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we now use'; there was more action in it; and it was more upon a crying or singing 'tone,'

the

The union of poetry and music among Hebrew prophets, is evident from their commonly prophesying with instruments of music'; and that, even when they do not appear capable of performing themselves, as was probably the case of Elisha, who called for a minstrel to play before him, when he invoked the prophetic spirit 3.

In the earliest ages of the Greeks, we find the same union of poetry and music: their bards, in imitation of the Hebrew prophets, being both poets and musicians, and (which is worthy of peculiar remark) universally claiming a degree and kind of inspiration, either from the gods, or from the muses: whence St. Paul, in accommodation to their own style, calls the Greek poets, their prophets: As certain of their own prophets have said,' referring, as is supposed, to Aratus and Cleanthes.

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These Greek prophets, poets, or musicians, it appears originally delivered their compositions in a kind of extemporaneous melody, accompanied upon the lyre. So did in particular, Hesiod and Homer; and the latter in describ

So the learned Mr. Blackwell supposes that, at first, mankind uttered their words in a much higher note than we do now; occasioned by their falling upon them under some passion, fear, wonder, or pain. Hence Auden signified at first simply to speak, which now, with a small variation, dew, signifies to sing.' Enq. into the Life of Homer, p. 38. 2 I Sam. x. 2-12. xix. 20--24.

3

2 Kings, iii. 15.

4

Acts, xvii. 28.

ing Demodocus (probably intended as a portrait of himself) says,

• The bard advancing meditates the lay :'

And, supposing him to be under a divine influence, adds,

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Taught by the gods to please, when high he sings

The vocal lay, responsive to the strings '.'

It should even seem that in those early times, nothing but poetry was sung; and poetry in no other way recited; whence to recite and sing became synonimous in poetic language, and so continue to the present day2. Dr. BLAIR thinks that even the declamation of the Greek and Roman orators, as well as the pronunciation of their stage-actors, approached to the nature of 'a recitative in music, and was capable of being 'marked in notes, and supported with instru'ments'.'

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This inseparable union of poetry and music was preserved in many nations till within these few ages; and is in some, even to this very day. The Druidical and Celtic, German, Gaêlic, British, Caledonian, and Hibernian bards and minstrels, are all famous in the page of history. Mr. STEWARD, an eminent traveller+, mentions a vestige of extemporaneous verses and singing

1 Odys. bock viii.

2

Burney's Hist. of Music, vol. I. p. 281, and note (c) 312. Stilling fleet's Orig. Sac. book I. ch. iv. sect. 1; and Rousseau's Dict. de Mus. in Opera.

Lect. vi. vol. I.

Harris's Philological Enquiries, p, 286.

with instrumental accompaniment, as a kind of elegant amusement among the modern Athenians, of which he was an eye and ear witness. The Barcarolles (or extemporaneous ballads) of the gondoliers, or watermen of Venice, are famous all over Italy; not only among the vulgar, but even among the most celebrated masters. And ROUSSEAU tells us, there is nothing more common in that country, than to see two extemporary musicians challenge, attack each other, and form alternate couplets on the same air, with a vivacity of dialogue, melody, and accompaniment, incredible but to an eye-wit

ness'.

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Of the merits of the Hebrew music, musical writers have indeed formed very low estimates, and spoken with much contempt. To speak freely on this matter (says Sir J. HAWKINS) whatever advantages this people might derive • from the instructions of an inspired law-giver, and the occasional interpositions of the Almighty, it no where appears that their attainments in literature were great, or that they 'excelled in any of those arts that attend the refinement of human manners. With respect to their music, there is but too much reason to suppose it was VERY BARBAROUS.'

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As to literature, where shall we find historians, poets, or philosophers, equal to Moses, Isaiah, and Solomon? But with respect to their MUSIC, I beg leave to transcribe, with some

'Rouss. Dict, de Musique, in Barcarolles and Improvisare.

variation, the observations I have offered on this subject in another work'.

First, I observe that the Jews appear to have been always fond of music. Whatever polite arts they neglected, this they cultivated to the utmost of their power, even from the lowest to the highest ranks. Not only David the shepherd, but David the king, was a musician. Solomon, whether or not a performer himself, provided singing men and singing women, with abundance of instruments. The prophets generally, if not always, used them, and music was taught in their schools, the only seminarics of learning among the Hebrews'.

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They likewise highly honoured those who were famous in this art, ranking them with their most illustrious characters. Thus the son of Sirach, Let us praise famous men, and our 'fathers that begat us. Leaders of the people 'by their counsels, and by their knowledge of learning meet for the people; wise and elo'quent in their instructions. Such as found out 'musical tunes and recited verses in writing. All these were honoured in their generations, and were the glory of their times.'

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Neither was this attention to music merely in obedience to the divine appointment, since, when they degenerated to idolatry, their music was perverted too: and on every festival, music

'Historical Essay on Church Music prefixed to Psalmodia Evan. vol. II. p. 19, and seq. Eccles. ii. 8.

3 1 Sam. x. 2-12. xix. 20-24. 2 Kings, ii. 15. 1 Chron. xxv. 1-3. Ecclus. xliv. I—7.

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1 Kings, xx. 35 Psal. xlix. 3.

and dancing scem constantly to form principal parts of their employment. Nor is their attachment to music to be wondered at. Their climate was warm, and Dr. BURNEY repeatedly tells us, that the inhabitants of hot countries are most fond of music1.

2. As to performers, it must be confessed that the human voice is the same in all ages; and if, in their present state, some of the Jewish nation have not only gained admiration at the synagogue, but applause at our public theatres; it seems no absurd supposition, that their ancestors, in a state of opulence and prosperity, educated in the study of the science, and patronised by the most liberal and accomplished princes, might be capable, if not of such volubility and so many artificial graces, yet of melodies more chaste, and tones more charming to the unvitiated ear; and it is granted by the best judges, that no kind of music has so great an effect on the human passions.

The great number of the children of the Levites would always provide a powerful chorus of treble voices, and some select ones, with those of the singing women, would furnish a variety for the solo parts. The Levites also, being themselves educated to music in a very early period, and many of them devoted wholly

2

1 German Tour, vol. I. page 3; Hist. vol. IV. 565. Sig. Leoni, &c.

"The ingenious Mr. BEDFORD supposes (Temple Music, p. 76-79) that this expression is not to be understood literally, but of the singing boys their disciples, which seems probable from every family containing the same number. Chron. xxv. 8-31.

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