Instruments of music were used in the colleges of Prophets, which Samuel established in the land, to accompany and inspire the delivery of their prophetical utterances. As Saul, newly anointed, went up the hill of God towards the city, he met a company of prophets coming down, with a psaltery, and a tabret, and a pipe, and a harp before them, prophesying; and the spirit of the Lord came upon Saul when he heard, and he also prophesied.[324] When Elisha was requested by Jehoram to prophesy the fate of the battle with the Moabites, he said: “Bring me a minstrel; and when the minstrel played, the hand of the Lord came upon him, and he prophesied.”
When David brought up the ark from Gibeah, he and all the house of Israel played before the Lord on all manner of instruments made of firwood, even on harps, psalteries, timbrels, cornets, and cymbals.[325] And in the song which he himself composed to be sung on that occasion,[326] he thus describes the musical part of the procession:—
“It is well seen how thou goest,
How thou, my God and King, goest to the sanctuary;
The singers go before, the minstrels follow after,
In the midst are the damsels playing with the timbrels.”
The instruments appointed for the regular daily service of the Temple “by David, and Gad the king’s seer, and Nathan the prophet, for so was the commandment of the Lord by his prophets,” were cymbals, psalteries, and harps, which David made for the purpose, and which were played by four thousand Levites.
Besides the instruments already mentioned,—the harp, tabret, timbrel, psaltery, trumpet, cornet, cymbal, pipe, and viol,—they had also the lyre, bag-pipes, and bells; and probably they carried back with them from Babylon further additions, from the instruments of “all peoples, nations, and languages” with which they would become familiarised in that capital of the world. But from the time of Tubal down to the time when the royal minstrel of Israel sang those glorious songs which are still the daily solace of thousands of mankind, and further down to the time when the captive Israelites hanged their unstrung harps upon the willows of Babylon, and could not sing the songs of Zion in a strange land, the harp continued still the fitting accompaniment of the voice in all poetical utterance of a dignified and solemn character:—the recitation of the poetical portions of historical and prophetical Scripture, for instance, would be sustained by it, and the songs of the psalmists of Zion were accompanied by its strains. And thus this sketch of the history of the earliest music closes, with the minstrel harp still in the foreground; while in the distance we hear the sound of the fanfare of cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of music, which were concerted on great occasions; such as that on which they resounded over the plain of Dura, to bow that bending crowd of heads, as the ripe corn bends before the wind, to the great Image of Gold:—an idolatry, alas! which the peoples, nations, and languages still perform almost as fervently as of old.
The northern Bard, or Scald, was the father of the minstrels of mediæval Europe. Our own early traditions afford some picturesque anecdotes, proving the high estimation in which the character was held by the Saxons and their kindred Danes; and showing that they were accustomed to wander about to court, and camp, and hall; and were hospitably received, even though the Bard were of a race against which his hosts were at that very time encamped in hostile array. We will only remind the reader of the Royal Alfred’s assumption of the character of a minstrel, and his visit in that disguise to the Danish camp (A.D. 878); and of the similar visit, ten years after, of Anlaff the Danish king to the camp of Saxon Athelstane. But the earliest anecdote of the kind we shall have hereafter to refer to, and may therefore here detail at length. It is told us by Geoffrey of Monmouth, that Colgrin, the son of Ella, who succeeded Hengist in the leadership of the invading Saxons, was shut up in York, and closely besieged by King Arthur and his Britons. Baldulf, the brother of Colgrin, wanted to gain access to him, to apprise him of a reinforcement which was coming from Germany. In order to accomplish this design, he assumed the character of a minstrel. He shaved his head and beard; and dressing himself in the habit of that profession, took his harp in his hand. In this disguise he walked up and down the trenches without suspicion, playing all the while upon his instrument as a harper. By little and little he approached the walls of the city; and, making himself known to the sentinels, was in the night drawn up by a rope.
The harper continued throughout the Middle Ages to be the most dignified of the minstrel craft, the reciter, and often the composer, of heroic legend and historical tale, of wild romance and amorous song. Frequently, and perhaps especially in the case of the higher class of harpers, he travelled alone, as in the cases which we have already seen of Baldulf, and Alfred, and Anlaff. But he also often associated himself with a band of minstrels, who filled up the intervals of his recitations and songs with their music, much as vocal and instrumental pieces are alternated in our modern concerts. With a band of minstrels there was also very usually associated a mime, who amused the audience with his feats of agility and leger-de-main. The association appears at first sight somewhat undignified—the heroic harper and the tumbler—but the incongruity was not peculiar to the Middle Ages; the author of the “Iliad” wrote the “Battle of the Frogs,”—the Greeks were not satisfied without a satiric drama after their grand heroic tragedy; and in these days we have a farce or a pantomime after Shakspeare. We are not all Heraclituses, to see only the tragic side of life, or Democrituses, to laugh at everything; the majority of men have faculties to appreciate both classes of emotion; and it would seem, from universal experience, that, as the Russian finds a physical delight in leaping from a vapour-bath into the frozen Neva, so there is some mental delight in the sudden alternate excitation of the opposite emotions of tragedy and farce. If we had time to philosophise, we might find the source of the delight deeply seated in our nature:—alternate tears and laughter—it is an epitome of human life!
In the accompanying woodcut from a Late Saxon MS. in the British Museum (Cott. Tiberius C. vi.) we have a curious evidence of the way in which custom blinded men to any incongruity there may be in the association of the harper and the juggler, for here we have David singing his Psalms and accompanying himself on the harp, the dove reminding us that he sang and harped under the influence of inspiration. He is accompanied by performers who must be Levites; and yet the Saxon illuminator was so used to see a mime form one of a minstrel band, that he has introduced one playing the common feat of tossing three knives and three balls.
