CHAPTER X.
THE term carol, appears originally to have signified a song, joined with a dance, a union frequently found in early religious ceremonies; and it is used in this sense by Chaucer, Boccacio, Spenser, and others. By some it has been derived from cantare, to sing, and rola, an interjection of joy. It was, however, applied to joyous singing, and thus to festive songs; and as these became more frequent at Christmas, it has for a long time past, though not exclusively yet more particularly, designated those sung at this feast. But strictly, it should be applied only to those of a cheerful character, and not to the Christmas hymn, which is of a more solemn cast; many of them, indeed, being more suitable for Passion Week than for Christmas; and a large and appropriate collection might be readily selected for that season, and an interesting work made to illustrate them. In practice, however, the word carol is applied indiscriminately to both classes, whether cheerful or solemn.
In the earlier times, music, both instrumental and vocal, was introduced into religious ceremonies, and was a necessary accompaniment to all the sacred feasts and games. Jubal’s harp or organ, whatever that instrument may have been, was doubtless, like the harp of David, used on such occasions, and the science of music was a necessary part of the education of many of the priesthood. In the records and sculptures of the Hebrews, Greeks, Romans, Egyptians, and other great nations of antiquity, and in the recent discoveries at ancient Nineveh, we find descriptions and representations connected with it.
The Hebrews, as we know, had numerous psalms and hymns, one of the earliest on record being that of Miriam and her companions, on the overthrow of the Egyptians, when they celebrated the downfall of the horse and his rider, with timbrels and with dances. The Druids had recourse to music, and the Anglo-Saxons and Gothic nations made great use of hymns in their public worship. Some early specimens of the primitive music have been handed down to us, but do not impress us with much respect for the powers of harmony of our forefathers, and their neumes, and other obscure and imperfect methods of notation, must have cramped them. Certain of the old chants have a pleasing solemnity, and it has of late been much the custom to revive or to imitate them, commencing even with the old Ambrosian chant; though, as our ancestors considered the introduction of the Gregorian chant to have been a great improvement on it, we may very safely be of the same opinion, as this is really fine, and we need not here trouble ourselves with the Lydian, Phrygian, or Dorian modes. With respect to the merits of ancient music, our taste and skill have been so gradually improving, that we can scarcely be judges of what—though flat, insipid, and meaningless to us—might have given much gratification to the less educated ears of former times. Even within the last few years, a great advance has been made in our own musical knowledge: pieces and composers, popular in the early part of this century, are now scarcely known; and recollected, perhaps (if at all), with amazement at their having ever been listened to; while works of the great masters, then thought impracticable, and containing difficulties not understood, or considered insuperable, are played and appreciated in most good musical meetings. More might be said on this subject, but want of space, and not of materials, compels a postponement, till some future opportunity. It may be mentioned, that much curious information, respecting our ancient national airs, with the tunes themselves, will be found in the very interesting work on the subject, by my friend, Mr. William Chappell, who, it is to be hoped, will, at no distant time, increase our obligation to him, by further publication from the large store in his possession, still unedited. Many of these airs are very pleasing, yet simple in construction, and still remain popular after the lapse of centuries; they are, however, much more recent than the ancient music before referred to.
The Romans had their hymns on the calends of January, and the practice was adopted by the early Christians, especially on their Sabbath-days and festivals, and on the vigils of their saints. St. Paul and St. James both refer to this custom, and Pliny the younger, in a letter to Trajan, mentioning the Christians, says, “They were wont to meet together on a certain day, before it was light, and sing among themselves, alternately, a hymn to Christ, as to God.” Bishop Taylor observes, that the well-known “Gloria in Excelsis,” sung by the angels to the shepherds, on the night of the Nativity, is the earliest Christmas carol. We have many carols now existing, that are founded on the appearance of the angels to the shepherds; and the subject is represented in several of the ancient mysteries, and occasionally in a very familiar and homely manner.
In the Chester mysteries, for instance, the three shepherds, with their man Trowle, who is the buffoon of the piece (though the greater part of the play of the shepherds is of a humorous nature, comprising the homely dialogue of rustic labourers), having eaten their supper of sheep’s head, soused in ale, with onions, garlic, and leeks, and other viands of like quality, and plenty of ale, are having a bout at wrestling, where Trowle throws his masters. In the midst of their sport the star appears, and afterwards the angels’ song is heard. They then proceed reverently, though “rude in speech,” to Bethlehem, and make their offerings; the first shepherd, addressing our Saviour,—