Loss and Gain: The Story of a Convert

by John Henry Newman

"A paradox, a paradox!" cried Bateman.

"Surely there is a close connexion," answered Campbell, "between the rise and nature of the basilica and of Gregorian unison. Both existed before Christianity; both are of Pagan origin; both were afterwards consecrated to the service of the Church."

"Pardon me," interrupted Bateman, "Gregorians were Jewish, not Pagan."

"Be it so, for argument sake," said Campbell; "still, at least, they were not of Christian origin. Next, both the old music and the old architecture were inartificial and limited, as methods of exhibiting their respective arts. You can't have a large Grecian temple, you can't have a long Gregorian Gloria."

"Not a long one!" said Bateman; "why there's poor Willis used to complain how tedious the old Gregorian compositions were abroad."

"I don't explain myself," answered Campbell; "of course you may produce them to any length, but merely by addition, not by carrying on the melody. You can put two together, and then have one twice as long as either. But I speak of a musical piece, which must of course be the natural development of certain ideas, with one part depending on another. In like manner, you might make an Ionic temple twice as long or twice as wide as the Parthenon; but you would lose the beauty of proportion by doing so. This, then, is what I meant to say of the primitive architecture and the primitive music, that they soon come to their limit; they soon are exhausted, and can do nothing more. If you attempt more, it's like taxing a musical instrument beyond its powers."

"You but try, Bateman," said Reding, "to make a bass play quadrilles, and you will see what is meant by taxing an instrument."

"Well, I have heard Lindley play all sorts of quick tunes on his bass," said Bateman, "and most wonderful it is."

"Wonderful is the right word," answered Reding; "it is very wonderful. You say, 'How can he manage it?' and 'It's very wonderful for a bass;' but it is not pleasant in itself. In like manner, I have always felt a disgust when Mr. So-and-so comes forward to make his sweet flute bleat and bray like a hautbois; it's forcing the poor thing to do what it was never made for."

"This is literally true as regards Gregorian music," said Campbell; "instruments did not exist in primitive times which could execute any other. But I am speaking under correction; Mr. Reding seems to know more about the subject than I do."