[25]A DISSERTATION, &c.

SECTION I. The DESIGN.

So ſaid the ſublime MILTON, who knew and felt their Force: But Thoſe whom Nature had thus joined toge⯑ther, 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 them⯑ſelves inſtantly, and without Diſguiſe.

It may be affirmed with Truth, that, for Want of begin⯑ning 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 exten⯑ſive Degree, and on Subjects of higher Importance, through the Courſe of a future Work^a; of which, ſome of the Principles here delivered will make an incidental Part. In the mean Time, he intends to treat the preſent Subject in the Way now propoſed, by deducing his Argument from the firſt great and original Fountain of ſavage Life and Manners.

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 Con⯑traries of Hate, Revenge, Fear, Sorrow, and Deſpair, op⯑preſſing 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 Ex⯑perience produce, throws the Voice into Song, the Geſture into Dance, the Speech into Verſe or Numbers. The Ad⯑dition of muſical Inſtruments comes of Courſe: They are [28] but Imitations of the human Voice, or of other natural Sounds, produced gradually by frequent Trial and Ex⯑periment.

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, com⯑poſe 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, Har⯑veſts, 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 un⯑ſhaken 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, Opi⯑nions, Manners. Among ſome Tribes the joyous Paſſions, [29] among ſome the gentle, among others the ferocious, pre⯑dominate 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 Set⯑tlements from the Back of the Britiſh Colonies to the Bor⯑ders of the Great Lakes, along the Skirts of LOUISIANA, and down the River OHIO, towards the MISSISIPI, and the Gulph of FLORIDA. Father LAFITAU^b gives the following Deſcription of their feſtal Solemnities; which it is neceſſary to tranſcribe at large, in order to give an adequate Idea of their Manners and Character.

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 na⯑turally 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.

[37]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 ap⯑pears, from the laſt Article, that theſe Qualities would naturally be thoſe of Dance and Song.

4. Meaſured Periods, or in other Words, Rythm, Num⯑bers, 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 cor⯑reſpond with the Melody, ſo the Words or Song muſt, on a like Principle, keep Pace with Both. Among the ſa⯑vage 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 [38] their Heroes and Gods, and the great Events of their Nation, make a principal Part of their Songs. When⯑ever, 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 ad⯑dreſſed 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 conſider⯑able Part of its Power from its Rythm or Meaſure, without [39] 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 found⯑ed 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 eſ⯑ſential and principal Part in the Education of their Chil⯑dren. For the important Principles of their Religion, Morals, and Polity, being delivered and inculcated in their [40] 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 conti⯑nued Habit, together with the irreſiſtible Contagion of general Example, while every thing pleaſing, great, and im⯑portant, 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 ſeve⯑ral Kinds would of courſe lie confuſed, in a Sort of un⯑diſtinguiſhed Maſs, and be mingled in the ſame Compoſi⯑tion, as Inclination, Enthuſiaſm, or other Incidents might impel. But repeated Trial and Experiment would natu⯑rally produce a more artificial Manner; and thus, by De⯑grees, the ſeveral Kinds of Poem would aſſume their legi⯑timate 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 ren⯑dering 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 ſuffi⯑ciently [41] 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 Magi⯑ſtrate, to ſuch Men of Genius and Worth, as might apply it to its proper Ends, the Inſtruction and Welfare of Man⯑kind.

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 Exclama⯑tions of Joy, Grief, Triumph, or Exultation, in Conſe⯑quence 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 ap⯑pears above^d, that their earlieſt Hiſtories would be writ⯑ten 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 Limi⯑tations with Reſpect to its Manner, for the Ends of Plea⯑ſure, 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 [42] God or Heroe: The ſurrounding Choir anſwer him at In⯑tervals, by Shouts of Sympathy or concurrent Appro⯑bation.

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 Con⯑viction to the Senſes, of the Sameneſs of Place, and Short⯑neſs 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 [43] tragic Species, they of Courſe maintained the ſame Ap⯑pendage of Melody, which Nature and Cuſtom had already given them.

24. While the Nation held its fierce and warlike Cha⯑racter, the tragic Repreſentations would chiefly turn on Subjects diſtreſsful or terrible. For thus they would ani⯑mate each other to Victory and Revenge, by a Repreſenta⯑tion 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 Cha⯑racters are naturally united in the ſavage State: There⯑fore, [44] till ſome extraordinary Change in Manners and Prin⯑ciples ſhould enſue, this Union would of Courſe continue.

27. Muſical Conteſts would be admitted as public Exer⯑ciſes in ſuch a State. For we have ſeen, that the impor⯑tant Articles of Religion, Morals, and Polity, would natu⯑rally 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 Na⯑ture; 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 im⯑portant 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 Accom⯑pliſhment. 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 De⯑fect: For it would imply a Deficiency in the three great leading Articles of Education, Religion, Morals, and Po⯑lity.

[45]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 Ac⯑quirements naturally correſpond with Theſe; and accom⯑modate themſelves to his Manners, as to their chief and original Cauſe.

32. As a Change of Manners muſt influence their Mu⯑ſic, 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 Move⯑ments of Song and Dance, by Law: This would ariſe from their Knowledge of the mutual Influence of Man⯑ners and Muſic on each other.

34. In a Society of more libertine and relaxed Princi⯑ples, 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 Ob⯑ject of their Ambition.

35. In Conſequence of this Corruption, a gradual and total Separation of the Bard's or Muſician's complex Cha⯑racter 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 [46] 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 Vir⯑tuous.

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 con⯑tain the Riſe, Progreſs, Power, Perfection, Separation, and Corruption, of their Melody, Dance, and Song, we may per⯑haps 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 Teſti⯑mony [47] of many ancient Authors: The following one from the Alcibiades of PLATO may alone be a ſufficient Autho⯑rity. ‘"Socr. Tell me firſt, what Art is that, to which it belongs properly to ſing, to play, and dance? Cannot you find a Name for this comprehenſive Art?—Alcib. I cannot.—Socr. Try a little: Who are the Goddeſſes that preſide over this Art?—Alcib. Do you mean the MUSES?—Socr. I do: Conſider then, what Name the Art receives from them.—Alcib. You ſeem to hint at MUSIC.—Socr. You are right^e."’—The ſame Truth is no leſs evident from the circumſtantial Account which ATHENAEUS gives of the old ARCADIAN Muſic; which, in its general Acceptation, included Melody, Dance, and Song ^f. It appears, then, that this Combination or Union of theſe three Siſter-Graces aroſe naturally in ancient GREECE, from an Improvement of the ſavage State into a certain Degree of Civilization. They needed no Art to joyn them: For as they naturally produce each other, and are naturally conjoyned in the ſavage and uncultivated State, this Union would of Courſe continue, till ſome vio⯑lent 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 Inſtru⯑mental Muſic, that is, the Melody of Inſtruments, unac⯑company'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 un⯑meaning Thing, and an Abuſe of Melody ^g."’

[48]2. "In the earlieſt Periods of the Greek States, their Legiſlators were often Bards, or their Bards were Legiſ⯑lators." Such, in a more eminent Degree, were A⯑POLLO, ORPHEUS, AMPHION, LINUS, and MUSAEUS^h. Of this Rank too, was THALES the Cretan Lawgiver; who compoſed Laws in Verſe, and ſung them to his Lyreⁱ. 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 An⯑cients repreſented the Statues of the Gods with Muſical Inſtruments in their Hands, not as being really Lyres or Flutes; but becauſe they thought, that nothing ſo much ſuited the Character and Office of the Gods, as Harmony and Order ^k."’ Thus too, a noble Writer of our own Country declares his Opinion, and ſays, that ‘"Tra⯑dition, which ſoon grew fabulous, could not better repre⯑ſent the firſt Founders or Eſtabliſhers of large Societies, than as real Songſters ^l."’ But real Songſters, be⯑yond Doubt, they were; nor was Tradition fabulous in thus repreſenting them. For from a View of human Na⯑ture, 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 [49] 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^m:"’ A Circumſtance which plainly points out its own Origin.

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

Whence it aroſe, that theſe ancient Gods were repre⯑ſented as Singers and Dancers, and veſted with a Quality which at firſt Sight ſeems altogether foreign to their Cha⯑racter, 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 ad⯑vanced to the Rank of Gods, were naturally delivered down [50] to Poſterity, with the ſame Attributes or Qualities by which they diſtinguiſhed themſelves in Life: and it ap⯑pears 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 imi⯑tated it, dropped the Meaſure: Such were CADMUS the Mileſian, PHERECYDES and HECATAEUS^t. Theſe were the firſt Greek Hiſtorians who writ in Proſe. Another learned Ancient confirms this Account; and ſays, ‘"In theſe early Times, ſo general was the Inclination to Rythm and Numbers, that all Inſtruction was given in Verſe: There was neither Hiſtory nor Philoſophy, nor any Action to be deſcribed, but what was dreſſed by the Muſes ^u"’. Not only the Greek Writers give a con⯑current Teſtimony concerning the Priority of hiſtorical Verſe to Proſe, but the Records of all Nations unite in con⯑firming it. The oldeſt Compoſitions among the ARABS are in Rythm or rude Verſe; and are often cited as Proofs [51] of the Truth of their ſubſequent Hiſtory^w. The Ac⯑counts 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 Coun⯑try^x. Nay all the American Tribes who have any Com⯑poſitions, are found to eſtabliſh the ſame Truth^y. Nor⯑thern EUROPE contributes its Share of Teſtimony: For there, too, we find the Scythian or Runic Songs (many of them hiſtorical) to be the oldeſt Compoſitions among theſe barbarous Nations^z. ODIN is ſaid to have boaſted, that ‘"his Runic Poems were given him by the Gods^a."’ A Circumſtance which proves them to have been of the high⯑eſt Antiquity.

The Fact, then, is clear and certain: And as it is ſome⯑what myſterious to common Apprehenſion, various Solu⯑tions have been attempted by the Learned; though, in my Opinion, without Succeſs. I ſhall give them, as they ap⯑pear in various Writers.

LONGINUS hath aimed at ſomething like a Reaſon, in the following Paſſage: ‘"Meaſure belongs naturally to Poetry, as its Province is the Deſcription and Language of the Paſſions; together with Fiction or Fable, which produce Numbers. Hence it was that the Ancients (even in their common Diſcourſe) uſed Meaſure and Verſe, rather than Proſe^b."’ It can hardly be neceſſary to obſerve, that the celebrated Critic, in this Paſſage, gives a mere Affirmation inſtead of an Argument. He ſays, indeed, [52] ‘"that the Language of the Paſſions, and Fiction, natu⯑rally 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 cer⯑tain 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 re⯑curred, 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 ap⯑pears ſo ſtrange to Us, that Poetry was before Proſe^c."’ Here we ſee an ingenious Writer toiling in vain to prop a miſtaken Principle. For, to omit all the weak Parts of the Paragraph which might expoſe it to Ridicule, if nei⯑ther [53] 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 ARIS⯑TOTLE and PLUTARCH^d) on this Subject. ‘"Before HERODOTUS, even Hiſtory was not written but in Verſe among the GREEKS, who had borrowed this Cuſtom from the ancient EGYPTIANS, the wiſeſt, the beſt po⯑liced, and the moſt knowing People upon Earth. This Cuſtom was very reaſonable: for the End of Hiſtory was to preſerve to Poſterity the Memory of thoſe few great Men, whoſe Example might be of Service to Mankind. They only writ what was worthy of being retained by Heart. This is the Reaſon why they laid hold of the Harmony of Verſe; that they might aid the Memory. And hence it was, that the firſt Philoſophers, Legiſlators, and Hiſtorians, were all Poets ^e."’

As this is the moſt plauſible Reaſon that hath as yet been aſſigned for this myſterious Fact, it will deſerve a particular Conſideration. The Cauſe aſſigned ſeems, there⯑fore, 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 natu⯑ral Means of Memory and Record among a barbarous Peo⯑ple. But to invent the Vehicle of Rythm, from a Foreſight [54] of its being the beſt Inſtrument of Memory, without any prior Impulſe from unaſſiſted Nature, ſeems altogether in⯑compatible with the general Character of the ſavage Tribes: For in the Period of ſavage Manners, the Power of ab⯑ſtract 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 de⯑livered 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 com⯑mon, 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 Na⯑ture, 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 Con⯑ſtruction: They are generally vague and enthuſiaſtic; and [55] 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 alto⯑gether inadequate to the Effect; can we reaſonably enter⯑tain 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 correſpon⯑dent 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 writ⯑ten in Verſe; becauſe the Actions of their Gods and He⯑roes 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 [56] their earlieſt Hiſtories, for the Information and Uſe of fu⯑ture 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 controvert⯑ed. 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 Uni⯑verſality, 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 writ⯑ten, and then Poetry. Tis natural to walk on Foot before we mount on Horſeback; and it is certain that M [...] firſt ſpoke in Proſe, and then in Numbers. We have nothing more ancient than the Writings of MOSES; and theſe are in Proſe, with Songs intermixed^f."’ On this Reaſoning it may be remarked, that although it be [57] 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 an⯑cient 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 Writ⯑ings 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 in⯑forms us, that their Muſic and Songs had continued un⯑changed, for upwards of three thouſand Years^g: The other gives a more particular Account of their Nature, and Manner of being ſung. ‘"The firſt of the Prieſts who uſed to appear in the religious Proceſſion, was a Choragus, [58] Bard, or Singer, who carried the Symbol of Muſic, and could repeat by Heart the two firſt Books of MERCURY; the firſt containing Hymns in Honour of the Gods; the ſecond containing Sentences or Maxims for the Conduct of a King^h."’

6. "Their moſt ancient Maxims, Exhortations, Pro⯑verbs, 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, be⯑fore the Invention of the Art of Writing, Laws were ſung, leſt they ſhould be forgotten ⁱ?"’ On this Paſſage it will be only neceſſary to remark, Firſt, that the Opinion is delivered as a mere Conjecture. Secondly, that all the Difficulties which load the common Opinion concerning [59] 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, re⯑ceive additional Confirmation from the concurrent Autho⯑rity of CASAUBON; who declares it his Belief (though he aſſigns no Reaſon) that the Songs called Nomoi were Frag⯑ments of ancient Poetry, which had been ſelected and pre⯑served on Account of their Utilityⁱ.

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

8. "Their earlieſt Oracles were delivered in Verſe, and ſung by the Prieſt or Prieſteſs of the ſuppoſed God." The natural Cauſe of this Fact hath been aſſigned in the Article which correſponds with this. The ancients knew [60] 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 Num⯑bers. The Ancients had great Need of This, beyond the Moderns, becauſe the Oracles referred to Perſons, Things, and Places, which were often unknown to them^m."’

Thus the learned PLUTARCH; whoſe weak Reaſonings (weak becauſe he wanted Facts to lead him to the Truth) [61] hardly need a Confutation. For how came it ſo to paſs, that the firſt Race of Men were by natural bodily Tempera⯑ment 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 Affirma⯑tions 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 in⯑cumbered 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 Enthu⯑ſiaſm. For APOLLO, the God of Muſic, was their Author; The Pythia or Prieſtleſs was his Vicegerent; and PAUSA⯑NIAS informs us, that PHAEMONOE (the Siſter of APOLLO) was the firſt Prieſteſs; and that ‘"ſhe delivered her pro⯑phetic Inſpirations with frantic Geſtures (Dance) and in heroic Verſe and Song ⁿ."’ PLUTARCH tells us farther concerning this ſavage Heroine, that ‘"ſhe is ſaid to have celebrated Herſelf in her Songs; and boaſted, that ſhe ſhould not ceaſe to prophecy after her Death: That ſhe would aſcend to the Moon, and be metamorphoſed into that Face which we ſee in the Moon's Body^o."’ Theſe Paſſages, compared with what hath here been delivered on the ſavage Song-Feaſts, unveil the true Origin of the old poetic Oracles of GREECE. Hence it appears why the God's Vicegerent was a Woman: For his own Siſter firſt aſſumed that Office, and was naturally ſucceeded by one of [62] her own Sex. And the whole Account of her Self-Celebra⯑tions, her frantic Geſtures, Verſe, and Song, contains a true Picture of an enthuſiaſtic Savage: For it appears above, ‘"that Muſic, Dance, and Song, are one of the common Modes of Divination, among the ſavage IROQUOIS^p."’

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

As to the Enharmonic Kind, it is confeſſedly imprac⯑ticable. For it is ſaid to have proceeded by two Dieſes or [63] Quarter-Notes; (with a ſtated intermixture of two whole Tones) an Interval which no human Ear can preciſely diſ⯑tinguiſh, 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 My⯑stery. The ABBE DU BOS may be regarded as an Ex⯑ception to this general Remark: For He is of Opinion, that the Progreſſion of the Voice by Quarter-Notes might be in general Uſe in the theatrical Declamation^r. To this it may be ſufficient to reply, that the ABBE confeſſeth himſelf ignorant of the Principles of Muſic^s, and that this Opinion is a Proof of his being ſo. The Quarter-Note is a Progreſſion which, although an Italian CAS⯑TRATO (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 intelligi⯑ble; as it is generally ſaid to have proceeded by Half-Notes, of which the human Ear hath an adequate and pre⯑ciſe 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 in⯑compatible with thoſe Progreſſions of Sound into which a modern Voice can fall. For the modern Chromatic Kind [62] [...] [63] [...] [64] 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 an⯑cient Chromatic, as delivered by the Writers on this Sub⯑ject, was an unvaried Progreſſion, by two Half-Notes, and a Third either greater or leſs ^t.

The Diatonic Kind, according to the common Concep⯑tion of it, is perfectly underſtood; and is generally ſaid to be the ſame with that, in which our modern Muſic is com⯑monly 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 [65] 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 Quar⯑ter-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 Sub⯑ject, are at Variance with each other, concerning the Na⯑ture and Uſe of theſe different Modes. Some are of Opi⯑nion, 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 va⯑rious 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 ATHE⯑NAEUS it appears, that by Mode was ſometimes meant Gravity or Acuteneſs of Sound: For he tells us, that the Muſician had three Lyres placed on a moveable Tripod which turned on an Axis; and that by whirling it round with his Foot, he could inſtantly play in three various Modes^u. That Mode was ſometimes uſed for Meaſure, ſeems evident, becauſe in a Fragment of an ancient Author cited by ATHENAEUS, we read that a Hymn was writ⯑ten in the Lydian Mode ^w; which can only mean, the Phrygian or Dorian Meaſure. And as Mode was ap⯑plied to Numbers, ſo was it likewiſe to Dance: The Ionici Motus, which ancient Writers ſpeak of, are a clear [66] Proof of This. That Mode was uſed in the third of theſe Acceptations, as a particular Species of Diapaſon, hath been made clear by a late Writer, in a judicious and accurate Treatiſe^x. Thus by the promiſcuous Uſe of the Word Mode, ſignifying either Pitch, Meaſure, or Species of Diapaſon, it hath come to paſs, that ſome times the Signi⯑fication 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 an⯑cient Inſtruments: but whoever reads him without Parti⯑ality, will find all his Endeavours amount to no more than what is here affirmed^y.

Since, therefore, the particular Nature and Conſtruction of the ancient Melody is utterly unknown to us; we muſt have Recourſe to collateral Proofs, drawn from Facts which were connected with this unknown Melody; and from Theſe we may, I think, indirectly arrive ſo far at a Know⯑ledge of its general Character, as to conclude with Cen⯑tainty, [67] 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 In⯑ventor of the Lyre; which had but four Strings, and theſe were ſtretched on a Turtle's Shell^z. AM⯑PHION was his Diſciple, and increaſed the Number of Strings to ſeven ^a, APOLLO contented himſelf with the ſame Compaſs of Notes; and ſo did ORPHEUS^b. This Number of Strings continued to be eſtabliſhed by Law at SPARTA, ſo late as the Age of TIMOTHEUS, who attempted an Innovation of four more, and was puniſhed for it^c. Yet all the mighty Effects and Powers of Muſic, which we read of in ancient GREECE, aroſe within this Period, and while the Melody was confined within this ſmall Compaſs.

The Lyre, therefore, in its moſt ancient Forms, being in⯑capable either of a great Variety, or a multifarious Com⯑bination 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 [66] [...] [67] [...] [68] 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 fun⯑damental Notes. Farther than theſe Methods of redoubling or dividing the ſame Melody, I find nothing like Compo⯑ſition 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 ſyſtema⯑tical; 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 toge⯑ther, than when a ſingle Voice only ſings^d:"’ Which is true, if we ſuppoſe a numerous Choir to ſing the ſame Part, becauſe one Voice tends to correct the Inequalities of an⯑other; 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 Com⯑poſitions 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 [69] the Magadis; and even this diſtant Approach towards playing in Counterpoint was regarded as a Thing ſo ſin⯑gular, that to play in thirds was called [...]. If there⯑fore any other Kind of Performance had been uſed more complex than this, it muſt have been noted as a Circum⯑ſtance ſtill more ſingular.

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

We may farther obſerve, that their muſical Notation (ſo far as it is ſuppoſed to be underſtood) generally implies a [70] 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 accom⯑modated 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 Bag⯑pipe: 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 Multi⯑ſolicity 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 [71] Feet; which, when thrown into all their different Combi⯑nations, 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 natu⯑ral 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 Ef⯑fects 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, [72] if Numbers and Rythm be wanting, and we hear nothing but a mere Sound^g? Or if we compound various Sounds, and theſe be even harmonic and concordant, not even This will produce any Effect. Such an Harmony of Sounds may pleaſe the Ear; but the Pleaſure will only be ſuch, as if Words were (agreeably) ſpoken, which are either unmeaning or not underſtood. That the Soul may be affected, it is neceſſary that the Sound ſhould imply, or bring before us, ſomething which we can comprehend. That Sounds, therefore, may have their full Effect, the Melody muſt be animated by ſuch Move⯑ments, 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 de⯑ſcribe, 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 [73] 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 Mad⯑neſs, not only the Anapaeſt is at Hand, but, what is ſtill more powerful, the Paeon quartus.—Of theſe various Meaſures, artificially combined, did the ancient Greek and Roman Muſic conſiſt: And while this flouriſhed, ſo long did Muſic maintain its Empire over the Paſſions^h".’ Thus the learned VOSSIUS: Whoſe Admiration of the Rythm of the ancient Melody leads him into ſome falſe Concluſions, as will appear below. In the mean Time, this general Exhibition of the Genius of the Greek Numbers may ſtand as a farther accumulative Proof, that the Power of the ancient Melody, which was univerſally accommo⯑dated to this Variety of expreſſive Numbers, lay chiefly in its Rythm or Meaſure.

Laſtly, theſe Arguments are much confirmed by the ex⯑preſs Teſtimony of PLUTARCH; who, ſpeaking of the Variations which the Genius of ancient Muſic had under⯑gone in the Progreſs of Time, ſays, ‘"If we compare An⯑tiquity 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 An⯑cients to Variety of Rythm or Meaſure ⁱ."’ This Change he regards as one of the Corruptions of Melody; he gives an Account of the Inventors of the ſeveral new Modes, MELANIPPIDES, PHILOXENUS, TIMOTHEUS, and others; and inſiſts, that the Art, which formerly had ſuch Power in [74] the Education of Youth, was now ſunk into a mere Amuſe⯑ment of the Theatre^k. A clear and full Indication, that the ancient Greeks relied on Meaſure or Rythm for the Force of their Melody; and that as it grew more arti⯑ficial, 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 in⯑creaſed 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 bar⯑barous 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 com⯑mon 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 [75] differently affected by them. LAFITAU's Account of the Muſic of the Iroquois is a clear Confirmation of this Truth: ‘"The Muſic and Dance of the Americans have ſomething in them extremely barbarous, which at firſt diſguſts: We grow reconciled to them by Degrees, and in the End partake of them with Pleaſure. As to the Savages themſelves, they are fond of them even to Diſtraction ^l."’ What we are told of the Swiſs Song gives additional Con⯑firmation 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 re⯑turn 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 [76] 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 imme⯑diately 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 Sculp⯑ture 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 Under⯑ſtanding, 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 natu⯑ral Paſſions are not ſo common in a State highly poliſhed, as in that of Barbarity or ſimple Civilization. 'Tis granted [77] indeed, nay inſiſted on, that the ancient Melody grew more artificial in the later Periods: But the ſame Authors who inform us of this^m, aſſure us that its Power was greateſt in the early and barbarous Times; that this Power continued longeſt in that Society which continued longeſt in Barbarity, I mean the Commonwealth of SPARTA; and that as it grew more artificial, it degenerated every where into a mere Amuſement, and loſt its Influence on the Paſſions and the Mind.

11. "Their Songs were of a legiſlative Caſt; and being drawn chiefly from the Fables or Hiſtory of their own Country, contained the eſſential Parts of their religious, political, and moral Syſtems." We have ſeen above, that the Celebration of their deceaſed Heroes became naturally a religious Act: That the Maxims or Exhortations inter⯑mixed 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 an⯑cient 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 Thingsⁿ. PAMPHO is ſuppoſed to have been his Diſciple: And He compoſed Hymns in Honour of the Gods; and ſung the Rape of PROSERPINE by PLUTO^o.

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

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

Theſe are the moſt celebrated Bards of ancient GREECE, whoſe Songs have periſhed in the Wreck of Time. If we come down to the moſt famous of thoſe, whoſe Writ⯑ings have been preſerved, we ſhall find their Songs com⯑poſed 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 deliver⯑ed. 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 Ap⯑pearances of Truth, becauſe delivered with all their Imper⯑fections. During the early Periods of Civilization, the [79] 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 war⯑like (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 ac⯑cord 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 re⯑fuſed them Admittance into his Republic^s.

And here, while we acknowledge HOMER as the ſupreme Painter of natural Manners, and of a Genius truly legiſlative according to the Principles of his Time; critical Juſtice de⯑mands, that we take off ſome of thoſe falſe Colourings of Praiſe, which both Ancients and Moderns have laviſhed on him, in Regard to the Excellence of the Morals which he taught. HORACE, it is well known, hath ſet him above the old Philoſophers, as a Teacher of all Virtue^t. PLUTARCH, in his Life of HOMER, hath advanced the ſame Poſitions: But whoever will examine his Poems with an impartial Eye, will find a very deficient Plan of Morals prevailing through them. There is not the leaſt Veſtige or Appearance of thoſe abſtract general Principles of moral Excellence or Blame, which take Place in the more refined [80] Periods of ſocial and poliſhed Life: His Gods and Heroes fight and plunder, kill and raviſh, boaſt and lye; are generous, fierce, prodigal, rapacious, cruel, or unrelenting, without much Controul from moral Ideas within, or from a refined legiſlative Art without.

It is remarkable that PLUTARCH, after labouring in vain through many Pages, to prove that the Principles of all the Virtues are to be found in HOMER, is forced at length to conclude; ‘"It is true, indeed, that bad Actions and Principles are intermixed and deſcribed in the ſame Manner; which was neceſſary, for the Introduction of the Sublime and Wonderful: But this only makes the Contraſt the ſtronger; ſo that the Reader is neceſſarily led to ſelect the Good, and reject the Bad ^u."’ But as this great Ancient, along with others, allow that neither the good nor the bad is actually recommended by the Poet; the Conſequence follows, that the Reader (if ſo diſpoſed) may as eaſily elect the bad, and reject the good: That HO⯑MER 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 Sub⯑ject 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 [81] horribly he was frighted when he ſaw an approaching Danger: He looked on no means as baſe to eſcape it; and was not at all aſhamed to relate the Trick or Fetch that had brought him off."—"Even AGAMEMNON is not aſhamed to own his Paſſion for a captive Maid, in the Face of the whole Army: He tells them plainly, that he likes her much better than his Lady, the beautiful CLYTEMNESTRA, of the prime Grecian Nobility^w."’ All this Criticiſm is juſt and fine. But who can but wonder at what follows?—‘"His Work is the great Drama of Life acting in our View: There we ſee Virtue and Piety praiſed; public Religion promoted; Temperance, Forgiveneſs, and Fortitude, rewarded; Truth and Cha⯑racter followed; and accordingly find it ſtanding at the Head of human Writings^x."’ As a natural Picture of Manners, its Superiority is acknowledged: As a moral Picture, its Defects are no leſs conſpicuous.—Where is Virtue praiſed? Is it in the Conduct of the natural Greek, who looked upon no means as baſe to eſcape Danger? Nor was at all aſhamed to relate the Trick or Fetch that brought him off? Is it in the Conduct of AGAMEMNON, who declared his Paſſion for a Captive, and his Neglect of his Queen, in the Face of the whole Army?—Where is Piety praiſed? Is it in the Foot of DIOMEDE, who attacked and wounded one of the Gods?—Where is public Religion (in the improved Senſe) promoted? Is it in his Deſcriptions of Heaven and Hell? In the firſt of which the Adultery of MARS and VENUS is treated as a Jeſt by all the Gods: In the ſecond, the Souls of the beſt Men are repreſented wandering forlorn and comfortleſs.

[22]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, in⯑deed, he hath given us a Poem more accommodated to the Taſte of our own Times; but hath loſt the native and un⯑poliſhed Simplicity which diſtinguiſhes the venerable old Prince of Epic Song.

The next great legiſlative Bard whom I ſhall now men⯑tion, 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 ge⯑neral 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.

[83]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 Cri⯑tics; 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 Cele⯑bration 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 pro⯑ceeds 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, PE⯑LEUS, TELAMON, ACHILLES, and NEOPTOLEMUS, AJAX and TEUCER, who all ſprung from thence: He mentions CYPRUS, SALAMINE, PHTHIA, EPIRUS, which were Colonies founded by theſe Heroes ^y."’ There cannot be a better Illuſtration of the Solution here given, than this very Objection thus preſented at large.

There is a fabulous Story told, which ſtrongly confirms the Principle here delivered; and proves it to have been [84] 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 SIMO⯑NIDES, having agreed with an Olympic Victor, called SCOPAS, for an Ode of Celebration; SIMONIDES, ac⯑cording 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 imme⯑diately the Roof fell in, and buried SCOPAS in the Ruins^z."’

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

ESCHYLUS, who ſtands firſt in Order of Time, partakes much of the rude Genius of the early Periods. His Imagery and Sentiments are great; his Style rugged and abrupt; and of a Caſt ſo totally different from that of HOMER, that it is aſtoniſhing to hear the Critics, one after another, affirming that HOMER was his Model^a. His Writings preſent to us all the Characters of a ſublime, original, and uncultivated Genius, which ſcorned any other Tutoreſs than Nature. He was Himſelf a great Warriours; [85] 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 Gre⯑cian Heroes, ſtriking the Soul with Admiration, Aſtoniſh⯑ment, and Terror.

SOPHOCLES appeared next; of a more ſedate and tem⯑pered 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 Re⯑ligion, Morals, and Polity; and thus became the natural and proper Object of the public Attention and Regard.

[86]12. "MUSIC, in its more extenſive Meaning, that is, in⯑cluding Melody and the Song ^b, either with or without the Dance" (for this laſt, as will appear below^c, was ſoon ſeparated from the other two, for an important End) "bore a principal and eſſential Part in the Education of their Children." The Authorities which prove this, are abundant, and even ſuperfluous. Some of the principal may ſuffice. ‘"Among the Ancients" (ſays the wiſe PLUTARCH) "Muſic in Theatres was not known: They employed all their Art in the Worſhip of the Gods, and the Education of their Youth^d."’ The ſame Author gives ſeveral Inſtances of muſical Education in CRETE and SPARTA; and tells us, that ‘"By Muſic the young Men were taught to abſtain from every thing indecent in Word and Deed; and to obſerve Decorum, Temperance, and Regularity^e."’ Again: ‘"Muſic was the Foun⯑dation of a virtuous Education; becauſe it was allied with Philoſophy, Morals, and Heroiſm: ACHILLES was taught by CHIRON, and played and ſung the great Actions of Heroes ^f."’ Elſewhere he informs us, that ‘"the Spartans in their Songs talked high of what Exploits they had performed: And that the young Men echoed back their Triumphs in their Songs, proclaiming their Reſo⯑lution to equal the Valour of their Forefathers ^g."’

Such was the Nature of ancient Muſic when applied to Education; and not a mere Proficiency in the playing or ſinging Art, as it hath been generally miſunderſtood, and ignorantly ridiculed by many Moderns. Hence it was, [87] 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 in⯑ſtructed him in Politics^h. Thus EPAMINONDAS was eminent in Muſic; though the Roman Hiſtorianⁱ, 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 be⯑gin with Muſic; and when we ſpeak of Muſic, we in⯑clude the Subject, Words, or Song. Of this there are two Kinds, the true and fabulous. Both ought to be ap⯑plied; but the fabulous firſt. Yet the Fables ought to be regulated leſt the young Mind being tinctured with ſuch as are improper, it ſhould be neceſſary at a more adult Age to counterwork the firſt Impreſſions^k."’ He then proceeds to a particular Detail of Fables proper and improper in the Work of Education, pointing out what ought to be admitted or rejected. In another Dialogue, he ſpeaks again of the Remains of this Method of Inſtruction, which were found among the wiſer Sort, even in his own Times; although in general (as will appear below^l) Muſic was then totally corrupted. ‘"The Parents commit their Children to the Care of Maſters; and are more [88] 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 under⯑ſtand 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 Wiſ⯑dom and Temperance, and to ſee that they commit no unworthy Action. As ſoon as they have learnt to play on the Lyre, the Maſter proceeds to inſtruct them in the Songs of the moſt famous Poets: Theſe they ſing to the Lyre; and the Preceptors endeavour to bring their Boys to a Love of the Rythms and Numbers; that by this Diſcipline they may be more mild, modeſt, and orderly in their Manners, and become uſeful both in Speech and Action ^m."’

Suitable to this Method of Education is PLATO's Di⯑rection 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 Subjectsⁿ."’

In the ſame Place he aſſigns a particular Reaſon for this Method of Education: ‘"Becauſe the youthful Mind is not apt to attend to ſerious Study, therefore the pleaſing Vehicle of Song is to be adminiſtered^o."’ He then pro⯑ceeds [89] 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 in⯑quire 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 de⯑generating into a ſavage Ferocity of Manners, they em⯑ployed Muſic, as the beſt Means of ſoftening their Tem⯑pers into a milder Character; and this, becauſe Muſic, of all the Pleaſures of Senſe, has the leaſt Tendency to corrupt the Soul^p."’ And ſo far, indeed, is true, that the ancient Greeks did conſider this, as one of the ſalutary Effects ariſing from the Application of Muſic^q. But we now find, that the Matter lay much deeper: That Muſic, in its ancient Senſe, implied not only Melody but Verſe or Song: That it was the eſtabliſhed Vehicle of all the leading Principles of their Religion, Morals, and Polity; and therefore was the natural and moſt important Inſtru⯑ment or Means in the Education of their Children.

The learned DACIER falls into the ſame Error, with Re⯑ſpect to the wonderful Efficacy of Muſic, in the Education of the Arcadians, and the fatal Want of it among the In⯑habitants [90] habitants of CYNAETHE, as the fact is recorded by POLY⯑BIUS and ATHENAEUS. ‘"If (ſays the Critic) PO⯑LYBIUS ſpeaks thus of Muſic, and if he accuſeth EPHORUS of having advanced a thing unworthy of him, in ſaying that this Art was invented to deceive Mankind; what may we not ſay of Tragedy, of which Muſic is but a ſmall Ornament, and which as far ſurpaſſeth Muſic, as Speech is beyond inarticulate and unmeaning Sounds ^t."’ In this Paſſage, the learned Writer evidently ſuppoſeth that the ancient Muſic, which wrought ſuch Wonders in the Education of the Arcadians, was no more than mere Melody or unmeaning Sound. But the Account which both PO⯑LYBIUS 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 unaccount⯑able, 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 ſuc⯑ceeding Writers, ſpeak of Muſic as an Art diſtinct from Poetry ^u: It was therefore natural enough for theſe Writers to draw their Ideas of ancient Muſic from the great Maſter-Critic of GREECE. How it came to paſs, that ARISTOTLE ſhould ſpeak of theſe Arts as two, which the elder Writers conſidered as one, will clearly appear be⯑low [91] ^w; where we ſhall ſee, that in the Time of ARIS⯑TOTLE, 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 Eſta⯑bliſhment 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 par⯑ticular 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 Stateſ⯑men, 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 what⯑ever [92] 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 be⯑gin our Inquiries at the early Period of ſavage Life, in which all the Seeds and Principles of civilized Society ap⯑pear 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 Num⯑bers, 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 with⯑out poſitive Appointment, performed or accompanied by Melody, Dance, and Song: That through the ſeveral im⯑proving 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 [93] 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 gene⯑ral 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 natu⯑rally 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 EGIS⯑THUS 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 Diſ⯑penſer 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 Im⯑preſſions, 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 [94] Woman, and abuſe her as a Proſtitute: but that an able Muſician coming paſt, he ſung and played to them in the Dorian Mode; on which they were ſtruck with Shame, and deſiſted from their Enterprize^x. This, to modern Comprehenſion, hath ſtill more the Air of Fable: But when the Fact is well explained, the Ridicule vaniſheth with the Myſtery. For every different Subject had a diffe⯑rent 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, Petu⯑lance, 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 Edu⯑cation, and exerciſe their mighty Influence on the Paſſions of the Soul^y."’ Tis plain, therefore, that when the Hiſtorian tells us, that the Muſician conquered the young Debauchees by an Application of the Dorian Mode, he means to ſignify, that the Melody was accompanied by a poetic Exhortation ſuited to the Numbers; and this could be no other than a Leſſon of Modeſty and Temperance; which being conveyed by the pleaſing Vehicle of Melody and Song, addreſſed to thoſe who by the Tenor of their Education muſt feel its Force, and given by one whoſe Pro⯑feſſion they had been taught to reverence, could hardly fail [95] of its deſigned Effects, unleſs their Intemperance had pre⯑vented 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 Prin⯑ciple. 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 Legiſla⯑tion and Letters, they animate each other by the early and continued Uſe of Melody, Dance, and Song, to Valour in Arms, to Conſtancy in Torments and Death^z. This is found, in Fact, to be an Education of ſuch mighty In⯑fluence, 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 [96] 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 Cor⯑ruption and Decay.

14. "The Dance was ſeparated from the Song; and with or without Melody became itſelf a diſtinct Exerciſe or Art, under the Title of Gymnaſtic, for the Sake of increaſing their Strength and Agility of Body, as the Means of rendering them invincible in War." This was the natural Effect of their warlike Character, for the Reaſon given above^a. And that this was the real Generation of the Gymnaſtic Art, appears evidently from PLATO's Book of Laws: where, having ſpoken of the three conſtituent Parts of a compleat Choir (Melody, Dance, and Song) he proceeds to deduce from theſe the Origin of the Gymnaſtic Art. ‘"Is not this the leading Principle of the Gymnaſtic Art, that every Creature is born with a natural Inclination to leap or bound? But Man, being endowed with a Senſe of Rythm or Numbers, naturally formed his Motions into Dance: Melody natu⯑rally begets Rythm; and theſe two united form the Gymnaſtic.—For That we call the Gymnaſtic, when the Dance is ſo artificially applied, as to improve the Powers of the Body^b."’ That this Art was applied by the an⯑cient 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 [97] gaining a firm Habit of Body, which may ſecond a well-formed Mind, they may be able to indure the Toils of Enterpriſe and War ^c."’

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

To confirm theſe Evidences, we may add another In⯑ſtance of a warlike Dance, which approacheth neareſt to the Eſtabliſhment of the Gymnaſtic Exerciſe, of any record⯑ed 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 ſkir⯑miſhing 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 Exer⯑ciſe in their moſt eſſential Circumſtances, yet the original Form of the Dance remains.

Thus the Origin of the Gymnaſtic Arts is clearly un⯑folded, as being no more than a Part of the ſavage Song-Feaſt; [98] Feaſt; but ſeparated from thence for the Ends of war⯑like Service. For Want of this Information, the learned VOSSIUS, among other Authors, ſtiles the Dance a Branch of the Gymnaſtic, inſtead of regarding the Gymnaſtic as the Offspring of the Dance ^e.

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

15. "After a certain Period of Civilization, the complex Character of Legiſlator and Bard did ſeparate, and were ſeldom united." This Separation, it hath been ſhewn above, would of courſe follow from decreaſing Enthuſiaſm, and the increaſing Labours of Government. And ſuch was the natural Riſe of the [...] or Bards of ancient GREECE: Of whoſe Profeſſion and Art a late learned Au⯑thor^g hath, in many Circumſtances, though not in all, [99] 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 wan⯑dering 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 Inſur⯑rection aroſe; nor could be quelled by the Magiſtrate, till the Bard TERPANDER came, and played and ſung at their public Place of Congreſs^h.

HESIOD, who was himſelf of this Order, hath given us a noble Deſcription of their Office and Dignity: Which, as it ſtrongly confirms the Genealogy here given, I ſhall tranſlate at large; together with his Picture of the Ma⯑giſtrate; along with whom the Bard appears to co-operate in the public Welfare, as the ſecond Character in the Com⯑munity. ‘"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 per⯑ſuaſive Speech: The People reverence him as a God, [100] 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 Songⁱ."’

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 He⯑roes, it appears, from the Picture given of DEMODOCUS, to have ſunk into a Character of Dependance ^k. The Reaſon is manifeſt: The Republican Form ſubſiſts by an united Exertion of the Powers of every Rank: Under the deſpotic Rule, the Influence of theſe various Powers is ſwallowed up in the abſolute Will of ONE. We ſhall ſee the Bard's Character riſing again in its dignified State, in the early Periods of other barbarous Nations^l.

16. "In the Courſe of Time, and Progreſs of Polity and Arts, a Separation of the ſeveral Kinds of Song did ariſe. In the early Periods they lay confuſed; and were mingled in the ſame Compoſition, as Inclination, En⯑thuſiaſm, 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 [101] 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 en⯑thuſiaſtic Bard in legiſlative Songs, as different Motives or Occaſions preſented themſelves, and according to the Exi⯑gencies or Capacity of his ſurrounding Audience.—‘"But repeated Trial and Experiment produced a more artifi⯑cial 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 won⯑der 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 Sub⯑ject 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 [102] which Melody and Song are moſt cloſely bound toge⯑ther.

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

18. "The Epic Poem aroſe; and was ſung by its Com⯑poſers 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 BAC⯑CHUS, 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, [103] prior to HOMER, ſung the Ambuſh of the Trojan Horſe: PHEMIUS ſung the Return of the Greeks under AGAMEM⯑NON: The little Iliad compriſed moſt of the ſubſequent Adventures of the Trojan War. A Thebaid was alſo writ⯑ten, the Author of which is not certainly known; though PAUSANIAS tells us, it was by many aſcribed to HO⯑MERⁿ. 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 (be⯑cauſe the Poems they allude to are loſt) ſufficiently imply, that the Epic Muſe advanced gradually towards Perfection; till at length ſhe appeared in full Splendor, in the Perſon of her favoured HOMER.

HERODOTUS, indeed, has thrown out a Hint, as if the Iliad was prior to the oldeſt of the Poems aſcribed to theſe moſt ancient Bards^o. VELLEIUS PATERCULUS af⯑firms the ſame thing in ſtronger Terms^p: And Mr. POPE goes into this Opinion^q. It muſt be confeſſed, the Hiſtory of theſe remote Ages is ſo dark and fabulous, that nothing can with Certainty be collected from them. But the very Structure of HOMER's Poem carries in itſelf ſuch an internal Evidence, as turns the Scale againſt the Hiſtorian's Conjecture. If we conſider the Nature of the human Mind, we ſhall be led to believe, that the Epic Poem muſt have received a gradual Improvement through that long though unknown Tract of Time, during which its unpoliſhed Rudiments exiſted before the Age of HO⯑MER. The mere Powers of Fancy and Execution may, [104] 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 uncom⯑mon 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 In⯑ability 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 re⯑pugnant to all our Notices concerning the Progreſs of the Powers of the human Mind. We may as rationally ſup⯑poſe 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 [105] the ſame Manner as the Iliad and Odyſſey had compleated the Form of the Epic Poem^r."’

We may reaſonably conclude, therefore, that from the Days of LINUS, down to thoſe of HOMER, there had been a Succeſſion of Writers, among whom the Form of the Epic Poem had been gradually advancing towards Per⯑fection, 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 En⯑thuſiaſm, kindled by the ſympathetic Power of religious Rites, or State-Feſtivals. That HOMER followed the honourable Profeſſion of a Bard, and ſung his own Poems at the public Feaſts, hath been proved at large by a learned Writer^s. HESIOD was of the ſame Order; and ſeems to have maintained it with truer Dignity^t: TERPANDER held the ſame Employment, and ſung both his own Poems and thoſe of HOMER^u.

19. "From an Union of theſe two Kinds, a certain rude Outline of Tragedy aroſe."—For when a Bard ſung the great or terrible Atchievements of a Heroe or God, the ſurrounding Audience, fired to Enthuſiaſm, and already prepared by a correſpondent Education, would naturally [106] 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 Vin⯑tage. Thus DACIER, among others, affirms roundly, that ‘"The firſt dramatic Perſon which THESPIS invented, was only deſigned to give Reſpite to the Choir; and what he recited was no more than an Appendage to Tragedy^w."’ In the ſame Manner the ſenſible and learned BRUMOY delivers at large the common Syſtem, with Reſpect to the Birth and Progreſs of the tragic Species^x. All this is in Contradiction to the Workings of Nature; and, without Proof, ſuppoſes That to be a caſual Invention in a particular Inſtance, which was indeed the natural Progreſs of Paſſion expreſſed by Melody, Dance, and Song. We have ſeen, that an Union of Nar⯑ration 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 ſup⯑poſe, 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 [107] caſual, but a certain Riſe from Nature; according to the Principles here given.

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

But a ſtill ſtronger Evidence preſents itſelf: For even the very Subſtance and Form of one of theſe rude Out⯑lines 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 Cele⯑bration 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 it⯑ſelf; the fourth was the Paean or Triumph on the Vic⯑tory; the fifth was an Imitation of the Agonies and Hiſ⯑ſing of the dying Serpent ^a."’

[108]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 parti⯑cular Article, but of the general Principles on which this Diſſertation is built, we learn from other Authors, that APOLLO himſelf was the Founder of theſe Conteſts ^b: that the God was the firſt who ſung his own Exploit; that He firſt deſcribed his Engagement with the Serpent; and that a Part of the Conteſt conſiſted in an Imitation of APOLLO, who danced after his Victory ^c. In this whole Scene, of the God of Muſic ſinging, dancing, and praiſing his own Atchievements, we have the genuine Picture of a ſavage Chieftain ^d.

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

At the ſame Time it is manifeſt, that THESPIS added ſomething to the rude and ſavage Form of Tragedy, as it exiſted in his Age. 'Tis probable that He was the firſt Declaimer or Interlocutor to his own Choir; that he firſt eſtabliſhed the Profeſſion of a Player in ATTICA, and firſt tranſported his Company from one Village to another; whereas, before his Time, the Exhibitions of the rude tragic Scene had been fixed, and merely incidental ^e. This Inſtitution of an itinerant Company muſt neceſſarily in⯑creaſe [109] the general Attention of ATTICA to theſe rude tra⯑gic Scenes: And hence the Opinion ſeems firſt to have ariſen, that THESPIS was the Inventor of this Species^f.

20. "In Proceſs of Time, this barbarous Scene im⯑proved into a more perfect Form: Inſtead of relating, they repreſented by an aſſumed Character, and by Action and Song, thoſe great or terrible Atchievements which their Heroes had performed." How ſoon the ſavage Tribes fall into this Kind of dramatic Repreſentation, we have already ſeen^g: How natural ſuch a Progreſſion of Art muſt be to the human Mind, will appear by reflecting, that dramatic Action is but another Mode of Narration; and that even the Narration of the ſavage Tribes is found to have ſuch a Mixture of Action in it, as ſtrongly tends to produce the dramatic Imitation^h. Time, therefore, and repeated Efforts muſt naturally advance the narrative [110] Epiſode into perſonal Repreſentation. And thus we are arrived at the Form which Tragedy wore, when the in⯑ventive 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 ARIS⯑TOTLE 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 Scenesⁱ."’

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 ad⯑mirable, generally judicious, yet ſometimes perhaps miſ⯑taken, 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 [111] a Point which collateral Arguments ſtrongly confirm. We are informed, in general Terms, that there were no leſs than fifteen tragic Poets who writ before him: And the Probability is much ſtronger, that he ſhould draw his Improvement from the ſcenic Repreſentations already eſtabliſhed, in which he found one dramatic Perſon and an accompanying Choir, which, in all Probability, ſtood in the Place of a ſecond Perſon, and often ſuſtained a Kind of Dialogue with the principal Interlocutor^k; than that he ſhould have Recourſe to HOMER's Poems, in which no dramatic Repreſentation was to be found.

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

A third and ſtill ſtronger Proof ariſes from the eſſential Difference of their Subjects, both in Extent and Nature: In Extent, becauſe the one is of long, the other of ſhort Duration: In Nature, becauſe HOMER's Poems are chiefly employed in the Exhibition of Character and Manners; thoſe of ESCHYLUS in the Repreſentation of Terror and Diſtreſs. Had he been that mere Imitator of HOMER which the Critics have adjudged him, and had nothing to [112] do but to erect a Stage, and to draw HOMER's Dialogues into Scenes, he would have been content to have taken his Subjects from the Iliad, and, according to HORACE's ſober Rule, have never ventured beyond the Siege of Troy ^l. He would have brought upon the Stage the Anger of ACHILLES, the Battle of PARIS and MENELAUS, the Part⯑ing of HECTOR and ANDROMACHE, the Feats of DIO⯑MEDE; and would have contraſted the ſtrength of AJAX with the Cunning of ULYSSES. Nothing of all this ap⯑pears: On the contrary, his Subjects and Manner are equal⯑ly 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 ad⯑vanced. ‘"Even Tragedy took its Riſe from HOMER: For his Poems comprehend every thing that is ſublime and great ^m."’ This, you will ſay, is a very inſufficient Reaſon, becauſe the Critic forgets the pathetic and the terrible, which were the eſſential Conſtituents of the Greek Tragedy. But mark the Sequel; which is ſtill more ex⯑traordinary. ‘"Neither do they (HOMER's Poems) con⯑tain Deſcriptions of thoſe atrocious Actions which have been feigned by the later Tragedians, ſuch as Inceſt, and the Murder of Parents or Children. Nay, whenever he happens to touch on any thing of this Kind, he always ſoftens and throws it into Shades ⁿ."’ Thus while PLUTARCH is labouring to prove, that the Greek Tragedy was drawn from HOMER, he proves, that HOMER's Poems were deſtitute of that which was of the Eſſence of the Greek Tragedy.

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

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

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

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 natu⯑rally fell into Stanzas of ſome particular Kind." This aroſe by an eaſy Progreſſion from the ſavage State; where [114] ‘"they who dance, go round in a circular Movement, and after a ſhort Interval being a ſecond^p."’ The Greeks not only fell into this Manner, but improved upon it: They went round, firſt to the one Hand, then to the other, and then pauſed. The Learned have found out myſtical Reaſons for theſe circular Movements; referring them to the Motion of the Planets^q. Much Labour cannot be neceſſary for the Confutation of theſe Refinements, as the Practice aroſe ſo evidently from the Dictates of Nature: It was a natural and ſenſible Improvement; for the plain Reaſon of preventing Giddineſs, which ariſeth from running round in the ſame Circle.

Let us attend, therefore, to its Conſequences. As each Dance or Return was marked by its peculiar Meaſure, this of Courſe fixed both the Melody and poetic Numbers of the accompanying Song: And as they likewiſe ſung during the Interval of Reſt, we ſee, that from this eaſy Improve⯑ment 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 ap⯑parent 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, [115] they aroſe in the rudeſt Periods; and were continued through the more poliſhed Ages, on the ſame Principle of untaught Nature and eſtabliſhed Cuſtom.

23. "Not only the Part of the tragic Choir, but the Epiſode, or interlocutory Part, was alſo Sung." The moſt ſenſible of the Critics have ever regarded this as a Circumſtance equally unnatural and unaccountable. Thus DACIER ſpeaks. ‘"It muſt be owned, that we cannot well comprehend, how Muſic (Melody) could ever be conſidered as in any Reſpect making a Part of Tragedy: For if there be any thing in the World that is at Variance with tragic Action, it is Song ^r."’ The learned Critic is ſo ſhocked with this ſuppoſed Union, in Appearance ſo unnatural, that upon the whole he queſtions its Exiſtence; and is of Opinion, that when ARISTOTLE ſpeaks of Muſic, as being annexed to Tragedy, he ſpeaks of the Choir only^s. This, however, is contrary to the united Voice of Antiquity, which univerſally admits the Fact, though its Origin was never accounted for. But how naturally this union took Place in ancient Tragedy, we now clearly diſcover, by inveſtigating the Riſe and Pro⯑greſs 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 Tra⯑gedy [116] was no more than a Kind of regulated or meaſured Declamation ^t. But his Inquiries are partial; for he goes no higher than to the Practice of the Romans: And it is probable, from ſeveral Circumſtances, that in the late Period when the Romans borrowed their Muſic from, the Greeks, the Tragic Song had been brought down from a meaſured Melody to a kind of regulated Declamation. Thus, TULLY mentions the Cantus Subobſcurus; and again ſaith, ‘"Delicatiores ſunt falſae Voculae quam certae et ſeverae."’ But though theſe, with ſeveral other Argu⯑ments 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 Suſ⯑picion. This Foundation being laid, we cannot but liſten attentively to what the early Writers of GREECE tell us on this Subject: Now theſe unite in informing us, that the Epiſode of Tragedy was Sung; and even name the Modes of Muſic which were appropriated to the Epiſode, in Contradiſtinction to the Choir ^u. That the Song ſhould approach nearer, by Degrees, to mere Declamation, will appear probable, when we conſider the gradual Sepa⯑rations which ſucceſſively took Place in the muſical Art, during the ſucceſſive Periods of GREECE and ROME. [117] 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 In⯑roads into the ancient Practice; and now recited thoſe Poems, which in former Times had been always ſung ^w.

The Abbé falls into an Error with Reſpect to the Dance, parallel to that which he adopts with Regard to the Melody of the Ancients. As he inſiſts that their tragic Melody was only a meaſured Recitation, ſo he affirms, that their tragic Dance was no more than Action ^x. It is true, that in the later Periods of Rome, when the muſical Sepa⯑rations 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 de⯑ſcribed. We now ſee, that this Dance (no leſs than the tragic Song) aroſe from untaught Nature; and that it was the genuine Parent of the Strophe, Antiſtrophe, and Epode.

24. "As the Greek Nation was of a fierce and warlike Character, their tragic Repreſentations rowled chiefly on Subjects of Diſtreſs and Terror."—On this Topic, I doubt whether ARISTOTLE hath not miſtaken an Effect for a Cauſe. For he ſays, that ‘"Tragedy, by means of Pity and Terror, purgeth in us Thoſe and other ſuch like Paſſions ^y."’ MARCUS AURELIUS^z, MILTON^a, DACIER^b, and BRUMOY^c, all underſtand him, as [118] meaning that Tragedy was formed with this View. It is not the Writer's Deſign to remark on this great Critic, far⯑ther 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 animat⯑ed each other to Victory and Revenge, by a Repreſentation of what their Friends had done and ſuffered. Theſe Sub⯑jects would likewiſe be moſt accommodated to the natural Taſte of the poetic Chiefs of ſuch a People; whoſe At⯑chievements produced and abounded with Events of Diſ⯑treſs 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 proba⯑ble 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 Repre⯑ſentations. 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 [119] will appear below^d) whoſe leading Object was Peace, are known to be of a quite contrary Nature, formed on their gentler Manners; and ſuch as would have been alto⯑gether incompatible with the warlike Character, and in⯑ſipid to the Taſte of the Tribes of ancient GREECE.

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

By thus tracing the Buſkin and Maſque to their true Origin, we ſhall now be able to give a Reaſon for a Fact, which hath hitherto been regarded as merely the Effect of Whim and Caprice. THESPIS and his Com⯑pany bedaubed their Faces with the Lees of Wine. Whence aroſe this Practice, ſeemingly ſo wild? THESPIS and [120] 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 gene⯑rally been held extraordinary and unaccountable: And hath been reſolved, it ſeems, by ſome Talkers on this Sub⯑ject, 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 aſ⯑ſumed 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 Vaſt⯑neſs of the Athenian Stage. That he quitted it on this Principle alone, appears from his Conduct on other Oc⯑caſions: For he not only Sung his own Verſes, but likewiſe led the Dance at a public Triumph^g.

27. "MUSICAL Conteſts were admitted as public Ex⯑erciſes in the Grecian States." For the Truth of This, we have the concurrent Evidence of many ancient Wri⯑ters. That Union of Gymnaſtic and muſical Exerciſes which took Place in the early Periods of the Greek Repub⯑lics, [121] hath by ſome Writers been regarded as unnatural: by all, as accidental. Thus a learned Author ſays, ‘"To theſe Gymnaſtic Exerciſes were added others of a quite different Nature ^h."’ But by following this Eſtabliſh⯑ment up to its firſt Principles, we have now found, that in Fact the Gymnaſtic Exerciſes were originally a Part of the muſical ⁱ, being no more than the improved Dance, which was a Branch of ancient Muſic. In Proceſs of Time, as hath been proved, the Dance or Gymnaſtic Art was gene⯑rally ſeparated from the Melody and Song: But it is re⯑markable, that in all their public Games or Conteſts, from the earlieſt to the lateſt Periods, theſe ſeveral Branches of Muſic, either ſeparate or in Union, compoſed the eſſential Parts of their public Exhibitions.

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

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

So much concerning the Riſe and Progreſs of the Py⯑thian 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 In⯑ſtitution to the Olympian JUPITER; eſpecially, as Tra⯑dition ſupports this Conjecture at leaſt as ſtrongly as the other. For PAUSANIAS informs us, that ‘"there are [123] 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 Con⯑querors; that APOLLO vanquiſhed MERCURY in the Race, and overcame MARS at boxing ^q."’ All this agrees ſo entirely with the Character and Contentions of ſavage Chieftains, as to create a ſtrong Probability of the Truth of the Tradition. This we know, however, that Muſical Conteſts made an eſſential Part of theſe magnifi⯑cent 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 Improve⯑ment 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 STRA⯑BO^r. They were re-eſtabliſhed in their more improved State by CIMON, when that General brought the Remains of THESEUS to ATHENS. The three great tragic Bards, ESCHYLUS, SOPHOCLES, and EURIPIDES, all contended and were crowned by turns.

This general Eſtabliſhment of muſical Conteſts, which hath been ſo often held trifling and unaccountable, appears [124] 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, pub⯑lic Conteſts of this Kind were juſtly regarded as the ſureſt Means of keeping up an Emulation of a moſt uſe⯑ful Nature; and of ſtrengthening the State, by inforcing the fundamental Principles of Society, in the moſt agree⯑able, 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 En⯑tertainment; and the Chiefs were proud to ſignalize them⯑ſelves, by their Skill in Melody and Song."—This is gene⯑rally known; and needs no particular Proof. It is introduc⯑ed 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 [125] who were at their Entertainments, firſt to ſing together the Praiſes of the Gods^s: Then they ſung ſucceſſively, one by one, holding a Branch of Myrtle in their Hand, which was ſent round the Table^t. In later Times, when the Lyre came more into Uſe, this Inſtrument was ſent round inſtead of the Myrtle; and in this Period it was, that their Songs aſſumed the Name of Scolia ^u.

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

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

Of the third or moral Claſs ATHENAEUS hath likewiſe tranſmitted to us a Collection. Of this Kind we find one upon the Vanity and Miſchiefs of Riches, one upon Pru⯑dence, 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 ARIS⯑TOTLE on the Force of Virtue, which may be ſaid in ſome Meaſure to comprehend all the three Kinds, religious, political, and Moral. ^y

[126]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 im⯑portant 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 THE⯑MISTOCLES himſelf, who was upbraided with his Igno⯑rance in Muſic^z. The whole Country of Cynaethe laboured under a parallel Reproach^a: And all the enormous Crimes committed there, were attributed by the neighbouring States to the Neglect of Muſic.—What Wonder? For according to the Delineation here given of the ancient Greek Muſic, their Ignorance in this noble Art implied a general Deficiency in the three great Articles of a ſocial Education, Religion, Morals, and Polity.

31. "The Genius of their Muſic varied along with their Manners." Of this Truth we have had abundant Proofs, in the Courſe of this Diſſertation; where we have ſeen Muſic (in its ancient and inlarged Senſe) emerge from the Rudeneſs of barbarous Life, and improve through [127] 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 Ar⯑ticle. 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 Move⯑ments of Song and Dance, by Law." This provident Community was that of SPARTA. The Practice was not peculiar to this wiſe though barbarous Commonwealth. It was borrowed from CRETE; and came originally from EGYPT; where the ſame provident Inſtitution had taken Place in earlier Ages.—In that great Fountain of ancient Polity, not only the Art of Muſic in its inlarged Senſe, but even that of Painting, was fixed and made unalterable by Law^b. PLATO, who informs us of This, gives a par⯑ticular Detail of the muſical Eſtabliſhment, which ſets the Principle in a clear Light, and corroborates what is here [128] advanced. ‘"All their Songs and Dances are conſecrated to the Gods: It is ordained, what Sacrifices ſhall be offered to each Deity, and what Songs and Choirs ſhall be appointed to each Sacrifice: But if any Perſon makes uſe of Hymns or Choirs in the Worſhip of the Gods, other than what is appointed by Law, the Prieſts and Magiſtrates expel him the Community^c. "Hence (ſaith PLATO in another Place) "their Muſic is found to have continued uncorrupted, and the ſame, for thouſands of Years^d."’ A Stroke of Polity, fatal indeed to Art, but excellent with Reſpect to the Stability and Duration of a State. This uncommon Effort of Egyptian Legiſlation the Spartan Lawgiver adopted from CRETE; and by this ſevere Eſtabliſhment is ſaid ‘"three Times to have ſaved the State."’ Innovations were attempted by three diffe⯑rent Muſicians, TERPANDER, TIMOTHEUS, and PHRYN⯑NIS^e: And as the very Sentence of the Spartan Senate againſt one of theſe Incroachers on the ſevere Simplicity of the Commonwealth is yet preſerved; it may not be diſ⯑agreeable 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 legiti⯑mate and pure, corrupting the Enharmonic by new, various, and Chromatic Sounds; and being called to the Eleuſinian Myſteries, did divulge the Secrets of that Inſti⯑tution; [129]—It ſeemed good to the Senate and Rhetors, that TIMOTHEUS ſhould be called to Account for theſe Pro⯑ceedings; 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 de⯑filed^f."’

In this Edict, we ſee the jealous Spirit of a Republic, which could only ſubſiſt by a rigorous Simplicity of Man⯑ners, 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 danger⯑ous 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 Ap⯑plication 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 li⯑bertine and relaxed Principles, and particularly in that of ATHENS, the Corruption of Manners brought on the Corruption of Muſic; and this Corruption of Muſic [130] ſtill farther corrupted Manners; the Muſicians, Bards, or Poets, being the immediate Inſtruments of the Cor⯑ruption." This mutual Influence of Manners and Mu⯑ſic on each other hath been already explained in two pre⯑ceding Articles^g. And the Truth of theſe Reaſonings is confirmed by Facts, which PLATO gives us at large, in the following moſt remarkable Paſſage.

Such is the Picture which the philoſophic PLATO hath leſt of his Time and Country: A Picture too well con⯑firmed [132] by the concurrent Teſtimony of XENOPHON^k, in whoſe Accounts, together with thoſe of PLUTARCH^l, we ſhall ſoon ſee a particular Delineation of the Progreſs of this Evil, which PLATO here deſcribes in general Terms.

Let us conclude this Article with the Explanation of Subjects which hath not hitherto been clearly treated of, for want of a juſt Idea of the ancient Greek Muſic. The learned VOSSIUS thus expreſſeth himſelf: ‘"It is a doubtful Point, whether we ſhould ſay, that on a Change of Muſic, a Change of Manners enſues; or that a Change of Manners produceth a Change in Muſic: The firſt was DAMON's Opinion which PLATO follows: But CICERO leans to the latter Syſtem^m."’ On this Paſſage it is neceſſary firſt to obſerve, that both VOSSIUS and CICERO uſe the Word Muſic in its modern Acceptation, as implying mere Melody. No Wonder, therefore, if they had but an imperfect Comprehenſion of PLATO's Argu⯑ment. Secondly, On the Principles delivered in this Diſ⯑ſertation, 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 [133] 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 cor⯑rupt 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 Man⯑ners had thus debaſed Muſic, ſo this corrupt Muſic by a natural Reaction ſtill farther corrupted Manners, and com⯑pleated 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 ambi⯑tious 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 gra⯑dual 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 ſe⯑pated 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 [134] 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 ſur⯑rounding 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 occaſion⯑ally: 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 Repreſen⯑tatives, 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 di⯑ſtinct from that of Poet.—Soon after this Time, we find in the Paſſage quoted above from PLATO, that a Separa⯑tion 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 PLU⯑TARCHⁿ and other Authors^o, that the Exhibition of [135] 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 Pur⯑poſes, was now corrupted by the Mimes in a very extra⯑ordinary Degree^p. The Conſequence of theſe Corrup⯑tions 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^q. For the moral End being now forgot, and nothing but Amuſement attended to, a higher Proficiency in theſe Arts became neceſſary, and conſequently a more ſevere Application to each.—We muſt now go back a little, to catch the Riſe of another Separation: An Inroad was made into the Muſe's Terri⯑tories: The public muſical Contentions admitted Proſe, as an Aſpirant to the Palm originally due to Poetry and Song. HERODOTUS was the firſt who was crowned for writing and ſpeaking (or more properly for ſinging) Hiſtory at the public Conteſt^r: And it is remarkable, that al⯑though He brought down the Song to the proſaic Manner, yet ſtill his Work retained the fabulous Air, as well as the [136] Appellation of the Muſes: All which Circumſtances, con⯑ſidered in Union, may lead us to the true poetic and fabling Genius of his celebrated Hiſtory. THUCIDIDES hints at this Practice in the Beginning of his noble Work^s: Declar⯑ing, that he means it not as a mere Exerciſe for the public Conteſt; but as a valuable Poſſeſſion for After-Ages. In later Times it became a common Practice for Sophiſts and Rhetoricians to contend in Proſe, at the Olympic Games, for the Crown of Glory^t.—The Delphic Oracles kept Pace with theſe progreſſive Separations: In the early Periods they were delivered by the Pythia, with frantic Geſture (Dance) Melody, and Rythm ^u. In a ſucceeding Age, we find the Pythia hath quitted her complex Cha⯑racter; Poets are appointed for the Service of the Tem⯑ple, and turn the Oracles into Verſe: But in the later Times, this Practice had alſo ceaſed; and the Oracles were given in plain Proſe^w.—In the Days of ARIS⯑TOTLE, a general and almoſt a total Separation had taken Place. The Art of playing on the Lyre, which had been the Glory of their early Legiſlators, was now regarded as a Reproach to a young King: The Art of ſinging, which had once been a diſtinguiſhing Attribute of their Gods, was now reckoned an ignoble Practice for a Man ^x: The Chorus of ſome of their Dramas gave Way to Melody merely inſtru⯑mental, 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 [137] HOMER's Poems^y. To conclude all, the great Maſter-Critic and Politician of GREECE, viewing Muſic in that corrupt State which it held in his own Time, though he ſtill aſſerts its Uſe in private Education, gives up the public Muſical Exhibitions, as only fit to gratify the Taſte of an abandoned people^z. But in the later Period when PLUTARCH writ, its Utility had vaniſhed even in private Life: For He declares, that Muſic, which had formerly been ſo important and ſalutary in its Effects, was now be⯑come a mere Amuſement of the Theatre, and no longer applied to the Education of Youth^a.

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

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 [138] 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 ex⯑plain, 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 Aſſem⯑bly; 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 Re⯑ply.—At every bon Mot, loud Peals of Laughter ariſe along the Galleries, who animate this Sport, and often oblige the Patient to cover his Head in his Mantle^b."’

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

[139]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 [140] Vehicle of Ridicule and vague Invective, would (at moſt) be only endured by prudent Legiſlators.

5. "A provident Community, of Principles uncom⯑monly 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 over⯑power the Magiſtrates, and aſſume to themſelves the Reins of Government; then, this Species of Co⯑medy would riſe into Credit, and be publicly eſta⯑bliſhed." 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 Ma⯑giſtrates, 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.

[141]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 repre⯑ſent 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 conti⯑nued without much Danger, if they were cautious with Reſpect to the Perſons of the Tyrants.

10. "If a great Conqueror ſhould ariſe, and, by ſub⯑duing a Variety of Nations, ſhould open a Communi⯑cation 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 in⯑direct perſonal Invective, would aſſume the more deli⯑cate 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 [142] of the Progreſſion of the ancient Comedy, ſo different from that of the higher Kinds of Poetic Compoſition.

1. "In the earlieſt Periods of the Greek States, their Caſual Strokes of Raillery were improved into written Invectives, and were occaſionally ſung by their ſarcaſtic Choirs." Theſe written Invectives were in Fact ſo early, that all the Greek Writers with one Voice confeſs themſelves altogether ignorant of their Origin. Their firſt Appearance is aſcribed by different Authors to different Nations^c; and no Wonder if Evidence be wanting in Support of each Pretence, when it is probable, that theſe ſarcaſtic Choirs aroſe in many of the Greek States nearly at the ſame Time; that is, in or about the firſt Periods of Civilization and Letters. For we have ſeen, that ſuch a Period would naturally produce them: ‘"Becauſe nothing could be more alluring to a People of the ſatyric Turn, than ſuch a Repoſitory of Raillery and Sarcaſm."’ How⯑ever, 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 Prac⯑tice 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 [143] brought this Species to its Perfection in the ſame Manner as the Iliad and Odyſſey had compleated the Form of the Epic Poem^d."’ That HOMER, as well as other Bards of the early Periods, ſung their comic Poems at the feſtal Solemnities, needs no farther Proof here.

3. "From theſe two Species (the Choral and Narrative united) the firſt rude Outline of Comedy aroſe." The Narrative, already animated by a lively Action, did eaſily ſlide into dramatic Repreſentation; and the correſpondent Peals of Laughter excited among the ſurrounding Audience, by means of written Invectives, aſſumed the Form of the comic Choir. In this Point, we have again to contend with the general Body of Critics, from ARISTOTLE down to the preſent Times, who all concur in aſcribing the Riſe of the legitimate Form of Comedy to HOMER's Margites; in the ſame Manner as they have aſcribed the Riſe of Tragedy to the Iliad and Odyſſey. But notwith⯑ſtanding 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 natu⯑rally aroſe in the Courſe of Things, from an Union of the Narration and the Choir, without any Reſpect had to HO⯑MER's Poems. The ſame Arguments that have proved the one, will confirm the other. We ſee the natural Seeds of Comedy and ſcenic Repreſentation in ſavage Life, no leſs than thoſe of Tragedy^e: Nay, even in the earlieſt Periods of GREECE itſelf, we ſhall find the firſt rude Form of Comedy, ariſing from an Union of dramatic Repreſentation and a Choir, long before HOMER exiſted. In the Account [144] already cited from STRABO and others, of the muſical Conteſt eſtabliſhed at DELPHI, which in Time branched out into the Pythian Games, as we have found the firſt rude Form of Tragedy; ſo now we ſhall find likewiſe a faint Outline of the firſt rude Form of Comedy. For it appears, that APOLLO with his Choir, and his Worſhipers in after-times, not only repreſented his Victory, and ſung a Paean in Conſequence of it (in which Union we ſee the firſt rude Form of Tragedy) but likewiſe, in the Way of Ridicule they repreſented the Hiſſes of the dying Serpent, and ſung an Invective or Sarcaſm on his overthrow^f. For ſo I underſtand the Word [...] 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 ARCHI⯑LOCHUS, 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 pre⯑vailed, Comedy, thus formed, was little encouraged by the Leaders of the State." The Authority of ARIS⯑TOTLE 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 [145] 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 Ridi⯑cule 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 regu⯑lating their Muſic for the Security of their Republic^g. We ſhall now ſee the admirable Conſiſtency of their Conduct, with Reſpect to the very Beginnings of Comedy, when it firſt dawned among them in the Verſes of ARCHI⯑LOCHUS. ‘"The Spartans ordered the Writings of ARCHILOCHUS to be baniſhed from their City, becauſe they thought the Peruſal of them was dangerous to the Purity of Manners. They did not chuſe that the Minds of their Children ſhould be tainted with them, leſt they ſhould more hurt their Morals, than ſharpen their Wit^h."’

6. "In the Republic of ATHENS, which was of more relaxed Principles, where this Comedy had been tolerated, a general Corruption of Manners took Place [146] 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 Magi⯑ſtrate, and was publicly eſtabliſhed." This was the natural and neceſſary Conſequence of the Power of a corrupt People. For the upright Magiſtrates being de⯑poſed, and the Creatures of this corrupt People ſeated in their Place, that Comedy was now authorized by Law, which was moſt accommodated to the Vices and Taſte of a diſſolute Populace.

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

PLATO, in the Paſſage cited above^k, gives us the Hiſtory of the Corruption of the People, and of Muſic; but in ſuch general Terms, that, without ſome farther Evidence, it is impoſſible clearly to fix the Time when, or the Means by which, this Change was brought about, ſo fatal to the Republic of Athens. It happens fortunately, that PLUTARCH hath recorded the Event with ſuch Particularity of Circumſtance, as leaves no Room to doubt on this Subject. PERICLES was the Man, who for his own private Ends of Popularity, effected this ruinous Change: For ‘"By giving the People the Plunder and Poſſeſſion of the Lands taken from the Enemy, and by [147] ſquandering the public Monies (formerly reſerved for the Uſes of War) in SHEWS and PLAYS for their Enter⯑tainment, and by Grants of Largeſſes and Penſions, he changed them from a ſober, modeſt, and thrifty People, who maintained themſelves by their own Labour, into a riotous and debauched Multitude; and thus rouſed them into ſedition againſt the Court of the Areopagus ^l."’ From this Paſſage it is evident, that PERICLES not only debauched the Athenian People; but that the Exhibition of Plays and Shews was one of the very Engines of Cor⯑ruption^m.—The concurrent Teſtimony of XENOPHON clears the whole Affair; and gives as a full View of the Conſequences of this general Corruption, ſo far as the old Comedy is concerned. For in his Diſcourſe on the Athe⯑nian Republic, he informs us, 1ſt, That, at the Period we have now fixed, ‘"The Body of the People expelled All Good Men from the Magiſtracy, and advanced wicked Men in their Places."’ 2dly, That ‘"they took the Gymnaſtic and Muſical Exerciſes out of the Hands of the better Sort; and gave the Practice and Profit of them to the Dregs of the People."’ 3dly, That ‘"in their [148] 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 Deriſionⁿ."’

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

Lord SHAFTESBURY hath greatly miſtaken this Matter in his Advice to an Author ^o; and is as careleſs or defec⯑tive here in the Circumſtance of Erudition, as at other times in that of Reaſoning. He ſeems in one Paſſage to attri⯑bute 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 com⯑parative Difficulty of theſe two Kinds hath been treated at large by a learned and moſt judicious Writer, who after a candid and profound Diſcuſſion of the Queſtion, thinks it beſt to leave it undecided^p. The noble Writer, next, ſeems to attribute the late Cultivation of Comedy to ‘"the Spirit of literary Criticiſm, which in the Nature [149] 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 it⯑ſelf was found to turn into a Diſeaſe ^r."’ But we have already proved, that it was a Diſeaſe even on its firſt Appear⯑ance. 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 [150] ancient Manners and ancient Hiſtory."’—But, what is odd enough, after having ſeparately aſſigned theſe ficti⯑tious 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 analo⯑gous to Comedy, yet the Iliad and Odyſſey, in which the heroic Style prevails, having been ever higheſt in Eſteem, were likelieſt to be firſt wrought and cultivated ^s."’ We may conclude, then, upon the Authority of the three great Ancients cited above, that ‘"the Cultivation and Eſtabliſhment of the old Greek Comedy aroſe from the united Corruption and Power of the Athenian Peo⯑ple."’

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 Read⯑er is referred to the Paſſages already cited from PLATO, and XENOPHON: And on this Solution, the Fate of SO⯑CRATES is clearly accounted for. Nor could any thing be more natural, if the Cauſes here aſſigned for the Eſta⯑bliſhment 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 [151] 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 Op⯑preſſors did That from Fear, which upright Magiſtrates would have done from Virtue. The plain Reaſon hath been aſſigned above: ‘"Becauſe every thing hateful to the People being now the eſtabliſhed Subject of the comic Muſe, the Tyrants who had deſtroyed the public Liberty, muſt expect to become the Subject of Comedy, if permitted to revel in its former Licentiouſneſs."’ Here again the noble Author of the Characteriſtics ſeems to aſſign a fictitious Cauſe for this Event, drawn from his own Conjectures, inſtead of Hiſtory. ‘"Nothing could have been the Cauſe of this gradual Reform in the Commonwealth of Wit, beſide the real Reform of Taſte and Humour in the Commonwealth or Government itſelf."’—For, ſaith he, ‘"it little concerned the Foreigners in Power (the thirty Tyrants) after what Manner thoſe Citizens treated one another in their Comedies; or what ſort of Wit or Humour they made Choice of, for their ordinary Diverſions^t."’ It can hardly be neceſſary to point out, in what Circumſtance this Reaſoning is defective. Had the private Citizens buffooned each other only in their Comedies, the Thirty Tyrants would indeed have had little to fear: But as it is evident, that the public Magiſtrates, and their Conduct, had been the ſtanding [152] Objects of theatrical Ridicule, it certainly much concerned theſe Foreigners in Power, to prevent that ſarcaſtic Repre⯑ſentation 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 Ty⯑ranny can be pretended^u."’ But this Inſtance, joyned to the Evidences already given on the Subject, inſtead of confirming, overturns his Syſtem: It only proves what was alledged above, that the Athenian Tyrants did that from Fear, which the Roman Magiſtrates did from Virtue.

9. "The Poets found a Subterfuge, for the Gratification of the People; and continued to repreſent real Cha⯑racters under feigned Names." Thus the middle Co⯑medy was naturally eſtabliſhed. For this was the only Species which they could now purſue with any Proba⯑bility 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 Con⯑ſiderations. Firſt, there is not the leaſt Reaſon to be⯑lieve 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 mid⯑dle Comedy, it appears, that it was in all Reſpects as [153] 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 King⯑doms which were of more luxurious and refined Man⯑ners: 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 Re⯑finements 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 [154] 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 Re⯑eſtabliſhment of their Militia, or the Application of the public Funds to its Maintenance^w. Their Vices there⯑fore 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 Refine⯑ment 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 Irre⯑ligion, 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 Per⯑fection came on, either through a Want of improving Lite⯑rature, 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 Cory⯑bantes 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 cele⯑brated their public Feſtivals with enthuſiaſtic and clamor⯑ous Muſic, Song, and Dance, accompanied with Drums, Cymbals, and other noiſy Inſtruments, almoſt in the very Manner of the ſavage Iroquois^x. RHADAMAN⯑THUS firſt, and then MINOS, civilized this barbarous Route; and regulated their Manners and their Muſic, on [156] the Model of the ſevere Egyptian Legiſlation. After MINOS, THALES aroſe: In whom we find the united Characters of Legiſlator and Muſician: He compoſed Laws, for the Cretan State, and ſung them to his Lyre^y. But Muſic being fixed to certain Forms by Law, we are not to wonder that its Progreſſion ſtopped, as at SPARTA; which Commonwealth was modelled on the rigorous Eſta⯑bliſhment of CRETE.

With Reſpect to EGYPT, the Beginnings of that famous Kingdom are ſo loſt in its Antiquity, that we know no⯑thing 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 re⯑markable, that we know little of them from ancient Hiſ⯑tory till the ſecond Period of Muſic commenced, that is, till the Legiſlator's Character had been ſeparated from that of the Muſician. The cleareſt Inſtance of the Union of the Legiſlator's and Bard's Character is found in SNORRO STURLOSON, who, about five Hundred and fifty Years ago, was at once the chief Legiſlator and moſt eminent Bard in the Iſle of ICELAND^z. In the ſecond Period, we meet with the poetic and muſical Character united in almoſt every northern Clime, under the revered Denomi⯑nation of Scaldi or Bards. It hath been already obſerved, that ODIN the Scythian Legiſlator, boaſted that the Runic [157] Songs had heen given him by the Gods^a. A Circum⯑ſtance 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 War⯑riors, and kindled the Valour of their Armies by their Songs: That none were admitted of the Order, but thoſe of the moſt diſtinguiſhed Families^b: That they were above the Meanneſs of Flattery; and were revered, even in the Courts of Kings^c.

We meet with the Gauliſh Bards under the ſame Period of Separation: But their Spirit ſeems to have been con⯑trouled 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 peace⯑ably end a Quarrel, when Armies are drawn out, and ready to decide it by the Sword^d."’ The Evidence of [158] DIODORUS is ſtill more particular; and proves, that they were not inſenſible to the original Sallies of comic and ſarcaſtic Wit. ‘"They ſing (ſaith He) to Inſtruments reſembling our Lyres; praiſing ſome, and ſatyrizing others. When Armies are ready to engage, if they but come between, they immediately put an End to the Battle; as if their Warriors were ſo many wild Beaſts, which they had charmed by the Power of their Songs ^d."’

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

Of the Genius of thoſe Britiſh Bards who inhabited the northern Diſtricts of the Iſland, we have a noble Proof in the Poems lately publiſhed under the Name of OSSIAN. Theſe appear to have been compoſed and ſung, during the ſecond Period of Muſic; that is, when the Bard's Pro⯑feſſion [159] 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 ad⯑vanced 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 evi⯑dently to have worn the inartificial and mixed Forms of Compoſition, which we have found generally and of Courſe to prevail in the early Periods. Thus, FINGAL is chiefly Epic; yet the hymnal Species abounds in it: Others are dramatic; yet in theſe, the narrative often takes Place: Others, again, are in the Form of Odes; yet even theſe are ſtrongly mixed and marked with the Epic and dramatic Manner^f.

The natural Flame of ſavage Muſic and Poetry is now almoſt entirely quenched in the ſeveral Parts of this Iſland: [160] 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 SCOT⯑LAND, the Writer is well informed, that the Bard's Pro⯑feſſion 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 Man⯑ners to thoſe of their Neighbours; by which means the Profeſſion became extinct^g.

The Hiſtory of the Iriſh Bards is perhaps of all others the moſt extraordinary; and will therefore deſerve a par⯑ticular Regard. Hiſtory doth not carry us up to the firſt Period, in which the Legiſlator's and Bard's Cha⯑racter 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 [161] honoured with an Appellation equivalent to the Name of Gods ^g.

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

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

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 Hiſ⯑tories. In Conſequence of this, the approved Songs of the ancient Bards were preſerved in the Cuſtody of the King's Antiquary; and are appealed to by KEATING, as the Foundation of his Hiſtory^k. Many of them were fabulous; but this Circumſtance hath no eſſential Relation to our preſent Inquiry.

Garments of different Colour were appropriated to the various Ranks of the Kingdom: So high was the Power [162] and Dignity of the Bards, that they wore the ſame Colour with the royal Family ^l.

Thus inveſted with Honours, Wealth, and Power; and poſſeſſed of an Art which gave them a natural Influence over the Minds of the People; we find, that about the year 558, they had become inſolent, deeply corrupted, and dangerous. Hence, the reigning King convened a general Council of the Nobility and Gentry (for Chriſti⯑anity 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 im⯑pending 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, be⯑fore the Sentence of their Baniſhment was pronounced.—However, the Sentence was mitigated: They were al⯑lowed to diſperſe themſelves over the Iſland, and promiſed to live in a Manner leſs offenſive to the Public^m.

In a ſucceeding, and no very diſtant Period, we find them again grown troubleſome to the Kings, who com⯑plained [163] of them, as a Burthen to the People, lazy, covet⯑ous, 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 Agesⁿ.

'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 Learn⯑ing, 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 Coun⯑try, in the Time of SPENSER; Who gives the follow⯑ing animated Deſcription of their Songs and Cha⯑racter: ‘"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 [164] 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 danger⯑ous and deſperate in all Parts of Diſobedience and rebel⯑lious 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 [165] 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 under⯑ſtand them: And ſurely, they ſavoured of ſweet Wit and good Invention; but ſkilled not of the goodly Orna⯑ments 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 [166] great Pity to ſee ſo abuſed, to the gracing of Wickedneſs and Vice, which with good Uſage would ſerve to adorn and beautify Virtue ^o."’

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

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 Cha⯑racter: Their Muſic will be found analogous. 'Tis generally ſuppoſed, that CONFUCIUS eſtabliſhed their Muſic and Rites: but it appears from ſome curious Fragments of ancient Chineſe Hiſtory, that Muſic and the Rites exiſted in Union, long before the Age of that Philoſopher^p. ‘"TCHO⯑YONG, [167] 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 exter⯑nal Senſes were ſound, the Humours in a juſt Poiſe, and the Life of Man lengthened^q."’ Here we find the genuine Picture of a Chief, at once Legiſlator and Bard, civilizing a ſavage People.

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

Theſe Evidences are traditionary, and relate to the fabulous Times: But even in a later Period, we find the kingly and muſical Characters united, in the Perſon of FOU-HI, their firſt great imperial Legiſlator. ‘"FOU-HI de⯑livered the Laws of Muſic: After he had invented the Art of Fiſhing, he compoſed a Song for thoſe who ex⯑erciſed that Art. He made a Lyre, with Strings of Silk, to baniſh all Impurity of Heart: And in his Time the Rites and Muſic were in great Perfection ^t."’ All this is evidently in the true Spirit of a peaceable Legiſla⯑tion. ‘"CHIN-NONG (a ſucceeding Emperor) compoſed Songs on the Fertility of the Earth. He made a beauti⯑ful Lyre, and a Guitar adorned with precious Stones, which produced a noble Harmony, curbed the Paſſions, and elevated Man to Virtue and heavenly Truth ^u."’ [168] 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 CONFU⯑CIUS, who eſtabliſhed Muſic and the Rites, according to that Form which they ſtill maintain in CHINA^w. For here, as in ancient EGYPT, CRETE, and SPARTA, every thing is unalterably fixed by Law; by which Means, Improvement and Corruption are alike prevented.

With Reſpect to the Extent of the Progreſſion of Muſic in this vaſt Empire; it appears, that they have no muſical Notation; that Compoſition in Parts is altogether un⯑known; and that the whole Choir ſings the ſame Melody: That their Muſic is altogether of the diatonic Kind, and even wretched to an European Ear^x: Yet they boaſt of its wonderful Powers in former Times: Whence ſome of the Hiſtorians ſeem to gueſs that it hath degenerated; while in reality, no other Conſequence can be juſtly drawn, but that either the People are leſs ignorant and barbarous; or that Muſic is now leſs aſſiduouſly and powerfully applied; or that certain Separations have en⯑ſued, 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 [169] 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 Cha⯑racter, ſo neither are they given to Raillery or Sarcaſm, but al⯑together 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 [170] 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 in⯑numerable; 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 com⯑poſed by one of them, which bears all the Marks of a ſpirited and ſavage Original. They had their dramatic Re⯑preſentations, in Part reſembling, and in Part differing from thoſe of the Chineſe. Their Manners and Character, brave though not ferocious, had naturally produced Tragedy, though of a Kind rather grand than terrible ^x. But their mild Temper, in Time of Peace little given to Sarcaſm, ſeems to have prevented the Birth of Comedy. GARCI⯑LASSO, 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 con⯑ſidering all dramatic Compoſition as belonging to one [171] 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 culti⯑vating and manuring their Fields, and to ſhew the Management of domeſtic Affairs, with other familiar Matters."’ A Circumſtance, which ought to give them the Title of Bucolic or Georgic Drama, rather than that of Comedy. For not a Word occurs concerning Ridicule or Character; the Union of which two Circumſtances may ſeem to conſtitute the Eſſence of true Comedy. Theſe Plays were compoſed by the Amautas or Bards, whoſe Office was ſeparated from that of the INCAS, but ſtill held in Honour, as in other barbarous Polities. But in another Reſpect, the Progreſſion was different from that in CHINA. The Actors maintained the original Dignity which they had held in the early Periods: For the Lords and Officers of the Court were the Actors; and as ſoon as the Play was ended, they took their Places according to their Degrees ^y.

To theſe we may add one Inſtance more, concerning the natural Union and Progreſſion of Muſic and Poetry: An Inſtance leſs known, yet more ſingular than any of theſe already given. When the Chriſtian Miſſionaries arrived on the Coaſt of proper India, they found a Sect called the "Chriſtians of St. THOMAS," living in great Simplicity and Innocence; and retaining many of the original Cuſ⯑toms of their ſavage Forefathers^z: among others, they [172] found theſe Chriſtians, as well as the Pagans of the Coun⯑try, 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 Portu⯑gueſe 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 Entertain⯑ment^a. When he went to ANGAMALE, the Way was ſpread with Carpets: And it was a fine Sight, to ſee a Child of ſix Years old, very beautiful, and richly dreſſed, who ſung melodiouſly the whole Song we have ſpoken of, as containing the Labours of the Pre⯑late ^b."’

The religious Song and Dance were no leſs remarkably and ſingularly maintained in a Kind of imperfect Union, [173] as they had been transfered from Pagan Objects to thoſe of Chriſtianity. ‘"In the ſame Place, the Chriſtian Mala⯑bars, to amuſe the Archbiſhop, gave him a Ball after the Manner of the Country. It was of ſo ſingular a Nature, that I am perſuaded, the Reader will not be diſpleaſed with the Deſcription. Theſe Dances are generally practiſed at Night. This begun at eight in the Evening, and laſted till an Hour after Midnight. None but the Men dance; and their Modeſty and Reſerve are admirable. Before the Dance begins they all make the Sign of the Croſs, and ſing the Lord's Prayer, which is followed by a Hymn, in Honour of St. Thomas. Their other Songs rowl chiefly on the illuſtrious Actions of their Forefathers, or the Virtues of their Saints. In a Word, this Entertainment has all the Air of an Act of Devotion; on which, the Portugueſe Hiſtorian takes Occaſion to inveigh againſt the prophane Songs of the Europeans, which ſeem compoſed only to inſpire Debauch and Immodeſty ^c."’

The Miſſionaries who have viſited the oppoſite Coaſt of COROMANDEL, give us Proof, that the Progreſſion of Muſic and Poetry had not ſtopped at this early Period, but advanced to theatrical Repreſentation; which, we ſhall ſee, they were bold enough to apply even to the great Purpoſe of Converſion. ‘"In this Country they have an extreme Paſſion for the Theatre. Good Poets are held in great Veneration among this People, who are by no means of a barbarous Caſt. In INDIA, Poetry enjoys the Favour of the Great. They give its young Pro⯑feſſors the Honour of the Palanquin, which is a very [174] 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 in⯑vented, 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 In⯑vectives on the Gods of the Country. Such are the Chriſtian Tragedies, which they oppoſe here to the pro⯑phane Tragedies of the Idolaters ^d; and they are, for this Reaſon, an excellent Mean of Converſion^e.—The Audience was compoſed of at leaſt twenty thouſand Souls, who liſtened in profound Silence.—The Charac⯑ter of their Theatre is that of a lively and perpetual Action; and a ſtrict Caution of avoiding long Speeches, without proper Breaks ^f."’

Such is the State of Melody and Song in proper INDIA. Some of its Appearances are ſingular; and at firſt View, may ſeem unnatural. But after a mature Conſidera⯑tion [175] of what hath been delivered on the Union, Pro⯑greſſion, 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 Me⯑lody 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 Cir⯑cumſtance 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 Na⯑tions, 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, [176] the Omnipotence and Wiſdom of an eternal and univerſal Creator. Of this Diſtinction their Bards were fully ſen⯑ſible. ‘"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 Dia⯑logue; 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 pre⯑vented 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 [177] 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 Re⯑cords 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 un⯑taught 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 inti⯑mately connected with the important Hiſtory of Provi⯑dence, 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 [178] 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 main⯑tain 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 Atchieve⯑ments, 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 Con⯑nexion; 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 in⯑artificial 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 In⯑ſtitution 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. [179] CLEMENS ALEXANDRINUS informs us, that their Hymns were compoſed in the Dorian Mode^g: Which, what⯑ever it was, we know to have been one of the moſt an⯑cient, 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 ap⯑pears 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 [180] 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 Ap⯑plications of the Art enſued. Conſequently, the Rulers of the People could have no Temptation to quit any Part of that Character or Office, which ſtill maintained its priſtine Uſe and Dignity. Accordingly, we find, that from MOSES down to SOLOMON, during a Period of at leaſt a thouſand Years, the complex Character of Legiſlator and Bard often appeared in the moſt diſtinguiſhed Leaders of their State, and from firſt to laſt remained unbroken. MOSES, their firſt great Lawgiver, led the Song of Triumph, on the Overthrow of the Egyptians in the Red-Sea ^h: MIRIAM, a diſtinguiſhed Propheteſs, led the female Dance and Choir, on the ſame Occaſionⁱ. 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 pro⯑phetic Raptures to the Harp^k. In After-times, when SAUL was elected King, he too aſſumed at once the pro⯑phetic and muſical Office. The Songs and bard-like Powers of DAVID, his kingly Succeſſor, are too well known [181] 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 pre⯑vailed, Manners became corrupt, and public Miſery and Ruin enſued. The Prophets and Bards were now no lon⯑ger 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 Scrip⯑ture.

As this appears to be a true Analyſis of the State of Muſic among the ancient HEBREWS; it will now lead us to an eaſy Solution of a Fact which hath been regarded as myſterious by ſome of the Learned; ‘"That while moſt other Nations had their Bards or Poets; the JEWS, though their Compoſitions are uncommonly ſublime, never had any Poets by Profeſſion, nor even a Word in their Language which denotes the Character^l."’ The Principles here given afford a clear Solution of this Sin⯑gularity. Their Prophets were indeed their Bards; and appear to have been inveſted with all the Dignity belong⯑ing to that Office in its moſt honoured State. But as the Almighty GOD, and the great Events of his Providence, [182] 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 Sub⯑ject 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 [183] 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 gene⯑rally 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 ra⯑ther 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 at⯑tended 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 there⯑fore [184] muſt betake themſelves, for Subſiſtance, either to Induſtry or War. The laſt of theſe was the chief Occu⯑pation 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 Civi⯑lization. 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 Found⯑ers of the Empire in the muſical Arts, that they had not even the firſt Rudiments of Song: For we are told by a learned Roman, that when ENEAS brought the Images of the Gods to Shore, ‘"the Women howled and danced at the Solemnity^m."’

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

[185]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 ITALYⁿ. Thus, the Salian Songs were not native, but tranſplanted into ROME.

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

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

To theſe the Atellane Plays ſucceeded; being in the ſame Manner borrowed and adopted by the Roman People from the OSCI, a neighbouring Province: Both theſe, and the Thuſcan Shews ſeem to have been native in their reſpective Diſtricts; and therefore we need go no farther in Queſt of their true Origin, than to the untaught Progreſſion and Se⯑paration of Melody, Dance, and Song: But on their firſt [186] Entrance into ROME, theſe dramatic ſhews were no longer in their natural, but in an ingrafted State. The firſt Idea, then, of Comedy was caught by Adoption in this Republic: Here, as in the Adoption of the Salian Songs, they were mere Imitators. And thus, contrary to the natural Courſe of Things (as we have proved above^q) Comedy had, by Accident, an Eſtabliſhment prior to Tragedy in ancient ROME.

As it appears that in the firſt Periods of theatrical and dramatic Repreſentation, it is natural for the Poet to act a Part in his own Plays^r; ſo LIVIUS ANDRONICUS, the firſt known dramatic Poet of ROME^s, maintained this natural Union of the Poet and Actor, which he had received from the adopted Shews. But ſo little were theatrical Repreſentations the Effect of Nature at ROME, and ſo much were they received as mere Shews of Pleaſure and Amuſement, that even at this early Period an unexampled Separation commenced; a Separation more abſurd than any that had taken Place in GREECE. For now, ‘"LIVIUS acting his own Play according to the Cuſtom of the Times, was compelled by the People to repeat ſome favourite Paſſages, till his Voice grew hoarſe: On which, he obtained Leave to ſubſtitute a Slave to ſing the Poem along with the Muſician, while he himſelf performed the Action in dumb Shew^t."’ Thus an abſurd Separa⯑tion was eſtabliſhed; and continued ſo eſtabliſhed through the ſucceeding Ages of the Roman Empire^u. Hence ROSCIUS himſelf, of whom the World hath heard ſo [187] 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 con⯑tinuing much the ſame with thoſe of more ancient Times. After the Succeſſion of a few Ages, the principal Pro⯑greſſions came on; and theſe aroſe from their Acquaint⯑ance 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 there⯑fore trace them from their firſt to their laſt Progreſſions in ROME; where we ſhall find, that from being of mere Amuſement or little Utility, they degenerated by Degrees into Things pernicious.

In the early Periods of GREECE, the Poet compoſed the Melody for his Plays: In the Decline of the Greek States, the Melody was the diſtinct Labour of another Perſon^u. This Separation the Romans maintained: A Conduct [188] natural among thoſe who conſidered theſe Arts as the In⯑ſtruments of Pleaſure only. The neceſſary Conſequence of this was the gradual Introduction of an effeminate and luxuriant Melody; of which both CICERO^w and HORACE^x in their reſpective Times complain.

In Conſequence of theſe, a new and fatal Separation en⯑ſued. 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 ex⯑cluded from the Freedom of the City^y.

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

With Reſpect to the Subjects of their Tragedy, they were here no leſs mere Imitators. For although they had one Species in which their own Great Men were the Heroes of the Poem, yet even this was not original, but altogether built on the Grecian Model. But farther, we learn from HORACE, that the moſt approved Subjects were thoſe which were drawn from HOMER's Poems. He gives this as a Rule to the Poets of his Time and [189] Country; ‘"That to throw the Fables of the Iliad into tragic Scenes is a ſafer and better Practice, than to at⯑tempt Subjects yet untouched."’ A Paſſage which con⯑tains 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 ef⯑fectually 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 Cha⯑racter of his Odes correſponds much with his own Sen⯑timent: 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 Senti⯑ment, Elegance of Phraſe, and of Compliment to his Maſ⯑ters, were manifeſtly his firſt Object.

[190]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 Splen⯑dor 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 Inci⯑dents, ſtrong in the Delineation of Character, accom⯑pliſhed 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 Inci⯑dents 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 ſur⯑rounding Audience for the important Ends of Religion, [191] Morals, and Polity. In ROME, as in the later Periods of GREECE, we find the Song brought down to Recitation, and theſe great Purpoſes ſwallowed up and loſt in the Vanity and Self-Importance of the Poet. Hence we find their beſt Writers declaring their Diſlike to the Practice of public Recitation, becauſe Flattery was now become the Food of every reciting Poetaſter. The whole Farce and Foppery of this Practice, which was indeed no other than the ſpurious Iſſue of the old Grecian Song-Feaſt, is given at large by VOSSIUS, to whom, for Brevity's Sake, we refer^a.

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

On the contrary, as Manners and Principles grew more profligate, along with the inordinate growing Power and Luxuries of the Empire; ſo the Genius of the poetic and muſical Arts kept Pace with them. Poem, which in the Days of ancient GREECE had been the Handmaid of Vir⯑tue, was now declared to be the Bawd of Licentiouſneſs; and to write immodeſt Verſes was held a blameleſs Prac⯑tice^b. Thus the Art ſunk ſo low, that the Name of Poet, was held unworthy a Man of Age or Dignity ^c. The mimetic and muſical Arts grew not only an intolerable Burthen, but became at length of moſt pernicious In⯑fluence 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 [192] they ventured upon the Stage^d: That the Actors, in Imitation of the degenerate Greeks, gradually awakened their Powers of Speech in the Morning, leſt by too ſudden an Exertion they ſhould endanger the Voice^e. They gargled the Throat with a Compoſition proper for the Purpoſe: And the Methods of managing and improving the Voice were now formed into a ſeparate Science^f. In a Word, LIVY complains, that ‘"an Amuſement which was harmleſs in its Beginnings, had now grown to ſuch a Madneſs of Expence, that the wealthieſt Kingdoms were hardly equal to it^g."’

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

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

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

The extravagant Paſſion of ſome of their later Emperors for the muſical Arts, and theſe too of the moſt debauched and profligate Characters, particularly CALIGULA and NERO, is too well known to need a Delineation: This Eſſay is not intended as a Hiſtory of Facts, but an Inveſti⯑gation 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 In⯑ſtances, Muſic was made ſubſervient to the Views or ruling Paſſions of thoſe who led the People. The honeſt Legiſ⯑lators of early Times employed it for the Ends of public Utility; the profligate Emperors abuſed it to the Purpoſes [194] 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 Com⯑pound 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 [195] 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, with⯑out 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 In⯑veſtigation 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 [196] 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 ſwal⯑lowed up by a literary Application, often ignorant of the Powers of Muſic, and little acquainted with Society and Mankind.—Hence the Epic Poet (the Manners of the Times likewiſe forbidding^l) could no longer appear at the Place of public Concourſe, with his Lyre and feſtal Robes, to charm the liſtening Audience with his legiſlative Songs; but retired to the Cloſet, and with a more com⯑poſed Mien delivered his Inſpirations in written Verſe, for the Pleaſure, Admiration, and Inſtruction of Mankind.—This might have been indured: Becauſe ſome of the general Ends of that calmer Species may be obtained by a Home-application. But the Misfortune was, that even Tragedy and Ode, whoſe End is to ſhake the Soul with Terror, Pity, or Joy, by a theatrical Exhibition ^m, and the [197] 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 be⯑ing often written by retired and ſpeculative Men, unac⯑quainted with the Workings of the human Soul, and at⯑tending 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 Re⯑preſentation; 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 eſta⯑bliſhed itſelf in ENGLAND, that an Ode of the true Cha⯑racter is ſtiled (by Way of Diſtinction) An Ode for Muſic: Of this Kind we have two noble ones in our Language, [198] 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 con⯑firmed, and Muſic in its Turn became often unfit for Poe⯑try. 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 Counter⯑point, 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 be⯑ing 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. [199] 3. The Anthem, or Motet, for the Church. 4. The Ora⯑torio, 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 Jeſtⁿ. 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 va⯑ried Pieces of muſical Expreſſion that ever was com⯑poſed^o: And in Juſtice to the preſent Times it muſt be farther obſerved, that in ENGLAND, this Species is [200] 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 ſup⯑poſed 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 diſtin⯑guiſhable 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 Com⯑poſition or Reform of RIZZIO; but in Force of Ex⯑preſſion and Pathos, the latter generally excel them: A Circumſtance which proves how little the Rules of mo⯑dern Counterpoint have to do with the Powers of Muſic.

The State of the Opera will deſerve a more particular Elucidation: And to this End we muſt endeavour to trace it to its Origin, which lies in great Meaſure hid in Darkneſs. RICCOBONI is of Opinion that the firſt ever repreſented, was that which the Doge and Senate of VENICE exhibited for the Entertainment of HENRY the third of FRANCE, in the Year 1574^p. But this Ac⯑count [201] is by no means ſatisfactory: For SULPITIUS, an Italian, ſpeaks of the muſical Drama, as an Entertainment known in ITALY in the Year 1490^p.

Hiſtory traces the Riſe of the Opera no farther: But a Circumſtance mentioned by SULPITIUS, who was a Man of Letters, may ſeem to lead us up to its true Origin. He is by ſome ſuppoſed to have been the Inventor of this muſical Drama; but he ingenuouſly tells us himſelf, that he only revived it^q. We have ſeen above, that the Tragedy of the ancient Greeks was accompanied with Muſic; that the ſame Union was borrowed and main⯑tained 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 con⯑founded all Inquiry.

As VENICE was the Place where the Opera firſt appeared in Splendor, ſo it is highly probable, that there the an⯑cient 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 In⯑curſions: 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 [202] 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 Exhi⯑bition 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 [203] Arguments we add this farther Conſideration, that the Subjects of the very firſt Operas were drawn from the Fables of ancient GREECE and ROME^q, and not from the Events or Atchievements of the Times; and farther, that in their Form, they were exact Copies of the ancient Drama; theſe accumulated Proofs amount to near a De⯑monſtration, that the Italian Opera is but the Revival of the old Roman Tragedy ^r.

Such being the Birth of the modern Opera, no Wonder it inherits the Weakneſs of its Parent: For we have ſeen, that the Roman Tragedy never had its proper Effects, conſidered in a legiſlative View; having been ſeparated from its important Ends before its Arrival from GREECE. As therefore it had declined into a mere Amuſement when it was firſt adopted by ROME; and as we have ſeen, that in Proportion as the Roman Manners grew more diſſolute, Tragedy ſunk ſtill lower in its Character, till at length it became no more than a Kind of mere Subſtratum or Groundwork, on which the Actors diſplayed their Abilities in Singing and Geſticulation; it was altogether natural that it ſhould riſe again in the ſame unnerved and effemi⯑nate 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 [204] 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 pro⯑ductive 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 (calcu⯑lated 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 Ab⯑ſurdities of the Muſic.—The Recitative, or perpetual mu⯑ſical 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 mu⯑ſical 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 in⯑tolerable, as it pretends to paſs for a regular Work^s."’ Now if, along with DACIER, we regard the Opera as a modern Invention, this Circumſtance of the perpetual muſical Accompanyment is indeed unaccountable: But if we regard it as a mere Imitation or Continuance of the old [205] Roman Tragedy, and trace this upwards to its true Foun⯑tain, 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 Sepa⯑ration 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 unaf⯑fecting Muſic: For the Compoſer, in his Turn, intent only on ſhining, commonly wanders into unmeaning Diviſion, and adopts either a delicate and refined, or a merely popular Muſic, to the Neglect of true muſical Expreſſion. Hence, too, the Da Capo had its natural Origin: A Practice which tends only to tire and diſguſt the Hearer, if he comes with an Intent of being affected by the tragic Action, or with any other View than that of liſtening to a Song ^t.

Thirdly, with Regard to the Performance of the Opera.—The theatrical Repreſentation is of a Piece with the Poetry and Muſic: For, having been regarded, from its firſt Riſe, more as an Affair of aſtoniſhing Shew than of affecting Re⯑ſemblance, it is gaudy, flaunting, and unnatural. The Sing⯑ers (like the Poet and Muſician) being conſidered merely as [206] 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 per⯑formed in the fineſt Manner, becauſe their Attention is turned on the Subject of the Drama: Thus if the Au⯑dience 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 glar⯑ing Compound of trifling and abſurd Improbabilities, that the tragic Influence is overlaid and loſt; nor is it poſſi⯑ble for any impartial and rational Spectator to take Part in the dramatic Action, or be moved by the ill-feigned Diſtreſs.

[207]Let not the Writer be thought to derogate from the Ability or Merit of all the Poets, Muſicians, and Singers, who devote their Labours to the Opera. He knows there are Exceptions in each of theſe Departments^t. Neither let him be ſuppoſed to cenſure the Opera, as an Enter⯑tainment 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 im⯑portant 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 reſem⯑ble 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 [208] comes upon the Stage; and then, and then only, enſues a Burſt of Rapture, of Bravo's, Encores, and Applauſe. The Paſſion, therefore, thus expreſſed on this Occaſion, is evidently the Effect, not of a true Feeling of the Subject or tragic Action, which is entirely diſregarded, but (as in the later Periods of ancient ROME) of an extravagant Admiration of the Singer's Ability and Art.

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

As to the Church Muſic of ITALY and its once appendant Provinces, it hath aſſumed a Variety of Shapes, and in different Times hath undergone great Changes. In the ſecond Century, it appears that the pagan Melody was [209] adopted, and allowed under certain Reſtrictions of Modeſty and Decorum^w. It was afterwards eſtabliſhed at CON⯑STANTINOPLE by CONSTANTINE; then at ALEXAN⯑DRIA, 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 ener⯑vate^x. From the general Prevalence of this debauched Taſte, AUGUSTINE was tempted to baniſh Muſic from the Church: But AMBROSE reformed the Office of the Church of MILAN; and eſtabliſhed a Melody auſtere in the Extreme: This was improved by GREGORY; whoſe Melody ſucceeded, and was eſtabliſhed in the following Century: And now, the Devaſtations of the Barbarians coming on, this Plain Song naturally lay hid unchanged in the Chriſtian Church, during the ſucceeding Ages of Ignorance and Cruelty.

On the faint Revival of Arts in the eleventh Century, the Appearance of GUIDO gave a new Genius to the Muſic of the Roman Church. For according to the natural Tendency of his Invention of the Art of Counterpoint, GASSENDI tells us that all the World now run mad after an artificial Variety of Parts. About four hundred Years after GUIDO, the debauched Art once more paſſed over into ITALY from GREECE: Certain Greeks, who eſcaped from the taking of CONSTANTINOPLE, brought a refined and enervate ſpecies of Muſic to ROME: Where, meeting with a congenial Effeminacy, under the gay and diſſolute [210] 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 im⯑pending 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 Pur⯑poſes. This Severity of Compoſition ſtill remains in the Pope's Chapel; where, ever ſince the Reform laſt men⯑tioned, 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 dif⯑ferent: It is infected with the ſame Puerility of Stile with their Opera Airs: An unbounded Compaſs, extrava⯑gant 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 in⯑tereſted 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, CARIS⯑SIMI 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, Sim⯑plicity, and Truth^y.

With Reſpect to the Performance of their Church Muſic in ITALY, it hath naturally too much followed the Genius [211] 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 Cha⯑racters 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 Obli⯑gations which the Church of FRANCE hath owed to their Intercourſe with the Proteſtants, that it hath given them a [212] 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 pro⯑duced; 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 Har⯑mony and Variety, and incurably diſcordant: But ſtill, the Compoſition of their Motets in the Latin Tongue is at⯑tended 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 de⯑parted 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 Eccle⯑ſiaſtics, 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 com⯑poſed of an eſtabliſhed Prieſthood, who attend to this [213] peculiar Profeſſion; whoſe Characters are of higher Con⯑ſideration 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 Foun⯑tain 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 ad⯑mire 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 Ex⯑preſſion; nor yet ſo improper or abſurd, as to deſerve a ge⯑neral 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 Simpli⯑city, [214] in the new: Two Extremes which tend equally, though from oppoſite Cauſes, to deſtroy muſical Expreſ⯑ſion ^y. Yet, there are Paſſages in PURCEL's Anthems, which may fairly ſtand in Competition with thoſe of any Compoſer, of whatever Country. There are others who may juſtly claim a conſiderable Share of Praiſe. HANDEL ſtands eminent, in his Greatneſs and Sublimity of Style.—Our parochial Muſic, in general, is ſolemn and devout: Much better calculated for the Performance of a whole Congregation, than if it were more broken and elaborate. In Country Churches, wherever a more artificial Kind hath been imprudently attempted, Confuſion and Diſſon⯑ance 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 Com⯑pany of illiterate People form themſelves into a Choir diſtinct from the Congregation. Here Devotion is loſt, [215] 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 at⯑tributed to the barbarous Period of the Croiſades; when Companies of Pilgrims, returning from JERUSALEM, formed themſelves into Choirs, and ſung the Praiſes and Atchievements of Saints and Martyrs^z. Thus it is ſaid to have ariſen and been eſtabliſhed in FRANCE. But how it could aſſume the Form of dramatic Repreſentation accompanied with Muſic, is hard to ſay, without ſuppoſing it (like the Opera) to have been the Effect of an Imitation. On this principle we may trace it to a probable Origin. It is well known, that the Pagan Shews were often ex⯑hibited in the Temples, or at the Tombs of deceaſed Heroes: 'Tis no leſs certain, that the early Chriſtians adopted the Practice, with a due Change of Objects, either from a mere Imitation of the Pagan Cuſtom, or with a View to the Converſion of Idolators. Nothing, therefore, could be more natural, than that the muſical Accompanyment ſhould remain, though the Objects were changed. Of this Mode of Piety we have a clear Inſtance in a Diſcourſe of AUGUSTINE, who condemned the Practice; where, ſpeaking of CYPRIAN's Tomb, he ſays, ‘"Not many Years ago, the Petulance of the Dancers had invaded this ſacred Place, where the Martyr's Body is laid: All Night long prophane Songs were ſung, and were accompanied with theatrical Geſticulations^a."’ [214] [...] [215] [...] [216] Now ſuppoſing this Practice to have ſtill ſubſiſted in ſome remote or obſcure Part of ASIA or GREECE, it might na⯑turally be adopted by Companies of devout Pilgrims, in their Peregrinations to the holy Land: And thus the ſa⯑cred 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 Na⯑tive 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 Repreſent⯑ations, invented the ſacred Drama, with a View to their Improvement in Piety. Hence it is ſaid to have received the Name of Oratorio, which it ſtill wears. The Opera, already eſtabliſhed at VENICE and ROME, was his Model: He had little more to do, than to change the Objects from Pagan to Chriſtian: And thus from ITALY it ſpread into other Parts of EUROPE^b.

The capital Impropriety and Defect of this Entertain⯑ment, 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 Circum⯑ſtance 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 impro⯑bably feigned. The neceſſary Effect of This glaring Im⯑probability 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 rank⯑ed [217] in the firſt Claſs, either for Sublimity or Pathos. But Elegance of Style, Simplicity of Plan and Conduct, ani⯑mated 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, Ma⯑jeſty, and devout Expreſſion, are ſacrificed to the Com⯑poſer's Vanity or ill-directed Art.

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

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

In ENGLAND, this ſacred Drama is in ſome Reſpects well, in others, ill conducted. Next to the perpetual muſical Accompanyment, the leading Impropriety hath ariſen from an entire Separation of the Poet's and Muſician's Office. Even when the Poet remains principal, this Sepa⯑ration 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 ENG⯑LAND [218] 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 ſome⯑times little, and ſometimes nothing to expreſs, the main Foundation of his Art failed him: He was in the Situation of a great Painter, who ſhould be deſtined to give Life by Colours, to a dead and unmeaning Deſign^d. Nay, even where any Degree of poetical Expreſſion happened to give Play to his expreſſive Powers, yet ſtill, the general [219] 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 Pro⯑greſſion, 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 Repreſen⯑tation 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 ſuc⯑ceeding 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 neceſ⯑ſary Conſequence, therefore, of the Separation of the Poet's and Muſician's Province, and of his too great At⯑tention 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 con⯑trary [220] to each other.—3. Solo Songs often too much lengthened, without the Intervention of the Choir, to in⯑ſpirit 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 Repeti⯑tion.—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 diſ⯑guſted 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 Pre⯑ſentiment, 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 Gran⯑deur 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.

[221]The Performance of the Oratorio in ENGLAND, under its preſent, defective State, in ſome Reſpects may be cen⯑ſured; 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 Sen⯑timents 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 Ca⯑dence is below the Dignity of the ſacred Drama, and abſolutely deſtructive of all true muſical Expreſſion.

Thus we have traced the Riſe, Union, Power, Progreſ⯑ſions, 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 ef⯑fectually united, after theſe Separations have taken Place.

[222]The Legiſlator's and Bard's Character cannot again be generally and fully united. We have ſeen, they na⯑turally 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 can⯑not 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 dig⯑nified 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 per⯑formed 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 [223] Dignity of the muſical and poetic Arts, and points at their original Alliance with the legiſlative Character, the fol⯑lowing Citation ſeems to claim a Place under this Article.

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 con⯑ſidered, is of ſuch Extent, that although they may inci⯑dentally 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 vari⯑ous 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 un⯑alterably 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 Ex⯑preſſion. [224] 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 unim⯑paſſioned [225] 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 gain⯑ed its Power^d.

The Tragic Poem can never again be powerfully united with Muſic. This repugnance ariſeth from the ſame Cauſe with the laſt. For here, the continued muſical Accompanyment, mixing itſelf with the dramatic Cha⯑racter and the perpetual Dialogue, forms a whole ſo incom⯑patible 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 al⯑lied with Melody than any other^e. The great Mean of their powerful Union muſt be a pathetic and correſpondent Simplicity of Compoſition in Both.—With Reſpect to the pathetic Simplicity of the Ode; although the obſcure, the learned, the cold, the florid, the wordy, the amuſing Style, hath been too generally adopted by the Moderns; yet this falſe Manner is not ſo ſtrongly eſtabliſhed, as to preclude all Poſſibility of a general Reform: For we find, that where the Poem is written in the ſimple, intelligible, and pathetic Form, it is more generally approved (except only by mere Scholars who are ignorant of Nature) than [226] 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, GEMI⯑NIANI, 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 Oſtenta⯑tion and Parade of Art. The Succeſs is anſwerable to their Deſert: For this Simplicity of Style is admired be⯑yond the artificial, by All, except only a Few, whoſe Taſte (like that of the mere Scholar-Tribe) is debauched by their own falſe Refinements^f.

[227]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 an⯑cient GREECE. The Numbers of the Poem and the Mea⯑ſure [228] of the Muſic will inevitably ſometimes claſh. That Variety of Feet with which the Greek Tongue abound⯑ed, 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."’

[229]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 cer⯑tain 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 them⯑ſelves 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 Im⯑putation 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.

[230]As the practicable Utility of the common Song or Can⯑zonette 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 ſa⯑cred Scriptures^g. A proper Selection of Words for Muſic is indeed a Work of Importance here: And though in many Inſtances this be well made, yet it were to be wiſhed, that ſome ſuperior Judgment would overſee, and ſometimes (negatively at leaſt) direct the Compoſer, for the Preven⯑tion of Improprieties. A parallel remark will extend it⯑ſelf 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 [131] privileged, which though not excellent, is however not in⯑tolerable.—The parochial Muſic ſeems to need no Reform: Its Simplicity and Solemnity ſuit well its general Deſti⯑nation; 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 Per⯑formance 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 Per⯑formance. 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 [232] their Creator, in all its appointed Forms: The Laity would be naturally led to follow ſo powerful an Exam⯑ple.—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 ad⯑ditional 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 dra⯑matic Form and the muſical Accompanyment remain in Union. To hear Kings, Warriours, Stateſmen, Philo⯑ſophers, Patriarchs, Saints, and Martyrs, holding long Converſations with each other in muſical Recitative, is a Circumſtance ſo totally out of Nature, that the Imagin⯑ation 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 Proba⯑bility 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 [233] occaſionally, with much Propriety and Effect^h. Above all, the Occoſions muſt have a ſtrong Reference to the moſt pathetic Situations of the tragic action: The Choir muſt conſiſt of ſuch Characters, as may with Probability appear in the muſical Department: The Ode muſt be written in the Style of Paſſion; not with the Parade of unaffecting Imagery, or tedious Allegory; which, inſtead of rowzing an Audience, would lull them to Repoſe: The Muſic and Performance muſt be of a correſpondent Nature. In pointing out this Reform of the muſical Drama, the Writer may ſeem to ſeparate the two Siſter [232] [...] [233] [...] [234] 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 Re⯑form, in which many of the Subjects of the Opera and Oratorio may be exhibited in full Union with the Powers of Muſic, joined with Probability and Nature.

We have ſeen above, that from an Union of the Ode and Epic, a firſt rude Outline of Tragedy naturally aroſe, compounded of muſical Narration and choral Song ⁱ. Here then let us fix, for the proper Form of the muſical Exhi⯑bition of great, terrible, or pathetic Actions. This Union forms what may properly be ſtyled the Narrative or Epic Ode. It aroſe from Nature, at a Period when the Actions repreſented were of the ſimpleſt Kind^k. This Simpli⯑city of Action is ſtill neceſſary to be preſerved, for the Perfection of this Species; becauſe a complicated Action would inevitably produce long and unanimated Narra⯑tions, 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 at⯑tended 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 [235] 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 Enthu⯑ſiaſm 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 there⯑fore 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 Exam⯑ples in our Language, written by POPE and DRYDEN. In Force of Paſſion, and Variety of correſpondent Verſi⯑fication^l, they are admirable. The Songs and Choirs [236] 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 un⯑rivalled 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 Beau⯑ties.—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 Er⯑ror 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 Nar⯑rations [237] are in ſome Parts ſo highly animated, that without any ſtriking Impropriety they admit the Accompanyment either of the Song or Choir. 'Tis obvious to remark, that HANDEL was ſometimes perplexed by this Irregularity of the poetic Compoſition, when he ſet DRYDEN's Ode to Muſic: For ſome Parts are thrown into Recitative which might ſeem rather to demand the Song; and others are thrown into Song, which, in their preſent Narrative Form, ſeem rather to demand the Recitative.—A Poet of inferior Rank^m hath attempted to rectify this Diſorder in DRYDEN's Ode. But he had not ſufficiently eſtimated his own Strength, when he adventured to tamper with the Bow of ULYSSES. Whenever he hath attempted a Change, he hath quenched the poetic Fire.

The Subjects of the narrative or Epic Ode may be drawn with Propriety either from ethnical or ſacred Story. The ethnical will furniſh thoſe which are moral or political; the ſacred is a rich Field of Subjects moral and religious. There is a peculiar Propriety in exhibiting the ſacred Story in this Manner of the Epic Ode; becauſe in the dramatic Repreſentation of antique Subjects, through the great Diſſimilarity of ancient Manners to our own, 'tis difficult to avoid the Introduction of Circumſtances which will not be either manifeſtly incongruous, or contemptible to an Eye merely modern; two Appearances, which are carefully to be avoided in the Repreſentation of ſacred Story. The Way of Narration, therefore, is highly preferable; be⯑cauſe 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.

[238]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 [239] ſhould intrude upon the Walk of Genius. It may be ſup⯑poſed, 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, com⯑poſed 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 aſ⯑ſume 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 oc⯑caſionally 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 Wiſ⯑dom 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 re⯑corded in the ſacred Scriptures, thus recommended and adorned, would make their Way through the nobler Paſ⯑ſions 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 [240] beſt Compoſers: Whoſe Genius, thus chaſtiſed and di⯑rected to its proper Ends, would no longer wander into the illegitimate Fantaſies of Song; but in juſt Subor⯑dination to the poetic Expreſſions, would only be am⯑bitious of joining its Powers, for the Production of a true Pathos.

The Performance of theſe approved Poems thus heighten⯑ed 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 Sim⯑plicity of Manner; and, like the juſt Actor, would be only ambitious of aſſiſting the Poet and Muſician, in adorn⯑ing and compleating the intended Repreſentation.

The Importance of ſuch an Inſtitution may deſerve our moſt ſerious thoughts. We have ſeen above, how con⯑genial 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 cor⯑rupted, 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 ſalu⯑tary or pernicious: In which they have not either tended to promote and confirm Religion, Virtue, and public Hap⯑pineſs; or been the Inſtruments of Licentiouſneſs, and public Ruin.

[241]Add to this, that whoever will look back into the pre⯑ceding 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 them⯑ſelves; 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 in⯑evitably 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 un⯑perceived Degrees might inſenſibly ſlide into the ſame [242] fatal Effects, which marked the later Periods of the Greek Republics, and the Roman Empire?

On the contrary; an effectual Union of theſe two power⯑ful Arts, directed to their proper Ends, would be pro⯑ductive 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 im⯑portant Ends, may ſeem not only to claim the Atten⯑tion 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.