrumental Music, having assumed a new and more inviting Form, and being ennobled by the principles of a complex and varied Harmony, was introduced as being of itself a compleat Species, independent of Poetry or Song. This gave it an artificial and laboured Turn; while the Composer went in Quest of curious Harmonies, Discords, Resolutions, Fugues, and Canons; and prided himself (like the Poet) in a pompous Display of Art, to the Neglect of Expression and true Pathos. And thus modern Music, on its first Rise, was in a Manner divorced from Poetry, Legislation, and Morals.

These Causes sufficiently account for the present State of the two Sister Arts, in every Instance of their total Separation. Let us now consider them in those Situations where their Union is indeed in some Sort maintained, but this in an improper and ineffectual Manner.

The four distinct Forms in which these two Arts still maintain an imperfect Union are, 1. The common Song or Canzonette. 2. The Opera, or Drama for the Stage. 3. The Anthem, or Motet, for the Church. 4. The Oratorio, or sacred Drama.

1. The common Song or Canzonette hath sunk from the original Dignity which it maintained in ancient GREECE, from two evident Causes. First, The Separation of Music and Poetry from their important Ends, and from each other, naturally prevented the modern Poets and Musicians from considering this Species as being much worthy of their Attention. Secondly, The nobler Applications of the Song being thus relinquished and lost, no Wonder if Men of high Station and moral Dignity disdained the Practice of it (even where they had Ability) as being an Object unworthy of their Regard. Hence it hath come to pass, that this Species is hardly supposed to touch on any Subject religious, political, or moral, unless it be in Jest[n]. And thus the reigning Topics of the Song are generally Love and Wine. The French and English have adopted both these Subjects: The Chansons à boire of the former, and the drinking Catches of the latter, are Proofs of their Jollity rather than Taste: Yet they clearly display the different Characters of the two Nations. A parallel Remark might perhaps be made on their Love-Songs: With this Exception, however, that in a Song of this Kind, PURCEL hath left us one of the finest and best varied Pieces of musical Expression that ever was composed[o]: And in Justice to the present Times it must be farther observed, that in ENGLAND, this Species is now in a good Degree rescued from its former Indelicacy. The Italians and Scots have chiefly turned the Song on the Subject of Love. With Respect to the Poetry, the Italian Canzonettes are more elegantly written than the Scotch, though with less Nature and Passion. In the Music of the Italian Canzonettes there is little Variety: They soon disgust, by their Sameness of Expression: The Scotch Airs are perhaps the truest Model of artless and pathetic musical Expression, that can be found in the whole Compass of the Art. Some of them are said to have been the Composition of DAVID RIZZIO, who is supposed to have ingrafted the Italian Regularity and Elegance of Song, on the original wild and pathetic Manner of the Scots. This Tradition carries the Appearance of Truth: For the Scotch Airs are of two different Kinds, easily distinguishable from each other: The one regular, and subject to the Rules of Counterpoint: The other wild and desultory, and such as do not easily receive the Accompanyment of a Bass. The first of these may seem to have been the Composition or Reform of RIZZIO; but in Force of Expression and Pathos, the latter generally excel them: A Circumstance which proves how little the Rules of modern Counterpoint have to do with the Powers of Music.

The State of the Opera will deserve a more particular Elucidation: And to this End we must endeavour to trace it to its Origin, which lies in great Measure hid in Darkness. RICCOBONI is of Opinion that the first ever represented, was that which the Doge and Senate of VENICE exhibited for the Entertainment of HENRY the third of FRANCE, in the Year 1574[p]. But this Account is by no means satisfactory: For SULPITIUS, an Italian, speaks of the musical Drama, as an Entertainment known in ITALY in the Year 1490[p].

History traces the Rise of the Opera no farther: But a Circumstance mentioned by SULPITIUS, who was a Man of Letters, may seem to lead us up to its true Origin. He is by some supposed to have been the Inventor of this musical Drama; but he ingenuously tells us himself, that he only revived it[q]. We have seen above, that the Tragedy of the ancient Greeks was accompanied with Music; that the same Union was borrowed and maintained through the several Periods of the Roman Empire: If therefore we suppose, what is altogether probable, that the Form of the ancient Tragedy had been still kept up in some retired Part of ITALY, which the Barbarians never conquered; we then obtain a fair Account of the Rise of the modern Opera, which hath so much confounded all Inquiry.

As VENICE was the Place where the Opera first appeared in Splendor, so it is highly probable, that there the ancient Tragedy had slept in Obscurity, during the Darkness of the Barbarous Ages. For while the rest of ITALY was over-run by the Nations from the North, the Seas and Morasses of VENICE preserved Her alone from their Incursions: Hence, History tells us, the People flocked to VENICE from every Part of ITALY: Hence the very Form of her Republic hath been maintained for thirteen hundred Years: And from these Views of Security, it was natural for the helpless Arts to seek an Asylum within her Canals, from the Fury and Ignorance of a barbarous Conqueror.

Other Circumstances concur, to strengthen this Opinion. The Carnaval first appeared in Splendor, and still wears it at VENICE, beyond every other Part of ITALY: Now the Carnaval is, in many Circumstances, almost a Transcript of the ancient Saturnalia of ROME.

In the Venetian Comedy, the Actor wears a Masque: A palpable Imitation, or rather Continuance, of the old Roman Custom.

That the modern Opera is no more than a Revival of the old Roman Tragedy, and not a new-invented Species, will appear still more evident, if we consider, that it is an Exhibition altogether out of Nature, and repugnant to the universal Genius of Modern Customs and Manners. We have seen the natural Union of Poetry and Music, as they rise in the savage State; and how this Union forms the tragic Species in the natural Progression of Things, Hence we have deduced the musical Tragedies of ancient GREECE: But in ancient ROME, it appears, they arose merely from Imitation and Adoption. Nor could it be otherwise; because the Romans wanted the first seeds or Principles from whence the musical Tragedies of the Greeks arose. The same Reasoning takes Place, with Respect to the modern Opera: It emerged at a Time, when the general State of Manners in EUROPE could not naturally produce it. Had it been the Result from Nature, its Production would have been more general. It emerged in that very City, where most probably it must have lain hid: In a City, whose other Entertainments are evidently borrowed from those of ancient ROME. And if to these Arguments we add this farther Consideration, that the Subjects of the very first Operas were drawn from the Fables of ancient GREECE and ROME[q], and not from the Events or Atchievements of the Times; and farther, that in their Form, they were exact Copies of the ancient Drama; these accumulated Proofs amount to near a Demonstration, that the Italian Opera is but the Revival of the old Roman Tragedy [r].

Such being the Birth of the modern Opera, no Wonder it inherits the Weakness of its Parent: For we have seen, that the Roman Tragedy never had its proper Effects, considered in a legislative View; having been separated from its important Ends before its Arrival from GREECE. As therefore it had declined into a mere Amusement when it was first adopted by ROME; and as we have seen, that in Proportion as the Roman Manners grew more dissolute, Tragedy sunk still lower in its Character, till at length it became no more than a Kind of mere Substratum or Groundwork, on which the Actors displayed their Abilities in Singing and Gesticulation; it was altogether natural that it should rise again in the same unnerved and effeminate Form.

From these Causes, therefore, we may trace all the Features of the modern Opera, however unnatural and distorted they may appear. The Poem, the Music and the Performance, as they now exist in Union, are the manifest Effects of this spurious Origin.

First, That the Subject of the Poem should, even on its first Appearance, be drawn from Times and Countries little interesting, and Gods and Wonders and celestial Machinery introduced, which neither the Poet nor his Audience believed in, could only be the Effect of a blind Principle of Imitation, tending to mere Amusement.—The established Separation of the Poet's from the Musician's Art was productive of parallel Effects: For the Poet, ambitious only of shining in his particular Sphere, became generally more Intent on Imagery than Pathos: Or else, instead of being principal, he became subservient to the Composer's Views; from whence arose a Motley kind of Poem (calculated only for a Display of the Musician's Art) which degenerated by Degrees into a mere Pasticio.

Secondly; the same Causes account for all the Absurdities of the Music.—The Recitative, or perpetual musical Accompanyment in the declamotary Parts, is a Practice so much at Variance with modern Manners, that it extorted the following Censure from a candid Critic:
"I beg Pardon of the Inventors of the musical Tragedy, a Kind of Poem, as ridiculous as it is new."—"If there be any thing in the World that is at Variance with tragic Action, it is Song." "The Opera is the Grotesque of Poetry; and so much the more intolerable, as it pretends to pass for a regular Work[s]."
Now if, along with DACIER, we regard the Opera as a modern Invention, this Circumstance of the perpetual musical Accompanyment is indeed unaccountable: But if we regard it as a mere Imitation or Continuance of the old Roman Tragedy, and trace this upwards to its true Fountain, the Greek Drama; and again follow this to its original Source, the savage Song-Feast; we then see how naturally these extremes unite; and discern the rude Melody and Song of the barbarous Greek Tribes gradually melted into the Refinements of the modern Opera.—Again, as the Separation of the Poet's from the Musician's Art produced an improper Poetry; so the Separation of the Musician's from the Poet's Character was productive of improper and unaffecting Music: For the Composer, in his Turn, intent only on shining, commonly wanders into unmeaning Division, and adopts either a delicate and refined, or a merely popular Music, to the Neglect of true musical Expression. Hence, too, the Da Capo had its natural Origin: A Practice which tends only to tire and disgust the Hearer, if he comes with an Intent of being affected by the tragic Action, or with any other View than that of listening to a Song [t].

Thirdly, with Regard to the Performance of the Opera.—The theatrical Representation is of a Piece with the Poetry and Music: For, having been regarded, from its first Rise, more as an Affair of astonishing Shew than of affecting Resemblance, it is gaudy, flaunting, and unnatural. The Singers (like the Poet and Musician) being considered merely as Objects of Amusement, no Wonder if their Ambition seldom reacheth higher than to the Display of an artificial Execution.—As a Consequence of these Principles, the Castrati were introduced into all Sorts of Characters, in spite of Nature and Probability; and still continue to represent Heroes and Statesmen, Warriours and Women.—The flourished Close or Cadence arose naturally from the same Sources: From a total Neglect of the Subject and Expression, and an Attention to the mere Circumstance of Execution only.—The frequent Encore, or Demand of the repeated Performance of particular Songs was the natural Effect of the same Causes. No Audience demands the Repetition of a pathetic Speech in Tragedy, though performed in the finest Manner, because their Attention is turned on the Subject of the Drama: Thus if the Audience were warmed by the Subject of an Opera, and took Part in the main Action of the Poem, the Encore, instead of being desireable, would generally disgust: But the whole being considered as a mere musical Entertainment, and the tragic Action commonly forgot, the artificial Performance of a Song became naturally a chief Object of Admiration, and the Repetition of it a chief Object of Request.

Thus the whole Farrago of the modern Opera seems resolved into its clear and evident Principles: And hence the Subject, the Music, the Action, the Dress, the Execution, Decorations, and Machinery, are such a glaring Compound of trifling and absurd Improbabilities, that the tragic Influence is overlaid and lost; nor is it possible for any impartial and rational Spectator to take Part in the dramatic Action, or be moved by the ill-feigned Distress.

Let not the Writer be thought to derogate from the Ability or Merit of all the Poets, Musicians, and Singers, who devote their Labours to the Opera. He knows there are Exceptions in each of these Departments[t]. Neither let him be supposed to censure the Opera, as an Entertainment unworthy all Attention, considered as a mere Amusement: On the contrary, whoever is inclined to hear a Succession of Symphonies and Songs, set off with all the Decorations that can dazzle the Eye, and all the Refinement of Execution that can inchant the Ear, let him attend the Opera, and he will find his Taste highly gratified. But this Inquiry aims at a far more important Purpose: Its Intention is, to point out the Union, the Powers and primary Ends of Poetry and Music: And when the modern Opera is viewed in this Light, the Writer presumes, its Defects are too conspicuous to admit a Vindication.

'Tis said, indeed, that the Weakness and Impropriety of this Entertainment is chiefly found in foreign Countries, where the Italian Poetry and Music are not native; but that in ITALY, its Power and Influence are considerable. This the sensible ROUSSEAU affirms in his Dissertation on the French and Italian Music. But particular and well attested Facts are stubborn Things, and will not bend to general Affirmations: And of this Fact, the concurrent Testimony of all observant Travellers assures us; That in the Italian Theatre, the Seats of the chief Hearers resemble so many separate Apartments, where the Nobility sit retired, conversing on indifferent Subjects, and regardless of the Progress of the Drama, till some celebrated Singer comes upon the Stage; and then, and then only, ensues a Burst of Rapture, of Bravo's, Encores, and Applause. The Passion, therefore, thus expressed on this Occasion, is evidently the Effect, not of a true Feeling of the Subject or tragic Action, which is entirely disregarded, but (as in the later Periods of ancient ROME) of an extravagant Admiration of the Singer's Ability and Art.

3. The modern State of the Anthem, Motet, or Hymn, comes next under Consideration.—With Respect to the sacred Poetry that hath ever been used in the Christian Church, it is various in different Countries. It appears that in ITALY, it hath been an allowed Custom from the earliest Ages, to permit the Admission of Hymns or Motets as a Part of divine Service. This Practice, in Course of Time, produced wild and incoherent Compositions: For the poetic Character being separated from the musical; the Composers, little skilled in the Art of Poetry, and yet considering themselves as Principals, have often formed their Motets of Sentiments and Passions inconsistent with each other[u]. Another Separation here, too, ensued: I mean the total Separation of Sense from Sound: For these Motets are generally composed in the Latin Tongue, and therefore unintelligible to the greatest Part of those who hear them.

As to the Church Music of ITALY and its once appendant Provinces, it hath assumed a Variety of Shapes, and in different Times hath undergone great Changes. In the second Century, it appears that the pagan Melody was adopted, and allowed under certain Restrictions of Modesty and Decorum[w]. It was afterwards established at CONSTANTINOPLE by CONSTANTINE; then at ALEXANDRIA, by ATHANASIUS. This Establishment was found to have bad Effects, through the effeminate Genius of the Music then in Vogue, and was therefore banished from the Church of ALEXANDRIA. No Wonder, if it was infected with the Genius of the pagan Music of the Times, which we find to have been dissolute and enervate[x]. From the general Prevalence of this debauched Taste, AUGUSTINE was tempted to banish Music from the Church: But AMBROSE reformed the Office of the Church of MILAN; and established a Melody austere in the Extreme: This was improved by GREGORY; whose Melody succeeded, and was established in the following Century: And now, the Devastations of the Barbarians coming on, this Plain Song naturally lay hid unchanged in the Christian Church, during the succeeding Ages of Ignorance and Cruelty.

On the faint Revival of Arts in the eleventh Century, the Appearance of GUIDO gave a new Genius to the Music of the Roman Church. For according to the natural Tendency of his Invention of the Art of Counterpoint, GASSENDI tells us that all the World now run mad after an artificial Variety of Parts. About four hundred Years after GUIDO, the debauched Art once more passed over into ITALY from GREECE: Certain Greeks, who escaped from the taking of CONSTANTINOPLE, brought a refined and enervate species of Music to ROME: Where, meeting with a congenial Effeminacy, under the gay and dissolute Pontificate of the Princes of the House of MEDICI, it ran into such an Extreme of Indecorum, that Pope PIUS the Fourth formed a Resolution to expel it from the Church. PALAESTRINI had the Art and Address to divert this impending Storm; by composing some Pieces of such a majestic Gravity, as convinced the Pope that Music thus truly sacred might be made subservient to the noblest Purposes. This Severity of Composition still remains in the Pope's Chapel; where, ever since the Reform last mentioned, even musical Instruments are not admitted, for fear of creating new Abuses. But the common Genius of their modern Church Music or Motets is altogether different: It is infected with the same Puerility of Stile with their Opera Airs: An unbounded Compass, extravagant Divisions on single Syllables, a Play upon particular Words to the Neglect of the general Tenor of the Song, form its general Character. How can it be otherwise? When the same Musicians, (and these seldom much interested in the Subject, or acquainted with the Language of their sacred Poetry) generally compose both for the Opera and the Church. Some noble Exceptions, however, may be found to this general Remark; Of these, CARISSIMI is one: But the most eminent Instance is in BENEDETTO MARCELLO a noble Venetian; many of whose Psalms, if we consider their Expression either as sublime, tender, graceful, or joyous, clearly excel the vocal Compositions of all his Countrymen, in Variety, Simplicity, and Truth[y].

With Respect to the Performance of their Church Music in ITALY, it hath naturally too much followed the Genius of the Art itself. They have no established Choirs of Priests: The Castrati are the chief Singers in the Church: In ROME, these Performers go round the City in Bands, as they are accidentally hired; and bring no great Credit to the sacred Music, either by their Characters or personal Appearance. The Truth is, Church Music, in ITALY, like that of the Opera, is considered more as a Matter of Amusement than Devotion. Hence the Decorations and musical Exhibitions of their Churches, in the Time of Carnaval, approach towards those of the Theatre at an Opera: And the general Attention is so far from being turned on sacred Subjects, that it is chiefly exercised in Debates and Quarrels about the Excellence and Superiority of the performing Castrati.

Such then have been the Separations and Progressions of sacred Poetry and Music in the Mother Country, from whence they have been chiefly derived and transmitted to the rest of EUROPE. However, as they wear an Aspect somewhat different in FRANCE and ENGLAND, it may be proper to point out the chief Variations, together with the Causes that have produced them.

In FRANCE the sacred Poetry of their Motets or Hymns is, in its general Turn, much superior to that of ITALY: For in FRANCE it is most commonly selected and borrowed, if not transcribed, from the sacred Writings. This insures to it a considerable Degree of Propriety, Dignity, and Force. How this came to pass, we may learn from an Authority no less than that of the great COLBERT; who, in his political Testament, acknowledges this among other Obligations which the Church of FRANCE hath owed to their Intercourse with the Protestants, that it hath given them a more general and intimate Acquaintance with the holy Scriptures.—Their sacred Music, though not possessed of that Grace which the best Italian may truly boast, yet it may be justly regarded as the best that FRANCE hath produced; because it is set to a much better musical Language than their own: For the Latin Tongue hath a Variety of Accent and Measure, which adapts itself happily to musical Expression; whereas the French Language is hoarse, ill-accented, or of ambiguous Accent, void of Harmony and Variety, and incurably discordant: But still, the Composition of their Motets in the Latin Tongue is attended with the same absurd Consequence as in ITALY, that the People in general do not understand them.—In one Respect, however, their sacred Music hath not departed from its proper Character so far as the modern Italian; I mean, in its Gravity of Stile: And this, it seems probable, hath been owing in Part to take established Choirs in FRANCE, which are composed of regular Ecclesiastics, and therefore not so easily seduced to adopt a light and flaunting Species of Music, as the wandering Bands of Italian Castrati. Another concomitant Cause of this reserved and sober Music may probably have been the Mixture of the Protestant Party in FRANCE: For these (according to the Genius of every new-reformed Sect) adopted a grave and simple Melody: They were therefore a salutary Check upon the established Church, tending to the Prevention of open and scandalous Abuses.—Lastly, with Regard to the Article of Performance, the French have greatly the Advantage in Point of Propriety and Decorum; for, as we have observed, their Choirs are composed of an established Priesthood, who attend to this peculiar Profession; whose Characters are of higher Consideration than those of the Italian Bands; and whose Learning, as well as Religion and Manners, naturally lead them to a more reverent and devout Execution of their sacred Office.

In ENGLAND the State of Things is in some Respects better, and in some Respects worse than in FRANCE. Our sacred Poetry, sung in the Cathedrals, is transcribed strictly from the holy Scriptures, and most commonly from the Book of Psalms: Except only the Te Deum, which is one of the most ancient and approved Hymns of the Church. This Restriction, by which no Hymns of new Invention are admitted as a Part of divine Service, we owe to the grand Reformation: This opened to us the Fountain of the sacred Writings, which had before been locked up, as in ITALY. From the same Cause, our Anthems are likewise given in our own Tongue; which though not so various as the Latin, is yet generally round and sonorous, clearly accented, and capable of being adapted to a Variety of musical Expression. But while we justly admire the sacred Poetry of our Cathedral Service, must we not lament the State of it in our parochial Churches, where the cold, the meagre, the disgusting Dulness of STERNHOLD and his Companions, hath quenched all the poetic Fire and devout Majesty of the royal Psalmist.

The Character of our Cathedral Music is of a middle Kind: Not of the first Rank in the great Quality of Expression; nor yet so improper or absurd, as to deserve a general Reprobation. Too studious a Regard to Fugues and an artificial Counterpoint appears in the old, and too airy and light a Turn, to the Neglect of a grand Simplicity, in the new: Two Extremes which tend equally, though from opposite Causes, to destroy musical Expression [y]. Yet, there are Passages in PURCEL's Anthems, which may fairly stand in Competition with those of any Composer, of whatever Country. There are others who may justly claim a considerable Share of Praise. HANDEL stands eminent, in his Greatness and Sublimity of Style.—Our parochial Music, in general, is solemn and devout: Much better calculated for the Performance of a whole Congregation, than if it were more broken and elaborate. In Country Churches, wherever a more artificial Kind hath been imprudently attempted, Confusion and Dissonance are the general Consequence.

The Performance of our Cathedral Music is defective: We have no grand established Choirs of Priests, as in FRANCE; whose Dignity of Character might in a proper Degree maintain That of the divine Service. This Duty is chiefly left to a Band of Lay-Singers, whose Rank and Education are not of Weight to preserve their Profession from Contempt. The Performance of our parochial Psalms, though in the Villages it be often as mean and meagre as the Words that are sung; yet in great Towns, where a good Organ is skilfully and devoutly employed by a sensible Organist, the Union of this Instrument with the Voices of a well-instructed Congregation, forms one of the grandest Scenes of unaffected Piety that human Nature can afford. The Reverse of this appears, when a Company of illiterate People form themselves into a Choir distinct from the Congregation. Here Devotion is lost, between the impotent Vanity of those who sing, and the ignorant Wonder of those who listen.

4. The Oratorio is a dramatic Representation of some Story taken from the sacred Scriptures, or the Records of the Church, accompanied with Music. Its Origin is attributed to the barbarous Period of the Croisades; when Companies of Pilgrims, returning from JERUSALEM, formed themselves into Choirs, and sung the Praises and Atchievements of Saints and Martyrs[z]. Thus it is said to have arisen and been established in FRANCE. But how it could assume the Form of dramatic Representation accompanied with Music, is hard to say, without supposing it (like the Opera) to have been the Effect of an Imitation. On this principle we may trace it to a probable Origin. It is well known, that the Pagan Shews were often exhibited in the Temples, or at the Tombs of deceased Heroes: 'Tis no less certain, that the early Christians adopted the Practice, with a due Change of Objects, either from a mere Imitation of the Pagan Custom, or with a View to the Conversion of Idolators. Nothing, therefore, could be more natural, than that the musical Accompanyment should remain, though the Objects were changed. Of this Mode of Piety we have a clear Instance in a Discourse of AUGUSTINE, who condemned the Practice; where, speaking of CYPRIAN's Tomb, he says,
"Not many Years ago, the Petulance of the Dancers had invaded this sacred Place, where the Martyr's Body is laid: All Night long prophane Songs were sung, and were accompanied with theatrical Gesticulations[a]."
〈1 page duplicate〉 〈1 page duplicate〉 Now supposing this Practice to have still subsisted in some remote or obscure Part of ASIA or GREECE, it might naturally be adopted by Companies of devout Pilgrims, in their Peregrinations to the holy Land: And thus the sacred musical Drama would be naturally produced.

In ITALY the Origin of the Oratorio is said to have been more recent, and clearly the Effect of an Imitation. We are told, that the famous PHILIP DE NERY, a Native of FLORENCE, and Founder of the Congregation of the Priests of the Oratory in the Year 1540, observing the strong Passion of the Roman People for musical Representations, invented the sacred Drama, with a View to their Improvement in Piety. Hence it is said to have received the Name of Oratorio, which it still wears. The Opera, already established at VENICE and ROME, was his Model: He had little more to do, than to change the Objects from Pagan to Christian: And thus from ITALY it spread into other Parts of EUROPE[b].

The capital Impropriety and Defect of this Entertainment, while it wears the dramatic Form, is the perpetual Recitative or musical Accompanyment in the interlocutory Parts, similar to that of the Opera. This is a Circumstance so repugnant to modern Manners, and therefore so far out of Nature, that no Audience can be much affected by the Representation, or take Part in an Action so improbably feigned. The necessary Effect of This glaring Improbability is a general Inattention to the Subject, and a Regard centered chiefly on the Music and Execution.

Of this Species of Poem the Italians have some fine ones, written by METASTASIO. They cannot perhaps be ranked in the first Class, either for Sublimity or Pathos. But Elegance of Style, Simplicity of Plan and Conduct, animated by a noble Spirit of Devotion, prevails throughout these Compositions. The Music of the Oratorio in ITALY too much resembles That of the Opera: Simplicity, Majesty, and devout Expression, are sacrificed to the Composer's Vanity or ill-directed Art.

The Performance of this sacred Drama in ITALY is said to be attended with many of the same Circumstances of Impropriety with that of the Opera, from which it had its Origin: All tending to render it rather a Subject of mere Amusement, than of Piety and Virtue. Add to this, that being performed in the Churches, it may be questioned whether the Drama be dignified, or the Temple prophaned, by so inadequate a Representation.

In FRANCE, I do not find the Oratorio is now in Use: Its first rude Form produced Comedy and Tragedy in that Kingdom: But the Parent seems to have died at their Birth[c].

In ENGLAND, this sacred Drama is in some Respects well, in others, ill conducted. Next to the perpetual musical Accompanyment, the leading Impropriety hath arisen from an entire Separation of the Poet's and Musician's Office. Even when the Poet remains principal, this Separation tends to bad Effects: But to compleat the Evil, the Musician's Character hath here, in many Instances, assumed the Precedence; and the Poet become subservient to him, as his Director. How this came to pass, may be easily explained. This Kind of Poem being unknown in ENGLAND when HANDEL arrived; and that great Musician being the first who introduced the Oratorio; it became a Matter of Necessity, that he should employ some Writer in his Service. Now this being a Degradation, to which Men of Genius would not easily submit, he was forced to apply to Versifiers instead of Poets. Thus the Poem was the Effect either of Hire or Favour, when it ought to have been the voluntary Emanation of Genius. Hence, most of the Poems he composed to, are such, as would have sunk and disgraced any other Music than his own.

But although his exalted Genius bore itself up against this Weight of Dulness; yet such a leading Defect could not fail to have essential Effects on the Musician's Art. For although no Man ever possessed greater Powers of musical Expression; yet, when the Writer gave him sometimes little, and sometimes nothing to express, the main Foundation of his Art failed him: He was in the Situation of a great Painter, who should be destined to give Life by Colours, to a dead and unmeaning Design[d]. Nay, even where any Degree of poetical Expression happened to give Play to his expressive Powers, yet still, the general Composition being unconnected, weak, and unaffecting, there could be neither Contrast nor Succession of pathetic Songs and Choirs; which, when properly united in one great Subject, heighten each other by a continued Progression, like the successive Scenes of a well-plan'd Tragedy. Had HANDEL's Airs and Choirs been composed in this connected Manner, and the Probability of the Representation in other Respects preserved, their Effect had been proportionable. At present, being often disjoined, and deprived of that Connexion which ought to arise from the Poet's Art, they lose all the Force which an Accumulation of Passion would have produced. They stand single: While in a well-conducted Poem, the Effect of every succeeding Song or Choir would be heightened by the Power of the preceding.

But while we pay all due Regard to the Memory of this great Musician, and acknowledge, nay maintain, that his Compositions often arise to the highest Pitch of Sublimity and Pathos; critical Justice demands some farther Remarks on this Subject, for the Sake of future Artists.—As a necessary Consequence, therefore, of the Separation of the Poet's and Musician's Province, and of his too great Attention to the latter; his Music is sometimes improperly conducted, even where it is not influenced by the Defects of the Poem. From this Separation, in which he only complied with the established Practice of the Times, the following incidental Defects naturally arose. 1. Too much musical Division upon single Syllables, to the Neglect of the Sense and Meaning of the Song.—2. A partial Imitation of incidental Words, instead of a proper Expression of the ruling Sentiments; even when such Words and Sentiments happen to be contrary to each other.—3. Solo Songs often too much lengthened, without the Intervention of the Choir, to inspirit and sustain them: Especially the Da Capo is almost in every Instance of bad Effect, as it renders the first and capital Part of the Song insipid by an unmeaning Repetition.—4. Choirs sometimes too much lengthened, without the Intervention of single Songs or Duets, for the necessary Repose of the Ear, which is apt to be fatigued and disgusted by such a long-continued and forcible Impression.—5. Choirs sometimes (though seldom) calculated more for the Display of the Composer's Art, in the Construction of Fugues and Canons, than for a natural Expression of the Subject.—6. The Choir in many Instances (and the single Song, in some) not sudden enough in its Intervention; being generally prepared by a correspondent Symphony of instrumental Music; which creates Expectation and Presentiment, destroys Surprize, and thus lessens the Impression and Effect.

Instances might be produced of all these Defects, in the Compositions of this great Master: But they arose not so much from Himself, as from the Period in which he lived. Therefore the Writer chuseth to cast them into Shades, refering them to the Observation and Regard of musical Professors rather than seem to fix a Mark of Disrespect on any particular Composition of a Man whose exalted Genius he reveres. And upon the whole, his Airs, Duets, and Choirs, as they surpass every thing yet produced, in Grandeur and Expression; so, they will ever be the richest Fountain for Imitation or Adoption; and, even singly taken, will justly command the Regard and Admiration of all succeeding Ages.

The Performance of the Oratorio in ENGLAND, under its present, defective State, in some Respects may be censured; in others, is to be approved. The Exhibition of the Choir and accompanying Band is not only decent, but grand and striking: A becoming Gravity attends it, both among the Performers and the Audience. The Airs and Choirs are often sung with a Decorum not unsuitable to the Dignity of the Occasion. On the other Hand, there are Defects which naturally arise from the Separation of the Performer's from the Poet's and Musician's Art.—The Singers are not always so animated in their Manner, as to create a Belief in the Audience (whenever a true poetic and musical Expression are united) that they feel the Sentiments they express. If a grand Simplicity of Performance were still more studied, it would give an additional Lustre to their Talents. Above all, the flourished Close or Cadence is below the Dignity of the sacred Drama, and absolutely destructive of all true musical Expression.

Thus we have traced the Rise, Union, Power, Progressions, Separations, and Corruptions, of Poetry and Music, together with the Causes of these several Gradations; from their first Appearance in the savage State down to their present Forms in the more polished Nations of EUROPE.

Notes

l

See below, Sect. xiii.

↵

m

It hath become a favourite Topic among certain Persons, to decry the theatrical Exhibition of Tragedy, as an Object below the Ambition of a Poet. Whether any fastidious tragic Muse hath privately knocked at the Door of the Theatre, and been refused Admittance, we shall not here affirm: But it belongs to our Subject to shew on what Foundation the theatrical Exhibition makes an essential Part of Tragedy; and that without it, the tragic Poem is an imperfect Species.

The Epic Poem not only imitates Actions, Sentiments, Characters, and Passions; but likewise delineates their chief external and attendant Circumstances of Place, Person, Voice, Countenance, Attitude, and Gesture: And hence a full and perfect Imitation ensues. In the Dramatic or Tragic Poem, little of this latter Kind can be admitted, without violating the Probability and Power of the Dialogue: On this Foundation, the Description of these external and attendant Circumstances is necessarily left to the Conduct of the Actor; who, in these Articles, assumes the Province of the Poet, and is a real Imitator. Hence a dramatic Poem, written, but not represented, is capitally defective in the great Article of Imitation; and is therefore a Species essentially imperfect.—ARISTOTLE hath overlooked this capital Distinction between the Epic and Tragic Poem, in his Comparison of these two Species. Poet. c. xxvi.

↵

n
There are some Exceptions to this general Observation; but they take Place chiefly among the Vulgar; among whom the Ballad-Song commonly retains its moral and political Applications.
↵

o
From rosy Bowers, &c.
↵

p

Theat. &c.

↵

p

MENETRIER de Representations en Musique.

↵

q

Ibid.

↵

q
The Subjects of the first Operas were APOLLO and DAPHNE, ORPHEUS and EURIDICE, ALCESTES and ATYS; which last, in the Title Page of the oldest extant Edition, is called a musical Tragedy.
↵

r
As these Circumstances prove that the modern Opera is a Revival of the old Roman Tragedy; so, we are led from hence to a probable Conjecture concerning the measured Recitation of the Roman Tragedians: And that it was something of the Nature of modern Recitative.
↵

s

DACIER Rem. sur Aristote, p. 85.

↵

t
The Da Capo, which is so striking an Absurdity in the more modern Operas, was not used in those of older Date. Even COLONNA, who lived about the middle of the sixteenth Century, employed it not; as appears by one of his Operas performed at the Academy in BOLOGNA, A. D. 1688. But in an Opera of Old SCARLATTI (intitled La Teodora) composed in 1693, the Da Capo is found, though not in all his Songs. After that Period, the Use of it seems to have become general: For in an Opera of GASPARINI (intitled Il Tartaro nella China) composed in 1715, the Da Capo is found in every Song.
↵

t
Some of METASTASIO's and QUINAULT's Operas are fine Tragedies in three Acts.
↵

u
For an Instance of this Kind, take the following, which is one of CARISSIMI's most celebrated Motets: ‘"Peccavi, Domine, & miserere mei; te diligit Anima mea, te semper quaesivit Cor meum; Ergo, mi Jesu, mi Creator, mi Salvator, dimitte Culpas, parce Peccatis meis," &c.’
↵

w

JUST. MART. Quaest 107.

↵

x

See above, Sect. xi.

↵

y
It must be observed, that MARCELLO's Compositions are not set to the Latin Translation; but to an Italian Paraphrase of the Psalms.
↵

y

For a full View of this Subject, see Mr. AVISON's Essay on musical Expression.

↵

z

MENETRIER des Represent. en Musique.

↵

a

AUG. Serm. in nat. Divi CYPRIANI.

↵

b

BOURDELOT Hist. de la Musique, tom. i. p. 256.

↵

c

BOILEAU, Art Poet.

↵

d
The MESSIAH is an Exception to this general Remark: Though that grand Musical Entertainment is called an Oratorio, yet it is not dramatic; but properly a Collection of Hymns or Anthems drawn from the sacred Scriptures: In strict Propriety, therefore, it falls under another Class of Composition, which we have already considered.—The Oratorio of SAMSON is properly dramatic: But the Poem is so much changed in the Attempt towards accommodating it to Music, that it can hardly be regarded as the Work of MILTON.—The L'ALLEGRO and IL PENSEROSO are two elegant Poems; and are finely set to Music by HANDEL: But being merely descriptive, and in no Degree pathetic, they cannot be ranked among the highest Forms of Poetry; nor could they give Play to his highest Powers of Expression.
↵

SECT. XIII. Of the possible Re-union of Poetry and Music.

IT remains now to consider the Circumstances in which, and the means by which, 'tis possible, that the Arts of Poetry and Music may again be powerfully and effectually united, after these Separations have taken Place.

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The Legislator's and Bard's Character cannot again be generally and fully united. We have seen, they naturally separate in an early Period of Civilization: And the Departments become so distinct, as to create a general Incompatibility and Repugnance too clear to need an Illustration. But although the Legislator cannot generally maintain the poetic and musical Character, he may still continue to protect, and sometimes even to possess it: And when Poetry and Music are united in their proper Ends, there are few secondary Accomplishments which do truer Honour even to the highest Stations. It was indeed a ridiculous Vanity in a late Emperor to sing in an Opera; as it was in LOUIS the Fourteenth to dance on a parallel Occasion; because, in these Instances, the Arts were separated from their Important Ends. But it was a noble Example in CHARLEMAGNE, when he dignified his Choir, by joining them in the public Act of Religion, and singing divine Service in his imperial Robes. HENRY the Second, and FRANCIS the First, of FRANCE; CHARLES the Great, of GERMANY; ALFRID the Great, of ENGLAND; were all distinguished, not only by their Love and Protection of the musical and poetic Arts, but by their Proficiency in them, as applied to their highest Ends.

And as the Legislator may still incidentally retain a Part of the Poet's Dignity; so the Poet, though no longer a Legislator, may still occasionally exert his salutary Power, by his Influence on the Passions of the Soul.—CHARLES the Ninth of FRANCE (who not only composed and performed Church Music, but writ elegant Verses) addressed a little Poem to RONSARD, which does equal Honour to the Prince and the Poet. And as it so nobly asserts the Dignity of the musical and poetic Arts, and points at their original Alliance with the legislative Character, the following Citation seems to claim a Place under this Article.

Ton Esprit enflammé d'une celeste Ardeur,

Eclatte par soy-meme, & moy par ma Grandeur.—

Ta Lyre qui ravit par de si doux Accords

T'asservit les Esprits, dont je n'ay que le Corps:

Elle t' en rend le Maitre, & te sçait introduire,

Oú la plus fier Tyran ne peut avoir d'Empire.

The Poet's and Musician's Office cannot probably be again united in their full and general Power. For in their present refined State, either of their Arts separately considered, is of such Extent, that although they may incidentally meet in one Person, they cannot often be found together.—One Expedient there is, indeed, by which the two Arts may be practically united by the same Person. That is, if the Poet select and adapt proper Music to his Poem; or the Musician select and adapt proper Poetry to his Music. Let us then consider, which of these Methods is most likely to succeed, in uniting the two Arts effectually. Now, though we suppose the Musician to be of sufficient Ability to distinguish good Poetry from bad; we must farther observe, that to collect various Passages from various Poets, and form them into one whole with Propriety and Force, would be a Task difficult, if not impossible: For the Expressions of Poetry are particular, and unalterably appropriated to their Subject: They are therefore generally incapable of a second Application. The Fact is quite otherwise in Music: For here, the Expressions are general and vague: it is the Poetry to which they are applied, which fixeth and gives them their particular Expression. Therefore, a Selection of various Pieces may be made, and united in one whole, with Propriety and Effect. This Union is indeed sometimes made in an unmeaning Way, in what the Italians call a Pasticio: Where we commonly see a Series of Songs thrown together, without Connexion or Design. But if we suppose a Poem properly conducted, and adapted to Music of the first Excellence, in Subserviency to the Genius of the Poem; 'tis plain, that the Music so applied may acquire a Force of Expression more powerful in the second Application than in the first. As (to resume a former Allusion) the same Kind of Colours may acquire a stronger Effect, by being employed on a forcible than an insipid Drawing. This is an Union far easier to attempt, than to accomplish. However; thus much it seemed proper to remark, lest every Endeavour of this Kind should be regarded as a mere Pasticio.

The Singer's Profession can seldom be united with that of the Poet, and not generally with that of the Musician. The same Cause will maintain the Separation here, as in the poetic and musical Professions. The Arts, in their present refined and complicated State, separately demand such continued Application and various Qualities, as seldom meet in the same Person.—'Tis the Performer's Province, therefore, in this State of Separation, to conform to the Genius of the Poem and the Music. As the Musician is subordinate to the Poet, so the Performer is subordinate to Both.

The Epic Poem cannot be again united with Music. The Reasons may be collected from the preceding Parts of this Dissertation. The long Narrations, the frequent Dialogue, the Mixture of calm Description and unimpassioned Sentiment, all these are clearly incompatible with the musical Alliance, unless where long-continued Custom, and a Pre-Establishment drawn from savage Manners, had produced and confirmed an Union. But this, once broken, can never be effectually restored: For it must ever want that Foundation of Habit, on which it first arose, and gained its Power[d].

The Tragic Poem can never again be powerfully united with Music. This repugnance ariseth from the same Cause with the last. For here, the continued musical Accompanyment, mixing itself with the dramatic Character and the perpetual Dialogue, forms a whole so incompatible with modern Manners, and so far out of known Nature, as destroys that Probability which is the first Foundation of a true Pathos.

The Ode, or hymnal Species, may be again properly and forcibly united with Music. We have already seen the Foundation on which this Species is more universally allied with Melody than any other[e]. The great Mean of their powerful Union must be a pathetic and correspondent Simplicity of Composition in Both.—With Respect to the pathetic Simplicity of the Ode; although the obscure, the learned, the cold, the florid, the wordy, the amusing Style, hath been too generally adopted by the Moderns; yet this false Manner is not so strongly established, as to preclude all Possibility of a general Reform: For we find, that where the Poem is written in the simple, intelligible, and pathetic Form, it is more generally approved (except only by mere Scholars who are ignorant of Nature) than the opposite Manner of false Refinement. In Proof of this, we need only alledge the two noble Odes of POPE and DRYDEN; which the world in general understand, feel, and admire.

A simple and pathetic Melody may be no less successfully adopted, and applied to Poetry. This is evident, from the incidental and frequent Practice of the greatest Masters. HANDEL, MARCELLO, BONONCINI, CORELLI, GEMINIANI, and their best Disciples, are often admirable in the pathetic Simplicity of Song: More especially they are so, when they are fortunate enough to forget the Ostentation and Parade of Art. The Success is answerable to their Desert: For this Simplicity of Style is admired beyond the artificial, by All, except only a Few, whose Taste (like that of the mere Scholar-Tribe) is debauched by their own false Refinements[f].

Yet there is one Circumstance, in which modern Poetry and Music, though both reduced to their full Simplicity, cannot obtain that perfect Union which they held in ancient GREECE. The Numbers of the Poem and the Measure of the Music will inevitably sometimes clash. That Variety of Feet with which the Greek Tongue abounded, gave such Play to the Musician's Art, in adapting a various and correspondent Melody, as no living Language can boast. For Want of this Variety of Feet, there is generally a dead Uniformity in the Structure of modern Verse. The musical Rythm or Measure, therefore, must either want the necessary Variety, or must sometimes be at Variance with the poetic Numbers.

The Arts of Poetry and Music, thus properly united and improved, may possibly by Degrees be made a Part of Education, and applied to the Culture of the youthful Mind, in Subjects religious, political, and moral. This is a large Field of Observation, which at present it may be more prudent rather to open than to tread. In Favour of this Opinion, we may recollect the wonderful Powers of these united Arts, exhibited above, not only in the Scenes of savage Nature, but among the civilized Republics of ancient GREECE. And as we possess a nobler System of Religion, Polity, and Morals, than they could ever boast; so the Application of the Sister Arts to these, under a strict Subordination to Truth, might seem to promise the noblest Consequences in the Education of Youth. Yet on the other Hand, it must be owned, that under the present State of Manners, and the established Forms of Education, this event is rather to be wished than hoped for. Instead, therefore, of urging a Theory which might be regarded as visionary and chimerical; the Writer will for the present content himself with pointing out, "In what Respects the four principal Kinds, in which Poetry and Music are now united, may be either improved in their Form, or more effectually directed to their proper Ends."

1. The first of these, the common Song or Canzonette, may perhaps be judged an Object too inconsiderable for any serious Proposal of a Reform. But the Writer will not be ashamed to follow the Example of the greatest Authors among the ancient Greeks, in recommending the early Practice of a proper domestic Music, as tending powerfully to sooth the discordant Passions, to influence the Taste, and fix the morals of Youth. If we reflect, now apt the youthful Ear is to catch musical Impressions, and how open the Heart to every Impression so forcibly convey'd, it cannot be regarded as a Matter of Indifference (among those who understand the Force of early Habits) whether these first impressions be properly or improperly directed. It may seem a Paradox, though perhaps a certain Truth, that the future and leading Colour of the Passions, in both Sexes, hath often been determined by a Song. Poets and Musicians, therefore, would do themselves the truest Honour, if they would religiously abstain from lending the attractive Colours of their respective Arts to the Embellishment of Licentiousness and Vice.

The Writer would not subject himself to such an Imputation of Ignorance, as to suggest the Possibility of renewing the old Grecian Practice, when Men of the first Rank and Dignity disdained not to grace the Feast with Songs religious, political, and moral; with the Celebration of Gods, Heroes, and Virtues: At the very Mention of this obsolete Practice, he sees Ridicule pouring in from every Quarter. 'Tis enough to hope from the present fashionable World, that they will abstain from Songs of an opposite Nature.

As the practicable Utility of the common Song or Canzonette seems to lie chiefly among the younger ranks, an easy and familiar Simplicity of Style and Manner seems peculiarly its proper Character. To this ought to be added (where the Subject will admit) a certain Festivity and Brilliancy of Taste; that the most attractive Colours of the Arts may be thrown on Virtue; and Benevolence, Generosity, and Greatness of Soul, may habitually mix themselves with domestic and social Amusement.

2. The Anthem, with Respect to its Subject, neither needs nor admits Improvement; being drawn from the sacred Scriptures[g]. A proper Selection of Words for Music is indeed a Work of Importance here: And though in many Instances this be well made, yet it were to be wished, that some superior Judgment would oversee, and sometimes (negatively at least) direct the Composer, for the Prevention of Improprieties. A parallel remark will extend itself almost to the whole Book of Psalms, as they are versified by STERNHOLD, for the Use of parochial Churches. There are few Stanzas which do not present Expressions, to excite the Ridicule of some Part of every Congregation. This Version might well be abolished, as it exposeth one of the noblest Parts of divine Service to Contempt: Especially as there is another Version already privileged, which though not excellent, is however not intolerable.—The parochial Music seems to need no Reform: Its Simplicity and Solemnity suit well its general Destination; and it is of Power, when properly performed, to raise Affections of the noblest Nature. It were to be wished, that the Cathedral Music were always composed with a proportioned Sobriety and Reserve. Here, as we have observed, the whole is apt to degenerate too much into an Affair of Art. A great and pathetic Simplicity of Style, kept ever in Subserviency to the sacred Poetry, ought to be aimed at, as the truest, and the only Praise. The same devout Simplicity of Manner may be attained in the Performance, and ought to be studied by the Organist and Choir: Their Ambition should lie in a natural and dignified Execution, not in a curious Display of Art. The Maxim of AUGUSTINE was excellent, and deserves the serious Attention both of those who perform, and those who hear: "I always think myself blameable, when I am drawn to attend more to the Singer than to what is Sung." But an additional Circumstance seems necessary, as a Means of bringing back Church Music to its original Dignity and Use: We have seen, in the Course of this Dissertation, how the Separations follow each other in the Decline of the poetic and musical Arts. And for the sake of Truth, we must here observe, that in the Performance of Cathedral Music, a Separation hath long taken Place, fatal to its true Utility. The higher Ranks of the Church do not think themselves concerned in the Performance. It were devoutly to be wished, that the musical Education were so general, as to enable the Clergy, of whatever Rank, to join the Choir in the Celebration of their Creator, in all its appointed Forms: The Laity would be naturally led to follow so powerful an Example.—There is Reason to believe, that this Separation was in Part occasioned by the Introduction of an artificial Music, which became too difficult in the Execution for any but professed Musicians: Here, then, we find an additional Motive, for bringing down the Cathedral Music from its present complex and artificial Style, to that of Simplicity and easy Execution.

3. With Respect to the two dramatic Forms, the Opera and Oratorio, we have already pointed out their chief Defects, as they exist in their present State. But as to an effectual Reformation, such as may produce their proper Ends, it seems utterly impracticable, while the dramatic Form and the musical Accompanyment remain in Union. To hear Kings, Warriours, Statesmen, Philosophers, Patriarchs, Saints, and Martyrs, holding long Conversations with each other in musical Recitative, is a Circumstance so totally out of Nature, that the Imagination immediately revolts, and rejects the Representation as absurd and incredible. The Recitative, therefore, or perpetual musical Accompanyment which prevails in both, being thus unalterably at Variance with the dramatic Form, the one or the other must be destroyed ere Probability and Pathos can arise.

One Method of a Reform may be effected, by destroying the Recitative, or perpetual musical Accompanyment: And in this Case, the Interlocutory Part would sink into the common Form of Tragedy. A musical Choir, distinct from the Persons of the Drama, might still be introduced occasionally, with much Propriety and Effect[h]. Above all, the Occosions must have a strong Reference to the most pathetic Situations of the tragic action: The Choir must consist of such Characters, as may with Probability appear in the musical Department: The Ode must be written in the Style of Passion; not with the Parade of unaffecting Imagery, or tedious Allegory; which, instead of rowzing an Audience, would lull them to Repose: The Music and Performance must be of a correspondent Nature. In pointing out this Reform of the musical Drama, the Writer may seem to separate the two Sister 〈1 page duplicate〉 〈1 page duplicate〉 Arts, instead of uniting them: But in Reality, he only proposes their Separation in one Circumstance, as the necessary means of compleating their Union in another.

But lest this should seem to confine the musical Art to an Alliance with the mere Ode or Hymn only, and to banish it entirely from the Representation of Actions; let us now proceed to another and more perfect Kind of Reform, in which many of the Subjects of the Opera and Oratorio may be exhibited in full Union with the Powers of Music, joined with Probability and Nature.

We have seen above, that from an Union of the Ode and Epic, a first rude Outline of Tragedy naturally arose, compounded of musical Narration and choral Song [i]. Here then let us fix, for the proper Form of the musical Exhibition of great, terrible, or pathetic Actions. This Union forms what may properly be styled the Narrative or Epic Ode. It arose from Nature, at a Period when the Actions represented were of the simplest Kind[k]. This Simplicity of Action is still necessary to be preserved, for the Perfection of this Species; because a complicated Action would inevitably produce long and unanimated Narrations, would unnerve the musical Recitation, and destroy the very Genius of the Poem. Supposing, then, the Action to be simple and impassioned; the Poem, the Music, and Performance, if well conducted, will be attended with such a Degree of Nature and Probability, as will give the Alliance of Poetry and Music their highest Power and Pathos. The intermixed Narrations must be short and animated: The Songs and Choirs various and expressive; and being frequently interrupted by the brief Recitals, may by these Means be inspirited far beyond the simple and continued Ode, which from its unbroken Length often degenerates into Languor. By this Union, all the striking Parts of the Action may be brought forth to View, while every thing that is cold, improbable, and unaffecting, may be veiled in Darkness.—The Recitative, or musical Accompanyment in the narrative Parts, will here lose a great Part of that Improbability which incumbers it in the dramatic Representation: For here, the Reciter is a professed Musician, whose Province lies in the Enthusiasm of Song; and the Narrations being short and animated, beyond what is possible in the continued Use of Dialogue, they approach nearer to the Genius of the Ode, and therefore may without Improbability or Impropriety receive a musical Accompanyment which approaches nearer to a full and direct Song.—And lastly, the Songs and Choirs are in their Performance so far from being unnatural, that they are no more than a powerful Transcript from Nature, impelling those who hear the Recital of the Action, and are instructed in the Laws of Melody, to join in every represented Scene of Joy, Triumph, Terror, Exultation, Devotion, or Distress.

Of this narrative or Epic Ode, we have two fine Examples in our Language, written by POPE and DRYDEN. In Force of Passion, and Variety of correspondent Versification[l], they are admirable. The Songs and Choirs are by Turns tender, joyous, and majestic, and are often calculated for the noblest and most powerful Union of Poetry and Music. On the other Hand, while their unrivalled Excellence is admitted, critical Justice demands, that we point out some Blemishes in these two immortal Odes, lest an undistinguishing Principle of Imitation should lead to an Adoption of their Faults along with their Beauties.—With Respect to Mr. POPE's Ode on St. CECILIA's Day, the Subject seems to want Unity: It is not a Recital of one great Action, but rather a poetic Description of the Adventures of ORPHEUS.—Mr. DRYDEN's Ode is perfect in the Unity of the Action; but imperfect in the moral End: For it is a Representation of the abused Power of Music, in firing a young Prince to an Act of Revenge and Cruelty. In the Execution, there is but one Error of Consequence; which seems to run through both these Odes, so justly celebrated: The Narrative Part is not always sufficiently distinguished from the Song. They run into each other in such a Manner, that the musical Composer must often find himself embarassed, whether to accompany with Recitative, or a more compleat Melody. Indeed, it is manifest, that these illustrious Poets were not aware of this Distinction: And hence it came to pass, that many Passages which they evidently meant for Song, are in the Form of Narration. But let this be added, as a Justice due to these celebrated Names, that the Narrations are in some Parts so highly animated, that without any striking Impropriety they admit the Accompanyment either of the Song or Choir. 'Tis obvious to remark, that HANDEL was sometimes perplexed by this Irregularity of the poetic Composition, when he set DRYDEN's Ode to Music: For some Parts are thrown into Recitative which might seem rather to demand the Song; and others are thrown into Song, which, in their present Narrative Form, seem rather to demand the Recitative.—A Poet of inferior Rank[m] hath attempted to rectify this Disorder in DRYDEN's Ode. But he had not sufficiently estimated his own Strength, when he adventured to tamper with the Bow of ULYSSES. Whenever he hath attempted a Change, he hath quenched the poetic Fire.

The Subjects of the narrative or Epic Ode may be drawn with Propriety either from ethnical or sacred Story. The ethnical will furnish those which are moral or political; the sacred is a rich Field of Subjects moral and religious. There is a peculiar Propriety in exhibiting the sacred Story in this Manner of the Epic Ode; because in the dramatic Representation of antique Subjects, through the great Dissimilarity of ancient Manners to our own, 'tis difficult to avoid the Introduction of Circumstances which will not be either manifestly incongruous, or contemptible to an Eye merely modern; two Appearances, which are carefully to be avoided in the Representation of sacred Story. The Way of Narration, therefore, is highly preferable; because in this, the Poet can produce the greatest and most striking Situations, and at the same Time preserve both Probability and Respect, by throwing the rest into Shades.

That this Representation of sacred Subjects is the highest and most interesting Union of Poetry and Music, needs no elaborate Proof: It stands intimately connected with all the sublime Truths, the great and affecting Events of our Religion, which, when thus exhibited by the united Powers of Poem and Song, call forth all the noblest Emotions of the human Soul; and exalt it to the highest Pitch of Elevation that our mortal Condition will admit.

Notes

d

See above, Sect. vi. Art. 10.

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e

Sect. vi. Art. 17.

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f

Here it may be proper to point out, on what Foundation a simple Melody is more pathetic than a complex and artificial. 1. In the Expression of the Passions, Nature doth not offer musical Sounds to the human Ear. For though the natural Tones of Grief and Joy (the two Passions which are most effectually expressed by Music) approach nearer to musical Precision than any other, yet still they are in a certain Degree inconcinnous and unmusical. 2. As the Tones of the Passions are in some Degree unmusical, so are they generally more simple in their Composition or Succession, than the Tones which are commonly employed to form a regular Melody. From the first of these Remarks it follows, that all musical Expression of the Passions must be imperfect: For the musical Sounds not being found in Nature, if the Artist strictly imitates the Sounds he hears, they will be unmusical; if he varies from Nature, so as to make them musical, the Imitation will be defective. Yet Imagination hath a Power of imposing its impressions on Reason, in a certain Degree. This we find at the proper Representation of a Tragedy; where, though the Scenery, the Persons, the Dresses, the Composition, and other accompanying Objects, are not a precise Transcript from Nature, that is, though the Imitation be defective, yet still it is highly affecting: But if the Representation departs from Nature beyond a certain Degree, Reason then revolts, and the affecting Power is lost: And thus musical Imitation, though imperfect in a certain Degree, still boasts its Power: If imperfect beyond a certain Degree, its affecting Power is lost. But as it follows from the second Remark, that the farther musical Sounds depart from Simplicity, the farther they depart from Nature; so, the Consequence is clear, that a simple Melody (though an imperfect Imitation) may be pathetic; while a complex and artificial Melody (by departing from Nature beyond a certain Degree) will entirely lose its affecting Power.

This naturally leads to the Consideration of a mysterious Circumstance, which lies yet unaccounted for, at the very Foundation of musical Expression. The Fact is this; that "musical Sounds which are employed to express Passions (as Grief or Joy) by an imperfect Imitation, are often more affecting than the natural or perfect Voice of these Passions, when given without musical Intonations."—It seems not easy to assign a clear and sufficient Cause for this Appearance. Let the following Conjectures have what Weight they may.—1. Have not musical Sounds a mechanical Power over the human Frame, by which they awaken it into a higher Degree of Sensibility and Sympathy, than it possesseth in its more cool and torpid State?—2. Are we not generally so constituted, as to sympathize much more strongly with those in whom we find amiable Qualities, than their Opposites? And as Pity melts the Soul to Love, so doth not Love melt the Soul to Pity?—3. Doth not a sweet Voice, like a fine Countenance, create a strong Prejudice in Favour of its Possessor, and induce a Belief of amiable inherent Qualities?—4. May not the Voice and Figure of a distressed or joyous Object be so horrid or uncouth, ridiculous or ugly, as in a great Measure to lessen, if not totally to destroy the Sympathy of those who hear and see it?—If these Observations be true, then by carrying the Voices or Expressions of Grief or Joy into sweeter Tones and higher Degrees of Melody than they possess in Nature, yet still preserving the Resemblance so far as not to destroy Probability, may we not, on the Principles here given, create a higher Degree of Affection and Sympathy, than the natural Voice of the Passions can give?

↵

g
Although it be a prudent Reserve in the Church of ENGLAND, to admit no other Poetry than the sacred, into divine Service; yet still, for the high Purpose of domestic or private Devotion and Practice, the Composition of Hymns would be a noble Addition to the Poetry and Music of a rational Society of Christians. Here, the Poet would have Room for a Display of that Genius, which the Prudence of the established Church hath prevented, in the wise Regulation of her public Service. Of this Kind may be justly regarded that fine Ode of POPE, intitled, "The dying Christian to his Soul."
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h
I say, occasionally: For the continuing Choir of the old Greek Tragedy would be a Circumstance as far out of Nature, as the Recitative itself. Besides, the perpetual and continuing Choir would rob modern Tragedy of half her Powers and Graces: A strict Unity of Place and Time, as we have seen, are its necessary Consequences[*] But with Respect to what is of far greater Importance, I mean the Action, its Effects upon the whole were bad. 'Tis true, that even here, it had the natural Effect of producing Unity: But while it secured the Unity of the Action, it generally destroyed its Force. For there are few great, distressful, or terrible Actions, which do not require some Variety of Place, in Order to unfold them in all their most pathetic Situations and striking Aspects: Many of these, therefore, must be lost to the Poet and his Audience, and a feeble and meagre Fable must generally arise from that strict Unity of Place which the continuing Choir produced. Hence we often find the Greek Tragedians reduced to the Necessity of conveying by Narration many affecting Incidents, which would have formed capital Scenes, could they have been introduced consistently with the Unity of Place. Were it necessary to inlarge on this Subject, which is not incurious, it might be proved by an Induction of particulars, that there is not a great and affecting Tragic Action in the whole Compass of Antiquity, but what is miserably cramped and maimed by this Constraint; That of the Oedipus Tyrannus only excepted, which indeed seems nearly, if not absolutely perfect, in all the Parts of its Construction.
↵

*

See above, Sect. vi. Art. 22.

↵

i

See above, Sect. vi. Art. 19.

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k

See ibid.

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l
We have shewn above, that the Return of the same Measure in the Strophe, Antistrophe, and Epode, of the ancient Greek Ode, was the natural Consequence of its Union with the Dance. But this Union being irrecoverably lost, the unvaried Measure of the Ode becomes at best an unmeaning Thing; and is indeed an absurd one, as it deprives the Poet of that Variety of Measure, which often gives a great Energy to the Composition, by the incidental and sudden Intervention of an abrupt or lengthened Versification. The two Odes here mentioned, contain a Variety of fine Examples in this Kind of Beauty.
↵

m

Mr. HUGHES.

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SECT. XIV. CONCLUSION.

THUS far then, at least, the poetic and musical Arts may admit an effectual Re-union, so as to produce their noblest Ends. As to any farther Consequences, they must be the Effect of this first Reform: And therefore, till something be done here, it can be of no Importance to point out higher Improvements, which in the present State of Things would certainly be esteemed chimerical.

Let us then, for the present, conclude with offering a Question, "Whether our Age and Nation might not still farther distinguish itself in its Regard for the nobler Arts, by the Institution of A Poetic and Musical Academy, for the more effectual Re-union of these two Arts, and their better Direction to their highest Ends?"—The Judgment of an able and disinterested Society, established for this Purpose, might perhaps effect every Reform here proposed in the four distinct Species in which the two Arts are still imperfectly and improperly united. The Prize must be Honour only; lest mercenary Spirits should intrude upon the Walk of Genius. It may be supposed, that the best Poets, of the rising Age at least, would court the Approbation of such an Academy: And from this Institution, as from a Nursery of these Sister-Arts, a Succession of approved Poems would naturally arise, in every Form that could properly receive the Colourings and Embellishments of Music.—The familiar Song, composed for domestic and social Entertainment, when thus chastised by the moral Decrees of the Academy, would gradually rise into its ancient Dignity and Use.—The Selection of the Anthem from the sacred Scriptures might receive the public Approbation of the Society: And the Hymn, controuled by the same sober Judgments, would assume that pathetic Sublimity and Simplicity of Style, which tends to elevate the Soul to the Contemplation and Love of divine Things.—The tragic Choir, properly restrained and limited by such an Authority, might occasionally be introduced and applied to the Increase of Pity and Terror, and to all the moral Ends of the dramatic Species. The Epic Ode, directed by the Taste and Wisdom of this Academy, would obtain its Completion. The greatest and most affecting Subjects, drawn from the History of our own or other Countries, would rise before us; while the sublimest and most interesting Events recorded in the sacred Scriptures, thus recommended and adorned, would make their Way through the nobler Passions to the Heart.

The State and Character of our Music would be no less influenced by the Authority of such an Institution. The Poems which should receive its unbiassed Approbation, would naturally become Objects of the Ambition of our best Composers: Whose Genius, thus chastised and directed to its proper Ends, would no longer wander into the illegitimate Fantasies of Song; but in just Subordination to the poetic Expressions, would only be ambitious of joining its Powers, for the Production of a true Pathos.

The Performance of these approved Poems thus heightened by approved Music, would naturally correspond with the Genius of Both, if under the Controul of the same wise Judgments. The Singers would no longer think themselves at Liberty to desert their Subject for the Pride of Execution: But, under the Inspection of a superior Taste and Authority, would be led to adopt a true Simplicity of Manner; and, like the just Actor, would be only ambitious of assisting the Poet and Musician, in adorning and compleating the intended Representation.

The Importance of such an Institution may deserve our most serious thoughts. We have seen above, how congenial the poetic and musical Arts are with the Frame and Faculties of Man: That in every Period of Manners, whether savage, barbarous, civilized, refined, or corrupted, their Influence hath been felt in every Nation of the Earth. So universal and powerful are their Effects on the Passions of the Soul, that perhaps no Period of human Nature can be assigned (at least, the Writer knows of none) in which they have not been either salutary or pernicious: In which they have not either tended to promote and confirm Religion, Virtue, and public Happiness; or been the Instruments of Licentiousness, and public Ruin.

Add to this, that whoever will look back into the preceding Pages, will find that in all polished States these Arts have a natural Tendency towards Corruption, unless checked and chastised by wholesome Institutions. This Tendency ariseth not from the Nature of the Arts themselves; but from that Period of Manners, which tends to pervert them from their proper Ends.—Would you quench this natural Flame implanted in the human Breast? The Attempt were Folly. You must destroy our Eyes and Ears, those Inlets to the Powers of Poetry and Music, before you can accomplish such a Purpose. What then is to be done, but to regulate this mighty Stream, which will inevitably run either in the Channel of Vice or Virtue?

More particularly, in a great and powerful Kingdom, where additional Degrees of Wealth should flow in with every Tide; these, especially in a Time of Peace, must inevitably be followed by new Degrees of inventive Luxury, and an unwearied Passion for Dissipation and Amusement. Hence the peculiar Danger would arise, even where no ill Intentions should dwell, of a Perversion of the mimetic, and especially, of the poetic and musical Arts, from their proper and exalted, to their improper and ignoble Ends.—If in such a Kingdom, their lowest Forms should be sought for, while their higher were neglected; if Tragedy should give Way to Comedy, and Comedy to Farce, and Farce to Pantomime; if Privileges should be denied to the Labours of Genius, which were indulged to the Tricks of Harlequin and Pierot;—what could be more justly feared, than a general Decline of Taste, which by silent and unperceived Degrees might insensibly slide into the same fatal Effects, which marked the later Periods of the Greek Republics, and the Roman Empire?

On the contrary; an effectual Union of these two powerful Arts, directed to their proper Ends, would be productive of the noblest Consequences: It would renew and augment the Dignity of every elegant Accomplishment; would refine the Taste, inforce the Religion, purify the Morals, strengthen the Policy, of the most prosperous Kingdom; in a Word, would give a proper and salutary Direction to that Overflow of Wealth, which must either adorn or overwhelm it.

An Institution, therefore, which may promote such important Ends, may seem not only to claim the Attention of the Wise and Good in every private Station; but might perhaps be regarded as not unworthy the Protection of the best and greatest KING.

APPENDIX.

The following Memoir, which was lately communicated to the Author by an honourable Gentleman, hath Reference to p. 160. of the preceding Dissertation: And though it was not received soon enough to be inserted in its proper Place, yet the Author thought it but Justice to the curious Reader, to add it as an Appendix.

By the QUEEN.

ELIZABETH, by the Grace of GOD, of England, France, and Ireland, Queen, Defender of the Faith, &c:

To our trusty and right well beloved Sir Richard Bulkely Knight, Sir Rees Griffith Kt. Ellis Price Esq. Dr. in civil Law, and one of our Council in the Marchesse of Wales, William Mostyn, Jeuen Lloyd of Yale, John Salisbury of Rhug, Rice Thomas, Maurice Wynne, William Lewis, Pierce Mostyn, Owen John ap Howel Fichan, John William ap John, John Lewis Owen, Morris Griffith, Symmd Thelwat, John Griffith, Ellis ap William Lloyd, Robert Puleston, Harri ap Harri, William Glynn, and Rees Hughes Esqs. and to every of them Greeting.

Whereas it is come to the Knowledg of the Lord President, and other our Council in our Marchesse of Wales, that vagrant and idle Persons naming themselves Minstrels, Rythmers, and Bards, are lately grown into such intolerable Multitude within the Principality of North Wales, that not only Gentlemen and others by their shameless Disorders are oftentimes disquieted in their Habitations, but also the expert Minstrels and Musicians in Tonge and Cunynge thereby much discouraged to travaile in the Exercise and Practise of their Knowledg, and also not a little hindred (of) Livings and Preferment; The Reformation whereof, and the putting these People in Order, the said Lord President and Council have thought very necessary: And knowing you to be Men of both Wisdom and upright Dealing, and also of Experience and good Knowledge in the Scyence, have appointed and authorized You to be Commissioners for that Purpose: And forasmuch as our said Council, of late travailing in some Part of the said Principality, had perfect Understanding by credible Report, that the accustomed Place for the Execution of the like Commission hath been heretofore at Cayroes in our County of Flynt, and that William Mostyn Esq. and his Ancestors have had the Gift and bestowing of the Sylver Harp appertaining to the Chief of that Faculty, and that a Year's Warning (at least) hath been accustomed to be given of the Assembly and Execution of the like Commission; Our said Council have therefore appointed the Execution of this Commission to be at the said Town of Cayroes, the Monday next after the Feast of the Blessed Trinity which shall be in the Year of our Lord 1568. And therefore we require and command You by the Authority of these Presents, not only to cause open Proclamation to be made in all Fairs, Market-Towns, and other Places of Assembly within our Counties of Aglere, Carnarvon, Meryonydd, Denbigh and Mynt, that all and every Person and Persons that intend to maintain their Living by name or Colour of Minstrels, Rythmers, or Bards, within the Talaith of Aberffraw, comprehending the said five Shires, shall be and appear before You the said Day and Place to shew their Learnings accordingly: But also, that You, twenty, nineteen, eighteen, seventeen, sixteen, fifteen, fourteen, thirteen, twelve, eleven, ten, nine, eight, seven, or six of you, whereof You the said Sir Richard Bulkely, Sir Rees Griffith, Ellis Price, and William Mostyn Esqs. or three or two of you, to be of the Number; to repair to the said Place the Days aforesaid, and calling to you such expert Men in the said Faculty of the Welsh Musick as to You shall be thought convenient, to proceed to the Execution of the Premises, and to admit such and so many, as by your Wisdoms and Knowledges you shall find worthy, into and under the Degrees heretofore (in Use) in semblable Sort to use, exercise, and follow the Sciences and Faculties of their Professions, in such decent Order as shall appertain to each of their Degrees, and as your Discretions and Wisdoms shall prescribe unto them: Giving streight Monition and Commandment in our Name and on our Behalf to the rest not worthy, that they return to some honest Labour, and due Exercise, such as they be most apt unto for Maintenance of their Living, upon Pain to be taken as sturdy and idle Vagabonds, and to be used according to the Laws and Statutes provided in that Behalf; letting You with our said Council look for Advertisement, by Certificate at your Hands, of your Doings in the Execution of the said Premises; foreseeing in any wise, that upon the said Assembly the Peace and good Order be observed and kept accordingly; ascertaining you that the said William Mostyn hath promised to see Furniture and Things necessary provided for that Assembly, at the Place aforesaid.

Given under our Signet at our City of Chester, the twenty third of October in the ninth Year of our Reign, 1567.
Signed Her Highness's Counsail in the Marchesse of Wales.

N. B. This Commission was copy'd exactly from the Original now at Mostyn, A. D. 1693: Where the Silver Harp also is.

From this Commission it appears, 1st, That although many of the Bards were massacred by EDWARD the First, yet the whole Order was by no means exterminated. 2dly, That in the Reign of ELIZABETH, Abuses had crept on among the Welsh Bards, similar to those which are recorded of the Irish. 3dly, That public Contests for poetic and musical Fame had been established in Wales from ancient Times. 4thly, That these Contests are now ceased.

In Wotton's "Leges Wallicae," (Append, p. 547, 548.) there are two Laws of Henry the Fourth recorded, which relate to the Prevention of the Abuses of the Bard's Profession; but in such general Terms, that nothing relative to the particular State of their Music and Poetry can be collected from them.

The Author will esteem it a singular Favour, if any Gentleman can transmit to him an authentic Account of the final Decline of the Bard's Profession in Wales.

AN INSCRIPTION, Written at a favourite RETIREMENT, in May 1758.

Finemque tueri,

Naturamque sequi.

WHAT tho' nor glittering Turret rise,

Nor Splendor gild these mild Retreats?

Yet NATURE here, in modest Guise,

Displays her unambitious Sweets:

Along each gentle-swelling Lawn

She strays, with rustic Garlands crown'd;

And wakes the Flow'rs at early Dawn,

To fling their bosom'd Fragrance round.

Here teach thy Vot'ry, blameless Guide,

To trace thy Step serene and free;

To shun the toilsome Heights of Pride,

Thro' these calm Scenes to follow THEE.

His silent Walk do Thou adorn,

O'er these green Slopes, from Tumult far;

Whether he greet the blushing Morn,

Or welcome up yon evening Star:

Intent, while thro' these tufted Bow'rs

Thy generous Whispers charm his Ear,

To hail from Heav'n thy kindred Pow'rs,

And meet fair Peace and Freedom here.

Yet prompt to stay his Country's Fall,

The stormy City's War he'll join,

When Thou, and Truth, and Freedom call:

For Freedom's Voice, and Truth's, are Thine.

THE END.

By the same AUTHOR, With all convenient Speed will be published, PRINCIPLES OF CHRISTIAN LEGISLATION, IN EIGHT BOOKS. BEING An Analysis of the various Religions, Manners, and Polities of Mankind, in their several Gradations: OF The Obstructions thence arising to the general Progress and proper Effects of Christianity: AND OF The most practicable Remedies to these Obstructions.

Lately published, In OCTAVO.

- I. ESSAYS on the CHARACTERISTICS of the Earl of SHAFTSBURY.

- I. On RIDICULE, considered as a Test of Truth.

- II. On the Motives to VIRTUE, and the necessity of Religious Principle.

- III. On Revealed RELIGION and CHRISTIANITY. The Fourth Edition.

- II. An ESTIMATE of the MANNERS and PRINCIPLES of the TIMES. 2 vol. The Seventh Edition.

In the Press, In ONE VOLUME, Octavo. TEN SERMONS ON VARIOUS OCCASIONS. By JOHN BROWN, D. D.

〈1 page duplicate〉

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Title statement

A dissertation on the rise, union, and power, the progressions, separations, and corruptions, of poetry and music. To which is prefixed, the cure of Saul. A sacred ode. Written by Dr. Brown

Brown, John, 1715-1766.

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ID [ota]

http://ota.ox.ac.uk/id/4667

ID [isbn10]

1106016661

ID [isbn13]

9781106016669

ID [TCP]

K066805.000

ID [BIBNO]

CW3315438844

ID [ECLL]

0964200100

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— A dissertation on the rise, union, and power, the progressions, separations, and corruptions, of poetry and music. To which is prefixed, the cure of Saul. A sacred ode. Written by Dr. Brown, Brown, John, 1715-1766.. 244[i.e.248],[2]p. ; 4⁰. London :: printed for L. Davis and C. Reymers,. 1763.. [Titlepage in red and black.] [P. 248 misnumbered 244.] [With a final leaf of advertisements.] [Reproduction of original from the British Library.] [English Short Title Catalog, ESTCT81514.] [Electronic data. Farmington Hills, Mich. : Thomson Gale, 2003. Page image (PNG). Digitized image of the microfilm version produced in Woodbridge, CT by Research Publications, 1982-2002 (later known as Primary Source Microfilm, an imprint of the Gale Group).]

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