But the writer in the English or, perhaps, in any other language who has most poetically stated the case of music, and given us a Christian view of it, is Newman, in the last of his Oxford University sermons. “Can it be,” he asks, “that those mysterious stirrings of heart, and keen emotions, and strange yearnings after we know not what, and awful impressions from we know not whence, should be wrought in us by what is unsubstantial, and comes and goes, and begins and ends, in itself? It is not so; it cannot be. No; they have escaped from some higher sphere; they are the outpourings of eternal harmony in the medium of created sound; they are echoes from our Home; they are the voice of angels, or the Magnificat of saints, or the living laws of divine Governance, or the divine Attributes; something are they besides themselves which we cannot compass, which we cannot utter, though mortal man—and he, perhaps, not otherwise distinguished above his fellows—has the gift of eliciting them.”
The ancients urged in favor of music three principal benefits to mankind: its effects in softening the manners of men, thereby promoting civilization and raising a people out of the barbarous and savage state; its effects in exciting or repressing the passions; and its effects as a medicinal power to cure diseases. Thus Polybius ascribes to the cultivation of this art the refinement of the inhabitants of Arcadia, and to the absence of such a discipline the roughness which characterized the citizens of Cynæthæ; thus Homer places a musician near the person of Clytemnestra as a guard upon her chastity, and, until he was away, Ægistus, who then wronged her, had no power over her affections. The subduing influence of music was again tried with success many ages after by the Jesuit missionaries in Paraguay, who used to play upon guitars and flutes to attract the melody-loving Indians from their forest haunts towards the village communities which they had established on the banks of the Parana.[[63]] Lycurgus regulated the music of Sparta, and his laws were set to measure by the celebrated musician Terpander; while Plato not only attributed an instructive virtue to music, but maintained that a people’s music could not be interfered with without altering their form of government. This civilizing influence of music is beautifully illustrated by the old legend of the Greeks, that when the workmen toiled on the walls of Thebes, Amphion played so sweetly on a lyre borrowed from Mercury that the stones did move of themselves. This, of course, is an allegory, to signify that by his musical talents, poetical numbers, and the wisdom of his counsel Amphion prevailed with a rude people to submit to law, live in society, and raise a defence against their neighbors.
Since two things greatly contribute to the effects of music, its powers of imitation and of association, the ancients gave it a large measure of influence over the passions. Thus Plutarch relates that Terpander appeased a violent sedition among the Lacedæmonians by the aid of his lyre, and that Empedocles prevented a murder by the soothing sound of his flute; and the painter Theon, having brought one of his works, which represented a soldier attacking an enemy, to be exhibited on the public square, would allow the veil to be withdrawn only after his attendant musicians had wrought up with military airs the crowds that gathered before it. Hence Plato wrote that a warlike air inspires courage, because it imitates the sounds and accents of a brave man, and that a calm air produces tranquillity in the soul on the same principle; or, as Burke says, “The passions may be considerably operated upon, without presenting any image at all, by certain sounds adapted to that purpose, of which we have a sufficient proof in the acknowledged and powerful effects of instrumental music”; for it counterfeits by sound some quality or state of the mind. Thus, rage is loud, anger harsh, but love and pity are gentle; consequently, loud and clangorous music stirs up the stronger passions, while a smooth measure imitates the gentler emotions of the mind. The wonderful influence of martial music on the ardor of soldiers in battle has been remarked by many writers on military affairs, and opera-goers must confess the bad tendency of sensuous music. Shakspere knew it well when he wrote of the fellow
Who capers nimbly in a lady’s chamber
To the lascivious pleasing of a lute.
The effects of music on the heads and hearts of men were so strongly perceived by Plato that he banished from his model republic the Lydian and Ionian modes, because they excited the lower instincts, but retained the severe Doric and Phrygian measures on account of their manliness and decency; and some of our best English poets have recorded their testimony to these same effects. We subjoin a few examples, taken almost at random:
And ever against eating cares.
Lap me in soft Lydian airs.
—Milton.
Music alone with sudden charms can bind