SECT. I.
I. In ancient times, if we believe Plutarch, music was used only in temples, and that afterwards it passed to theatres. Formerly, it served as an ornament to divine worship; afterwards, it was used to stimulate vice. Heretofore, the melody of sacred hymns only were heard; afterwards, we began to listen to profane songs. Music originally, was used as an obsequies to the Deities, it was afterwards applied to inflame the passions. In old times, it was dedicated to Apollo, but it seems as if afterwards, Apollo had divided the protection of this art with Venus; and as if to poison the soul, and paint on the theatres the charms of vice, the finest colourings of rhetoric, joined to the harmony of poetic numbers, were not sufficient, they, to render these charms more attracting, and make the venom more active, confectioned and compounded rhetoric, poetry, and music together.
II. This diversity of uses to which music was appropriated, induced a difference in the composition of it: and as it was necessary in the temple, and in the theatre, to excite distinct affections, they contrived distinct modes of melody, to correspond, as their echoes, with the different affections of the soul. The Dorian mode, as grave, majestic, and devout, was reserved for the temple; and in the theatres, they adopted different modes, suited to the diversity of the matters. In the amorous representations, they used the Lydian mode, which was soft and tender; and when they had a mind to give the movement a stronger effect and expression, they applied the mixed Lydian, which was more pathetic and striking than the Lydian by itself. In warlike representations, they used the Phrygian mode, which is terrible and furious; and in affairs of mirth and jollity, or favouring of the Bacchanalian, they adopted the Æolian, which was sprightly and comic. The Subphrygian mode, was appropriated to calm the transports, raised by the Phrygian; and thus, to produce other effects, they had other modes of melody.
III. Whether these modes of the antients, corresponded with the different tones used by the moderns, is not clearly ascertained. Some authors affirm they do, others doubt it. I myself, am inclined to think they do not, because the diversity of our tones, have not that influence to vary the passions, which was experienced in the different modes of the antients.