I know you would not care to hear about “the thousand different instruments to which the daughter of Pharaoh introduced King Solomon on the day he married her,” because the names of the instruments and the melodies which were performed upon them and the various chants to all the idols of Egypt which the daughter of Pharaoh taught Solomon are utterly forgotten. Yet, by the Kabbalistic rules of Gematria and Temurah might they not be exhumed?
In treatise Shekalim of Seder Mo’ed of the Talmud of Jerusalem it is related on the authority of Rabbi Aha, that Hogrus ben Levi, who directed the singing in the temple, “knew a vast number of melodies, and possessed a particular talent for modulating them in an agreeable voice. By thrusting his thumb into his mouth he produced many and various sorts of chants, so that his brethren, the Cohanim, were utterly amazed thereat.”
Hast read in Chap. XII of the Treatise Shabbat (Seder Mo’ed) concerning that lost Hebrew musical instrument, unlike any other instrument known in the history of mankind?...
TO H.E. KREHBIEL
New Orleans, March, 1884.
Dear Krehbiel,—I was quite glad to get your short letter, knowing how busy you are. Johnson changed his mind about Havana, as the season there has been very unhealthy; and for the time being I am disappointed in regard to the Spanish-Creole music. But it is only a question of a little while when I shall get it. I sent you the other day some Madagascar music. You will observe it is arranged for men and women alternately. By the way, speaking of the refrain, I think you ought to find it scientifically treated in Herbert Spencer’s “Sociology;” for in that giant summary of all human knowledge, everything relating to the arts of life is considered comparatively and historically. I have not got it: indeed I could not afford so immense a series as a mere work of reference, and life is too short. But you can easily refer to it in your public libraries. This reminds me of a curious fact I observed in reading Tylor—the similarity of an Australian song to a Greek chorus at Sparta,—at least, the construction thereof. You remember the lines, sung alternately by old men, young men, and boys:—
(Old Men) “We once were stalwart youths.”
(Young Men) “We are: if thou likest, test our strength.”
(Boys) “We shall be, and far better too!”