We have little knowledge of music as a science among the Hebrews, but there is abundant proof of its practice. They had music on their festival days, whether domestic, civil, or religious, and professional musicians were attached to the royal court; but the art was systematically studied in the schools of the prophets, and received its highest application in the Temple, where it entered largely into divine worship.
The music of the Greeks has engaged the attention of many learned men, but is so difficult a subject that no one understands it; and it is as easy to imagine how the Pyramids were raised as to conceive what Greek music was like.
Music enters largely into the mythology of Greece, and strange legends—some of which are pure myths, others the exaggeration of facts—have been made up about it. The Muses were extremely jealous of their musical talents, and whoever ventured to compete with them was punished. Thus the impudent Sirens or sea-nymphs lost their wings, and the lovely daughters of King Pierus were changed into birds.[[67]] Two of Apollo’s contests are famous for their mournful ending. One was with Marsyas, a ranger of the woods, who, having found the flute which Minerva threw away because it distorted her handsome features, rashly challenged the divine Apollo to a contest between this instrument and the lyre, the condition of which was that the victor might do what he wished with the vanquished. The Muses decided in favor of their leader, and the miserable mortal was tied to a tree and flayed alive. A statue of Marsyas, bound and suffering, was generally placed by the Greeks, and afterwards by the Romans also, in the vestibule of their halls of justice, as a warning not to go into litigation hastily, and, above all, not to dispute with the gods—i.e., bring religion into court.[[68]]
Another triumph of Apollo was over Pan, a dilettante of music and inventor of the reed-pipes, which he called syrinx after the beautiful Arcadian nymph whose adventure with her tuneful lover is well known from Ovid. Midas, King of Phrygia, was chosen umpire, and, deciding in favor of Pan, was disgraced by having his ears changed into those of a donkey. Poor Midas contrived for a time to conceal his mishap by wearing day and night a cap of a peculiar form;[[69]] but as no man is long a hero to his valet, his body-servant, while trimming his hair one day, pushed up the bonnet a little and discovered the deformity. The secret so embarrassed him that, fearing he might unwittingly divulge it, he dug a hole in the ground beside a meandering brook and whispered therein: “Midas has ass’s ears!” He then filled it up and thought himself secure against himself; but, alas! on the very spot a tell-tale reed grew up, which, as the breezes rocked it to and fro, murmured the fatal secret, “Midas has ass’s ears.” While this fable may signify one of the ways by which the ancients believed nature to have drawn man’s attention to instrumental music—for travellers tell us that in some parts of the world there are plants called vocal or singing reeds, which emit a sweet strain when moved by the wind—it may also be a myth to insinuate that music is a sort of language; and as such, says Metastasio, it has the advantage over poetry which a universal language would have over a particular one, for music can touch all hearts in every age and country, but poetry speaks only to the people of its own age and country. One of the Greek stories of sublimest significance, and which mysteriously enters into early Christian art under the discipline of the secret, is the Orphic legend. Orpheus, presented by Apollo with a lyre and instructed in its use by the Muses, was able to tame with his sweet notes the wild beasts that gathered around him, and to enchant even the trees and rocks of Olympus, which started from their places and followed the sounds that charmed them:
Since naught so stockish, hard, and full of rage
But music for the time doth change his nature,
as Shakspere remarks. That some animals are amenable to the influence of harmony is certain—hence the success of the Hindoos with their deadly cobras; and some recent botanists are of opinion that the growth of flowers, and especially roses, is stimulated by music. But whatever slight foundation of fact there may be in the wonders of the historical Orpheus, it fades into obscurity beside the noble conception of the mythical Orpheus, whose history seems based on a traditional knowledge of the happy state of man in Paradise when all things of earth were subject to him:
Till disproportioned Sin
Jarred against Nature’s clime, and with harsh din
Broke the fair music that all creatures made