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 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.
THE CURE OF SAUL. A SACRED ODE.
"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
A DISSERTATION, &c.
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
The Work advertised at the End of this Dissertation.
; 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.
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
Moeurs des Sauvages,
tom. ii. p. 213, &c. 12mo .
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
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.
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.
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
Article 5.
, 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.
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
PLATO, ALCIBIADES.
."
—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
Deipnosoph.
l. xiv.
. 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
De Legibus,
l. i.
."
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
PLATO
de Rep.
l. ii.
. Of this Rank too, was THALES the
Cretan
Lawgiver; who composed Laws in Verse, and sung them to his Lyre
STRABO
Geog.
l. x.
. 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
PLUT.
de Procreat. Animae,
&c.
."
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
Characteristics,
vol. i. p. 237.
."
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
, or
"the Leaders of the Dance and Song-Feast
LUCIAN.
de Saltatione.
:"
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
Ep. ad Pisones.
. PINDAR stiles him the
Dancer
Ode.
. HOMER, of the Author of the Hymns that pass under his Name, gives him the same Appellation
Hymn. in Apollinem.
. RHEA, the Mother of JUPITER, is said to have taught her Priests the Art of
Dancing,
both in PHRYGIA and CRETE
LUCIAN.
de Saltatione.
: As CASTOR and POLLUX instructed the
Lacedemonians
in the same Art
Ibid.
. EUMELUS or ARCTINUS the
Corinthian
brings in even JUPITER himself
dancing,
in these Words,
Among them danc'd the Sire of Gods and Men
Apud.
ATHENAEUM
Deipn.
l. i.
.
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
STRABO, l. i.
. 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
PLUTARCH.
"
. 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
Hist. de las Guerras Civil. de Grenada.
. 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
Comment. Real.
. Nay all the
American
Tribes who have any Compositions, are found to establish the same Truth
LAFITAU.
. 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
BARTHOLIN.
de Contemptu Motis,
&c. HICKES
Thes. Septentr.
. ODIN is said to have boasted, that
"his Runic Poems were given him by the Gods
SHERINGHAM
Orig. Gent. Angl.
."
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
LONGIN.
de Metr.
."
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
signified at first simply to
speak,
or utter the Voice; which now, with a small Abbreviation (
) signifies to
sing:
And hence came the ancient Opinion, which appears so
strange
to
Us,
that Poetry was before Prose
Enq. into the Life
of HOMER, p. 38.
."
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
See the following Articles.
) 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
Preface à Oedip.
."
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
De Artis Poët. Nat. et Const.
c. i.
."
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
PLATO
de Rep.
l. vii.
: 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
CLEMENS ALEXANDR.
Stromat.
l. vi.
."
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
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.
?"
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
In
LAERT.
.
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
STRABO, l.
."
PLUTARCH adds his Testimony, and informs us, that in GREECE
"the first Application of Music was to religious Ceremonies, in Honour of the Gods
PLUT.
de Musica.
."
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
PLUT.
Diss. Cur nunc Pythia non reddat oracula carmine.
."
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
PAUS.
in Phocicis.
."
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
Loco supra citato.
."
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
See the Passage from LAFITAU.
."
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
On Poetry,
&c.
: 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
Reflex. Crit. Part.
iii. c. ix.
. To this it may be sufficient to reply, that the ABBE confesseth himself ignorant of the Principles of Music
Ibid.
, 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
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
See ALYPIUS; at the End of the
Phaenomena
of ARATUS: To whom I refer for the Truth of these Remarks on the three
Genera.
.
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
L. xiv.
. 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
Ibid.
; 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
By Sir FR. EYLES STILES.
. 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
De Poem. Cantu,
&c.
.
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
PAUSANIAS, l. ix.
. AMPHION was his Disciple, and increased the Number of Strings to
seven
Ibid.
, APOLLO contented himself with the same Compass of Notes; and so did ORPHEUS
Ibid.
. 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
See the
Spartan
Decree against TIMOTHEUS, given at large below.
. 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
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
Probl.
Sect. xix.
:"
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
. 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
Deipnosoph.
l. i.
, 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
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.
.]
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.
. 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
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.
? 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
VOSSIUS
de Poem. Cantu et Viribus Rythmi,
p. 72.
".
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
De Musica.
."
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
De Musica.
. 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
See above, Sect. ii.
."
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
ARISTOTLE, PLUTARCH, and others.
, 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
DIODORUS, l. iii. and LAERTIUS.
. 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
PAUSANIAS
in Baeoticis.
.
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
SUIDAS
in Orpheo.
. 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
LAERTIUS
in Proaem.
. 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
SUIDAS
in Tham.
.
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
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.
.
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
Qui quid pulchrum,
&c.
. 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
In Vita
HOMERI.
."
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
Enquiry into the Life and Writings of
HOMER, p. 338.
."
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
Ibid.
."
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
Hist. de l' Acad. Royale des Inscrip.
t. v. p. 96.
."
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
CICERO
de Oratore,
l. ii. QUINTIL. l. xi. c. 2.
."
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
See this Point considered below, Art. 20.
. 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
See above, Art. 1.
, either with or without the
Dance
" (for this last, as will appear below
See Art. 15.
, 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
PLUT.
de Musica.
."
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
Ibid.
."
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
Ibid.
."
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
In Lycurgo.
."
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
PLUT.
in Pericle.
. Thus EPAMINONDAS was eminent in Music; though the
Roman
Historian
CORN.
Nepos in Praefat. Vit.
EPAMINOND.
, 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
De Repub.
l. ii.
."
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
Art. 34, 35.
)
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
In Protag.
."
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
De Legibus,
l. ii.
."
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
Ibid.
."
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
L'Esprit des Loix,
l. iv. c. 8.
."
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
PLATO
de Rep.
l. iii.
. 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
DACIER
Poët. d' Aristote. Preface.
."
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
Poët. passim.
: 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
Art. 35.
; 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
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.
. 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
De Repub.
l. iii.
."
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
LAFITAU, tom. iii. p. 171. tom. iv. p. g.
. 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.
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
See Sect. iv. Art. 14.
. 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
De Leg.
l. ii.
."
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
In Protag.
."
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
De Saltatione.
."
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
De Nat. Art.
l. i. c. 3.
.
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
WEST's
Transl. of
PINDAR's
Odes: Pref.
."
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
or
Bards
of ancient GREECE: Of whose
Profession
and
Art
a late learned Author
Enquiry into the Life and Writings of
HOMER.
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
SUIDAS,
on the Lesbian Song.
.
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
HES. THEOG.
."
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
Odyss.
. 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
See below, Sect. viii.
.
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
De Musica
."
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
L. ix.
. 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
In
EUTERPE.
. VELLEIUS PATERCULUS affirms the same thing in stronger Terms
L. i. c. 5.
: And Mr. POPE goes into this Opinion
Diss. prefixed to his Trans. of the
Iliad.
. 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
Poet.
c. iv.
."
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
Life
of HOMER, Sect. vii, viii.
. HESIOD was of the same Order; and seems to have maintained it with truer Dignity
THEOG.
Exord.
ver. 23, &c.
: TERPANDER held the same Employment, and sung both his own Poems and those of HOMER
PLUTARCH
de Musica
.
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
Sur les Poet D' Arist.
p. 47.
."
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
Theat. des Grecs.
tom. vi. p. 310, &c.
. 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
MINOS.
."
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
See VOSSIUS
Poët.
l. ii. c. 12.
."
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
STRABO, l. ix.
."
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
See J. SCALIGER
Poët.
l. i. c. 23.
: 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
JUL. POLL.
Onomast.
l. iv. c. 10.
. 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
See above, Sect. ii.
.
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
HOR.
Ep. ad
PIS.—DIOG. LAERT. SOLON.
. 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
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.
.
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
Above, Sect. ii.
: 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
Ibid.
. 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
Characteristic,
vol. i. p. 197.
."
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
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.
; 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
RECTIUS ILIACOS, &c.
. 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
In Vita
HOMERI.
."
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
Ibid.
."
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
Poët.
l. i. c. 5.
."
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
See Sect. ii.
."
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
ATHENAEUS
Deip.
l. i.
. 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
Sur
ARISTOTE, p. 85, &c.
."
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
Ibid.
. 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
Reflec. Crit.
Part iii. c. 4, &c.
. 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
ARISTOT.
Prob.
19.
. 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
Poët.
c. 26.
.
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
Reflec.
Part. iii. c. 13.
. 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
Poët.
c. 6.
."
MARCUS AURELIUS
L. xi. Art. 6.
, MILTON
Preface to
SAMSON AGONISTES.
, DACIER
Poët. d' Arist.
, and BRUMOY
Theat. des Grecs,
tom. i. p. 85.
, 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
Sect. viii.
) 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
See LAFITAU, and other Travellers.
) 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
De Saltatione.
: 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
ATHEN.
Deipn.
l. i.
.
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
POTTER
Arch. Graec.
."
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
See above, Art. 19.
, 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
Ibid.
.
"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
STRABO, ib.
."
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
Art. 19.
. We have observed, that other ancient Authors, with great Shew of Probability, deduce its Origin from APOLLO himself
Ibid.
. SCALIGER, speaking of the Rise of these
Pythian
Games, makes no Doubt of their having been instituted by APOLLO
Poet.
l. i. c. 23.
. 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
Ibid
."
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
PAUSANIAS, l. v.
."
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
See above, Art. 19.
. 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
PLUT.
Symp.
l. i. q. i. ATHEN.
Deip.
l. xv.
: Then they sung successively, one by one, holding a Branch of
Myrtle
in their Hand, which was sent round the Table
PLUT. ib.
. 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
PLUT. ib. ATHEN. ib.
.
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
ATHEN. ib.
.
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
ATHEN. ib.
.
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.
ATHEN. ib.
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
CICERO
Tusc.
l. i.
. The whole Country of
Cynaethe
laboured under a parallel Reproach
ATHENAEUS, POLYBIUS.
: 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
PLATO
de Legibus,
l. ii.
. 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
De Leg.
l. vii.
. "Hence (saith PLATO in another Place) "their
Music
is found to have continued
uncorrupted,
and the
same,
for thousands of Years
Ibid. l. ii.
."
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
ATHEN.
Deip.
l. xiv.
: 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
ARATI PHAENOMENA,
Ed. Oxon.
at the End of which this Edict is preserved.
."
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
Art. 31, 32.
. 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
See Art. 6.
. 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
De Legibus,
l. iii.
."
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
See below, Sect. vii. Art. 5.
, in whose Accounts, together with those of PLUTARCH
See ib.
, 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
VOSSIUS.
."
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
Sympos.
l. vii.
and other Authors
JUSTIN, l. vi.
, 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
Sympos.
l. ix. qu. 15.
. 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
or
Bard
was disused; and that of
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
PLATO
de Repub.
l. ii.
. 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
LUCIAN, HERODOTUS.
: 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
L. i. c. 6.
: 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
LUCIAN
de Salt.
.—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
Above, Art. 8.
. 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
STRABO, l. ix. CICERO
de Div.
l. ii.
.—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
ARISTOT.
Polit.
l. viii. c. 5.
: 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
ARISTOT.
Poet.
c. 26.
. 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
Polit.
l. viii. c. 7.
. 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
De Musica.
.
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.
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
See above, Sect. ii.
."
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
See VOSSIUS
Inst. Poët.
l. ii. c. 23.
; 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
Poët.
c. 4.
."
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
See above, Sect. ii.
: 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
See the Authors cited above, Sect. v. Art. 16.
. For so I understand the Word
and
, 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
See above.
. 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
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.
."
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
See Sect. v. Art. 34.
, 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
In Pericle.
."
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
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.
.—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, 1
st,
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."
2
dly,
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."
3
dly,
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
XENOPHON
de Rep.
ATHEN.
."
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
Characteristics,
vol. i.
; 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
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.
. 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
P. 248.
."
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
Characteristics,
vol. i. p. 253. Notes.
."
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
Characteristics,
vol. i. p. 250.249.
."
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
P. 251.
."
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
LIBANIUS
Arg. ad
OLYNTH. I.
. 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.
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
STRABO, l. x. DIODORUS, l. v.
. 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
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.
. 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
Preface to NICHOLSON's
Irish Hist. Library.
. 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
See above, Sect. v.
. 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
SHERINGHAM
de Angl. Orig.
p. 173.
: That they were above the Meanness of Flattery; and were revered, even in the Courts of Kings
BARTHOLINUS
de Contemptu Mortis apud Danos,
l. i. c. 8.10.
.
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
L. iv.
."
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
DION. l. v.
."
The
British Bards,
about the same Time, were precisely of the same Character; as we learn from their contemporary
Roman
Authors
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.]
. 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
An Ode, by Mr. GRAY.
.
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
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
Carric-Thura:
A Poem.
: 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
De Contemptu Mortis apud Danes,
l. ii. c. 2.
." "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.
.
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
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.
.
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
KEATING's
Hist.
of IRELAND, p. 48.
.
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
Ib. p. 132. &c.
.
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
Ibid.
.
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
Ib. p. 132. & Preface, p. 23.
. 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
KEATING's
Hist.
of IRELAND, p. 127.
.
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
Ib. 370, &c.
.
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
KEATING's
Hist.
of IRELAND, p. 380, 381.
.
'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
SPENSER's View of the State of IRELAND.
."
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.
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
Extraits des Hist. Chinois,
published by Mr. GOGUET, p. 550.
.
"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
Extraits des Hist. Chinois,
published by Mr. GOGUET, p. 552.
."
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
Ib. 555.
. 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
Ib. p. 556.
."
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
Ib. p. 567.
."
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
Ib. p. 572.
."
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
DU HALDE
Hist. Chinois.
. 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
See Specimens of it, in DU HALDE.
: 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
See above, Sect. vi. Art. 24.
. 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
GARCILASSO DE LA VEGA
Comment. Real.
l. ii. c. 14, 15.
.
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
LA CROZE
Hist. du Christ.
p. 38, &c.
: 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
LA CROZE
Hist. du Christ.
p. 282.
. 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
Ib. p. 294.
."
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
LA CROZE
Hist. du Christ.
p. 296.
."
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
Hence it appears that the
History
of their
Gods
made the Subject of their
native
theatrical Representations.
; and they are, for this Reason, an excellent Mean of Conversion
How far this was a proper Method of Conversion, will be considered in the Work advertised at the End of this Dissertation.
.—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
Lettres Edifiantes, Recueil,
xviii. p. 28.
."
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.
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
STROMAT. l. vi.
: 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
EXODUS.
: MIRIAM, a distinguished Prophetess, led the female Dance and Choir, on the same Occasion
Ibid.
. 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
1 SAM. x.—1 CHRON. xxv.
. 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
CALMET.
Dissert. sur la Poesie,
&c.
."
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."
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
DIONYS.
Halicarn.
l. i. c. 55.
."
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
DIONYS.
Hal.
l. i.
. 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
CICERO
de Leg.
l. ii.
.
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
LIV.
Hist.
l. vii.
. 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
Sect. vii.
)
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
Sect. vi.
; so LIVIUS ANDRONICUS, the first known dramatic Poet of ROME
Art. 26.
, 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
LIV.
Hist.
l. vii.
."
Thus an
absurd Separation
was established; and continued so established through the succeeding Ages of the
Roman
Empire
LUCIAN
de Salt.
. 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
See above, Sect. vi. Art. 35.
. 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
De Leg.
l. ii.
and HORACE
Epist. ad Pis.
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
LIV.
Hist.
l. xxiv.
.
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
QUINTIL.
Inst.
l. ii. c. 11.
."
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
De Imitatione,
c. 7, &c.
.
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
Castum decet esse Poetam: Ipsos Versiculos nihil necesse est.
. Thus the Art sunk so low, that the Name of
Poet,
was held unworthy a Man of
Age
or
Dignity
Turpe est Senem Versus scribere.
. 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
CIC.
de Oratore,
l. i.
: 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
Ibid.
. 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
PERSIUS
Sat.
I.
. 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
L. vii.
."
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
Inst.
l. i.
."
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
SENECA
Nat. Quaest.
l. vii.
."
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
TAC.
An.
l. xiii, xiv.
. 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.
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
See below, Sect. xiii.
) 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
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.
, 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
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.
. 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
From rosy Bowers,
&c.
: 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
Theat.
&c.
. 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
MENETRIER
de Representations en Musique.
.
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
Ibid.
. 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
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.
, 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
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.
.
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
DACIER
Rem. sur Aristote,
p. 85.
."
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
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.
.
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
Some of METASTASIO's and QUINAULT's Operas are fine Tragedies in three Acts.
. 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
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.
. 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
JUST. MART.
Quaest
107.
. 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
See above, Sect. xi.
. 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
It must be observed, that MARCELLO's Compositions are not set to the
Latin Translation
; but to an
Italian Paraphrase
of the Psalms.
.
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
For a full View of this Subject, see Mr. AVISON's
Essay on musical Expression.
. 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
MENETRIER
des Represent. en Musique.
. 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
AUG.
Serm. in nat. Divi
CYPRIANI.
."
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
BOURDELOT
Hist. de la Musique,
tom. i. p. 256.
.
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
BOILEAU,
Art Poet.
.
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
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.
. 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.
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.
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
See above, Sect. vi. Art. 10.
.
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
Sect. vi. Art. 17.
. 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
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?
.
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
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.
"
. 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
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
See above, Sect. vi. Art. 22.
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.
. 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
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
See above, Sect. vi. Art. 19.
. 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
See ibid.
. 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
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.
, 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
Mr. HUGHES.
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.
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.
THE END.
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.