To their right praise, and true perfection!
Thus, music that has been heard in an agreeable place or that was played by some one near and dear to us, or music that is connected with the trials and triumphs of our native land, will awaken sentiments of love or melancholy, or sympathy or ardor, on the principle of associated ideas. This is feelingly expressed in the 136th Psalm in the persons of the captive Hebrews, in whom the sound of music which they had listened to in happy days would have awakened too keen an anguish.[[64]] In more modern times we have had public illustrations of the same principle in those simple melodies called ranz des vaches, which are such favorites with the mountaineers of Switzerland, and are played upon a long trumpet or Alpine horn. The sound of these tunes, and the rude words set to them, which are expressive of scenes of pastoral life—the shingled cottage, the dashing waterfall, the bleating of sheep, the lowing of herds, and the tinkling cow-bells—sometimes recalled so vividly to the native in a foreign clime the memories of his own land as to produce a disease called nostalgia, that often showed itself among the Swiss soldiers in the Neapolitan service;[[65]] for
There is in souls a sympathy with sounds;
And as the mind is pitched, the ear is pleased
With melting airs, or martial, brisk, or grave;
Some chord in unison with what we hear
Is touched within us, and the heart replies.
—Cowper.
The belief of the ancients that music was auxiliary to medicine is attested by a great number of writers. Chiron the Centaur, who educated Achilles, was careful to unite instructions in the healing art to those which he gave on music. Plutarch tells us that Thales of Crete delivered the Spartans from a plague by the aid of his lyre; Athenæus quotes Theophrastus as authority that the Thebans cured epilepsy by the notes of a flute; Aulus Gellius says that music will rid a man of the gout; Xenocrates employed music in the cure of maniacs; while the judicious Galen gravely speaks of playing the flute over the suffering parts of the body; and the idea that music is the sovereign and only remedy for the bite of the tarantula still lingers in Southern Italy. The Tyrrhenes always hired a flute-player to perform while they flogged their slaves, to give them some relief under the lash; and there was usually an arch-musician on board of the triremes—in which the rowers’ strength and endurance were more severely taxed than in smaller vessels—not only to mark the time or cadence for each stroke of the oar, but principally to cheer the men by the sweetness of the melody; whence Quintilian takes occasion to remark that music is a gift of nature, to make us the more patiently to support labor and fatigue.[[66]]
Among the nations of antiquity Egypt was long thought to be the mother of ancient civilization; and the Egyptians were well acquainted with music, for representations of musical instruments have been discovered on some of their oldest monuments, such as obelisks and tombs. But they never popularized music, because they thought that it had the effect of making youth effeminate; yet Strabo says that their children were instructed in one, and only one, special kind of music, of which the government approved. Like every other profession, that of musician was hereditary. Egyptian music was originally grave and in solemn accord with the stiffness of the kindred arts, which were hampered by strict hieratic rules, and almost exclusively devoted to the service of religion. When the country fell under the sway of the Greeks, music became of a gayer and less moral sort, being as much or more employed at banquets and on other profane occasions as in the temples and beside the bier. The Ptolemies encouraged Greek music, and the musical contests introduced into Egypt by this race of splendid princes were all of Hellenic origin. Athenæus relates that at a grand Bacchic entertainment given by Ptolemy Philadelphus over six hundred musicians formed the orchestra. Musical talent was hereditary in the Ptolemaic dynasty, and the father of Cleopatra was surnamed Auletes, or the flute-player, from his excessive attachment to this instrument.