Still quiring to the young-eyed cherubins:
Such harmony is in immortal souls;
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.
—Merchant of Venice.
And this idea of a close connection between music and the heavenly bodies was still lingering in the minds of some philosophers as late as the eleventh century of our era, when Psellus the younger, treating of music and astronomy, describes the former as symmetry and proportion itself, which reminds one of Hegel’s profound and intelligible definition that “music is architecture in time”! Pythagoras especially is said to have regarded music as something celestial and profound, and to have had such an opinion of its powers over the human affections that he ordered his disciples to be waked every morning, and lulled to sleep at night, by the dulcet notes of the lyre or the flute.[[70]]
The love and cultivation of music formed so much a part of the discipline of the illustrious men who sprang from the school of Pythagoras that almost every one of them left behind him a treatise on the subject. Plato, in the seventh book of his work on laws, says that children in a well-ordered commonwealth should be instructed for three years in music, which reminds us of the commendable efforts made of late years in Great Britain and the United States to make music a necessary part of popular education, in which connection the late Cardinal Wiseman wrote an interesting letter to the Catholic Poor-School Committee of London in 1849 about “the importance of introducing music more effectually into our system of education.”
In the third book of Plato’s Republic music is treated of at considerable length with reference to education; “for whatever is concerned with the art of music ought somehow to terminate with the love of the beautiful.” But to seize the full meaning of this passage we must remember that, in the doctrine of the Academy, the Good, the True, and the Beautiful are reciprocal terms, and consequently that music should elevate to the contemplation of the great Godhead—Goodness itself, Truth itself, Beauty itself.
Eloquence was thought by the ancients to be so intimately connected with music that the orators of Greece and Rome had a flute-player standing at a proper distance behind them while they spoke, who kept up an undertone of musical sound, now swelling as the speaker rose with his theme, now gently falling when, as in panegyrics on the dead or in pleadings for mercy, he sought the chords of sorrow or sympathy in the human heart. Musical contests of flutes, trumpets, and other instruments were among the attractions at the public games of Greece; and the profession of music was so highly honored, and often so remunerative, that many musicians lived in splendor. There was Dorion the flute-player, who lived like a Sybarite and was a frequent guest at the table of King Philip of Macedon; there was Ismenias of Thebes, who was sent on an embassy to Persia, and (like the late Duke of Brunswick) had a passion for collecting jewels which his enormous wealth enabled him to gratify to the utmost. He once reproved a smart agent for not having paid as much for a pearl as it was worth, saying that it belittled him in the jeweller’s eyes not to have given, and the gem in his own eyes not to have cost, its full value, and sent him back with the surplus money. The flute which he bought at Corinth for three talents (about $4,000) must have been encrusted with precious stones. Amœbeus, the harper, received an Attic talent (about $1,000) for every appearance on the stage. But although proficients in music were highly honored and rewarded, the mere makers of musical instruments enjoyed no greater esteem than did other artisans, and we know that the comic poets of the time often ridiculed the celebrated orator Isocrates because his father had been able to give him a liberal education with money made by manufacturing flutes. Not only men but women also publicly exhibited their musical accomplishments; they belonged, however, mostly, if not exclusively, to the class of Hetairai. Such was the famous Lamia, whose skill as a flute-player, hardly less than her personal charms, won the heart of King Demetrius.
Passing over to Italy, we can only mention the Sabines and Etruscans, who early cultivated music, and from whom the Romans derived their knowledge of the art; the former giving them their profane, and the latter their sacred, music. At a later period the genius of Greece banished her ruder rivals and monopolized the art in Rome. It was a general custom among people of rank, towards the end of the republic and under the empire, to keep a private band of musicians; but in the earlier days of Rome music, being almost exclusively devoted to religion, either in the temples or at burial rites, was under government control; hence it was forbidden in the Twelve Tables to have more than ten flute-players at funerals, and the Salii, who were priests of Mars, were obliged, in their annual procession through the city, to accompany their stately tread by a sort of music made by striking their rods of gold on the metal shields which they carried in the hand. The most important body of musicians at Rome, and the recognized officials of the art, were the tibicines, or pipers, who formed a college, and on one occasion brought the religious affairs of the city to a stand-still by seceding in a body, after some real or fancied grievance, to the neighboring town of Tibur (Tivoli).