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XX

That teaching Boys Bawdy Books, will make them religious Men and good Clergymen.

Though most of the greatest Geniusses among the Ancients, have touched upon that String; and though, reading the Works of the great Poets, who have wrote in that Style, does ripen the Genius, and teach Lads an elegant Expression, as well as set them forward in the Languages; yet, I cannot come into the Opinion, that Youth, especially those who are intended for the Church, should be suffered to read the Composition of such a Master of Intrigue, as Ovid; or some of the Odes of such a Libertine, as Horace.

An English Reader will understand my Meaning, when I tell him, that some of the common School-books, which Boys learn at the Age of Sixteen, are more lewd than any Thing in Rochester's Poems.

For though this Lord was pretty plain in his Expressions, and his Composition is quite Spiritoso, yet his Works may rather be said to instruct a Person in the Science of Wickedness, than to stir him up to it.

The Case is very different with regard to such a Writer as Ovid. He had the great Advantage of calling in the Religion of the Times to his Assistance, when he had a mind to be more wicked than ordinary: He could make the most lewd and profligate Scenes appear sacred Mysteries, by giving them the pious Title of the Rites of Venus. Then there is a Softness through all his Works, which attacks the Heart with a seeming harmless Familiarity, and differs very much from the Air of Rochester; whose Strokes may be compared to the smutty ones which Hogarth has given us, in some of his Paintings; while those of Ovid have the alluring Attitude of a Venus de Medicis.

Pardon, Reader, if I transgress a little, by owning, that I have seen such a Book as Rochester's Poems long ago; and you will the more easily excuse me, when I tell you, that I was taught such a Book as Ovid at School. What has been said about these Books, is intended to shew the Impropriety of using such Authors in a School: And a Clergyman need not be ashamed of owning, that he has read even an Atheistical Book: For how should any Person be able to confute an Author, unless he first peruses his Work, in order to know the Fallacy of the Arguments, which are made use of in it? After that, he may fairly endeavour to say something against it, but not before.

What I would here urge is, that Boys might have many entertaining, useful Books put into their Hands, which may be very elegant, and yet very innocent; without stirring up their Passions to a higher Pitch, than Nature has intended, by letting them into the History of the Amours which were carried on among the ancient Romans, who were, if possible, more lascivious than the modern; as Rome was at that Time of a larger Extent, and more wealthy, and consequently more able to carry on the Schemes of Vice, than at present.

When Ovid wrote, the Romans might be said to be at the Height of their Luxury, in which they were not a little improved by their Eastern Expeditions. And tho' Ovid's Epistles, which are more usually taught at School, than his other Works, are modest enough in themselves, and would be proper enough for grown up People to read, being nothing but a polite Correspondence between Lovers of Distinction; yet there is something so tender in the Style of them, that they are apt to give Youth a Turn for Love Affairs, rather sooner than they would have, if Nature was left to itself.

For tho' the Soil of England is fertile, and it may be called a fine, flourishing Country; yet, the Weather we have here is rough most Part of the Year, and in many Parts of it, the Air is chill, and unwholesome; and on that Account, nothing but the hardy Diversions, which are generally followed by Youth, such as Hunting, and the like, can ever keep them in Health. Excess of Venery would agree much better with any Constitution, in the soft Atmospere of Italy, than amongst the rough Blasts of Old England; so that if we give way so their Vices, we shall soon find that our Constitutions will not endure any such Excess of Pleasure, as the Italians are able to sustain more easily on Account of the Mildness of their Climate, and the Frame of their Constitutions. Not that I would be thought to justify Lewdness and Debauchery in Italy, any more than in England. I only endeavour to shew the double Impropriety of suffering English Youth, to be acquainted with the Vices of the Italians.

I am for having an Edition of Horace printed, which shall contain only such of his Odes as do not touch upon the Affair of Love. It is in vain to say that Boys need only be taught the modest Part of his Works; for if they are taught only the modest Odes by their Masters, they will be sure to read the bawdy ones by themselves.

But if I was to offer ever so many just Reasons, for the Confirmation of what has been here said, I am afraid it would be exceeding difficult to persuade any one to leave a Track, which they have long been used to.

XXI

That the present Age is a duller Age, and less ingenious, than those which are past.

This Error is owing to those Harangues, which the old People entertain their Posterity with, over the Fire in the Winter, about what was done in their Time, and what clever Fellows they themselves were in their Youth, and how much the Age declines, &c. In short, an old Man, as Horace describes him, is Laudator Temporis acti se Puero. But we must beg Leave to tell these venerable Declaimers, that however they may be wrapped up in the Greatness of their own Exploits, England never could boast a brighter Age, nor perhaps so bright a one, as she can at present; and we challenge any one who contradicts it, to tell us, if the Ancients were greater Geniusses than the Moderns, in what Art or Science it was, that they did so greatly outstrip us. Perhaps such a Person might begin first, and say, that they excelled us greatly in Carving and Painting. With regard to these I acquiesce, and do acknowledge, that the Art of Carving is not in such Perfection as in former Ages, because it is not practised, and is not the present fashionable Ornament of Houses; and we do likewise acknowledge, that the Art of Painting on Glass is very near lost, and is not likely to be revived whilst the Window-tax continues.

We agree, I say, that the Arts of Carving, and Painting upon Glass, are almost extinct; and allowing that former Ages excelled the present in Painting in general, yet, What are these few Polite Arts? They are quite insignificant, when compared to the vast Improvements, which have been made in many other really useful Branches: In Agriculture, in Navigation, in War, in gaining Settlements in foreign Countries, in Trading to those Settlements, in Printing, in carrying on Correspondence by Posts, in Roads, in Carriages, in the Breed of Horses, in Manufactures, and in numberless other Articles, too tedious to mention.

It must be acknowledged, that for all these Improvements, we are obliged to the Arts and Sciences. They are as it were the first moving Force of Power in any Country; and if we take a Survey of all the Nations of the Earth, we shall find, that those Monarchs, who encourage Learning, and support Academies, are able to extend their Dominions farther than those, who, by a total Attention to Military Discipline, (though even that too depends upon the Sciences) neglect the Cultivation of that Learning, upon the Support of which, the Extension of their Dominions to foreign Parts depends. It is to the Invention of Astronomers, Mechanics, and Opticians, that we owe the principal Instruments, which are made Use of in Navigation; to their Ingenuity we owe the Quadrant, without which we should never know our Latitude; to these we are indebted for the Telescope, by which we discover Jupiter's Satellites, and find out our Longitude; to these we owe the Explanation of the Compass; to these the Contrivances of Pullies, by which we hale up our Tackling. In short, all the Inventions, which we find in the different Machines made Use of, either by Land or Water, though by long Use they are become familiar in the Hands of illiterate Persons, were no doubt originally contrived by the Study and Ingenuity of Men of Science at Home. And if Nature should shew her dislike to a Stagnation, and express her wonted Approbation of a Vicissitude in Human Affairs; who knows, but when the Sciences are forgot in this Kingdom, and we, by that Means, lose the Art of exerting that Force, which must keep up the Dignity of England over her Colonies; who knows (which Heaven avert!) but America may see herself the Mistress of the World, and the Seat of Empire, whilst we are reduced once more to the State of unletter'd Savages; and shall in vain discharge our feeble Arrows, and cast our ill-directed Javelins, against the Sides of their perhaps Five Hundred Gun Ships of War: Or the great Mogul, with his prodigious Armies, for Want of these Arts and Sciences abovementioned, and for no other Reason, may one Day or other find himself dethroned by a Prince, who will be able to reach him, though his Dominions do lie on the other Side of an unfathomable Sea.

And if these Vicissitudes should in Process of Time happen, they will be no other than what have been before. What is become of Palmyra? Where is Troy? The stately Palaces of Troy are removed into the peaceful Habitation of the once Arcadian Shepherds. And if the Disposer of all Things should so order it, Daphnis and Menalcas, may again sing their rural Songs on the very Spot, where now the Seraglio of the Grand Signior seems to bid Defiance to a whole Continent.

Though there is a large Scope for Dissertation, on the various Improvements of different Kinds, which have been made in almost all Branches, both of Science and Commerce, it cannot be expected, (even supposing the Author capable of such a Task) that they should all be brought into a Work of this Nature, as we have already enlarged more upon this Subject, than was at first intended. However, as it is a disputed Point, whether the Science of Music is improved or not, we shall beg Leave to say a little upon that Subject. And as Music is a Science, which, though it is not equal to some others in Utility, falls short of none, for the innocent Entertainment which it affords to those, who are so happy as to be formed by Nature, with Organs for the Enjoyment of it; we will venture to make it the Subject of the next Chapter. And we think it is an Error to affirm,

XXII

That the Musical Composition of this present Age is inferior to that of the last.

Though we are very sensible that we shall have a Multitude of Mouths open against us, for being so hardy as to assert what will be the Contents of this Chapter, and shall be exclaimed against by many, who never yet came to the Knowledge of any other Music than Corelli's Sonatas, which must indeed be allowed to be almost the Foundation of Music; and though all those Performers who live in the Country, and either through Business at Home, or other Reasons, have not had the Opportunity of hearing the best modern Music performed in Town, and having tried some of the worst of it over by themselves, upon their Instruments, and finding the Execution of it too difficult for their Performance, on Account of their being unacquainted with the modern Manner of bowing and fingering, together with a total Mistake of the Air and Manner, in which the Composition set before them ought to be played: All these Obstacles put together, I say, are apt to induce such, as are not very ready at Sight, and labour under the aforesaid Inconveniences, to pronounce all Modern Music, of what Kind soever, (taking it all in the Lump, as one would do Soap or Tallow) to be exceeding bad and foolish, and therefore not worth a Gentleman's Attention.

Now begging Pardon first, for the ill Manners of Contradiction, I shall take the liberty to offer a few reasonable Arguments, to shew, that tho' there has lately been a great deal of very bad Music performed, yet there has likewise been published a great Variety of exceeding fine Composition.

Without mentioning the Names of the Composers, or the Names of their Music, we shall endeavour to give some substantial Reasons, why the present Composition, should excel that of those, who wrote in those Times when Masters were but newly become acquainted with the Laws of Harmony.

The Case is the same in Music as it is in all other Matters; we find that all Arts have the greater Improvements made in them, the longer they have been introduced into any Country, and the more they are followed. This is natural; because the more Hands a Science has to go through, the greater Chance it has to meet with Men of Ingenuity in its Progress, who may forward it towards Perfection. What a sorry Appearance would an ancient Galley make against one of our First-rate Men of War, either in Sailing or Fighting? Or if it had been possible for Julius Cæsar, with all his Romans, when they invaded Britain, to have met with a Forty Gun Ship, they would have been all sunk by a few Broad Sides. This is a Truth that every one will acknowledge; and it is as true, that the present Musicians do very much excel those who lived some Time ago.

Masters of Music, by Practice, have lately found out a better, easier, and stronger Way of Performing upon their several Instruments, than was formerly known; and to this new and better Method of Performance they have composed suitable Music, which admits of greater Execution, greater Variety of Expression, and a better Tone, than could be brought out of Instruments before such Improvements were made. And we find that Geminiani, who was a close Follower of Corelli, has thought proper to make Concertos of what Corelli intended for Solos; well knowing, that though the Ground of them was exceeding fine, yet they were very capable of being improved by adding Parts to them, and adorning them with what might be called, at that Time, modern Embellishments and Graces.

And if one of so small Judgment as myself, may say any Thing about the Composition of so great a Genius as Geminiani, I will venture to think, that we have Masters now living, who are capable of taking some of the ancient Stiffness of Style from that great Composer, and giving him a more easy, free, and flowing Air; without taking from the Greatness of the Subject, or varying from the Groundwork of the Harmony, in the least.

For the Intent of Music is not to puzzle People's Heads, by consisting of intricate Harmony, and stiff Mathematical Transitions from one Key to another; by that Means, it would become the most dry and insipid of all Sciences, and fit for none but Pedants. No, the sole Intent of Music is to give Pleasure, which it is more likely to do, by the Freedom and Ease of its Transitions, and the Softness of its flowing Numbers, than by a stiff, starched, and over formal Composition.

The present Musicians excel the ancient ones, as much as the modern Ladies do those of former Times in Dress; and their Compositions differ as much from those which were played some Time ago, as the elegant Ease of a modern Lady's Shape, excels the stiff Stays and monstrous Hoop Petticoats of those who had the Honour to be the Grand-mothers of the present Age; and which are apt to give us the Idea of an Engagement of a different Nature from one where Cupid is supposed to preside: It rather puts us in Mind of something Martial, and makes us almost ready to apprehend we are going to exchange Hardiment, as Shakespeare calls it, instead of railing our Expectations into a Duel of another Nature.

Having now shewn our utter Aversion to Stays, we will return to our Subject. And we hope the Reader will pardon the Digression, as this is not the first Time that a Pair of Stays have made a Man turn out of his Road.

But there is another Reason why the modern Music should excel the ancient; and that is, the Difference in the Make and and Length of the Bow with which a Violin is struck. Violins are the Sinews of a Concert; they are, as it were, the main Body of a Band of Music; they are the Roman Legions of the Army; while the other Instruments are Slingers, Archers, and Light-horse. Now in the Time of Corelli, who must be allowed to be the Father of Harmony, the Bows were not above half so long as they are at present, neither were they so well shaped, either at the Heel or Point, nor had they the Spring which the Bows now made have. So that a Piece of Music which is calculated for the modern Manner of Bowing, could not have gone off so well in former Times: They had not the Power of swelling a Note out, in Imitation of the Human Voice, which may be done with a modern Bow; and the old Bows were so aukwardly made, that they could not be held at the End, but were obliged to be kept in a Kind of Ballance towards the Middle; and we may guess what spudding Work it must be, when there were not above a Couple of Inches in a Bow which could be conveniently used. However, these little short Bows suited very well for even Semiquavers and Quavers, of which we find the old Music chiefly to consist. So that we by no Means call in Question the Abilities of the Composers who lived at that Time; since it appears, that they composed their Music suitable to the Instruments which they had to perform it upon. No; we have a due Reverence for the Memory of those very great Geniusses; and are fully persuaded, that if it was possible for them to live again, with the Advantages which the Moderns enjoy the Benefit of, they would excel not only what they have done themselves, but likewise what any one else has done.

XXIII

That the Hearing of Musical Performances, is apt to soften Men too much, and by that Means, to give them an effeminate Manner.

Whether this Error proceeds from the Idea of that Facility with which Music is able to stir up a Variety of Passions in the Heart, annexed to the Idea of that Disposition which appears to be stronger in Women than in Man, and is called the Weakness of the Sex; or whether it proceeds from a Notion that Pity and Sorrow, and the like, are Passions which are not worthy the Breast of a Man, and are only fit for the timorous Constitution of Women, it favours equally of Absurdity and Barbarity in both Cases.

For so far is Pity from denoting any Cowardice or Effeminacy, that it is a certain Indication of a great Soul; we find it frequently mentioned among the most conspicuous Virtues, with which the Heroes among the Ancients were said to be endued. And with regard to the Passions, which are raised by Music in the Heart it depends upon the Nicety of the Feelings in the Nerves of the Hearer; and we cannot help observing, that Men of the greatest Sensibility are generally Persons of the strictest Honour and the most exalted Courage.

As for those who are so unfortunate as not to be formed by Nature for the Reception of harmonious Sounds, we do not entirely give them up: But we refer the Reader to a Passage, which he will find in the Merchant of Venice, and which, tho' the Observation may hold good in some Cases, yet, we must beg to be excused inserting the Words here, as we think the Remark is rather too severe and too general, and was introduced by the Poet chiefly with an Intent to set his malicious Jew off in the most odious Light, who had been declaring, that he detested the vile Squeaking of the Wry-neck'd Fife, and ordered his ¹Windows to be shut up, that the Sound of them might not be heard in his House. And if the old Poet is a little severe in this Place, he does it principally with an Intention to divest the Audience of any Compassion, which might otherwise be stirred up in their Minds by the Misfortunes which will attend Shylock in the following Scenes; and by that Means the Plot turns out according to the Wish of the Spectators. This is one of those Preparations of the ensuing Scene for which Shakespeare is so notorious, and which may be observed in all his Plays. But to return to our Subject; it seems that those People who have Organs for the Reception of Musical Sounds, are affected with such Passions as the Composer of good Music intends to excite in them. And we believe that the Constitution of a Hearer may be moulded and formed into various Shapes by the different Airs which he hears; and moreover, if a Person was always to be accustomed to soft, effeminate Music, we agree that it might render his Constitution effeminate likewise; but as there are such great Variety of different Movements, which are adapted to different Songs, all which raise different Passions in the Mind, it is very absurd to tax all Music in the Lump with Softness and Effeminacy.

Any one may perceive the Difference of these two Songs, both of which have their Effect when they are well sung.

 
Gently touch the warbling Lyre,
Cloe seems inclin'd to rest;
Fill her Soul with fond Desire,
Softest Notes will please her best.
 

These Words, which are sung to an Air of Geminiani's, cause a very different Sensation, from these which follow, and are set to a suitable Air:

 
Come cheer up my Lads, 'tis to Glory we steer &c.
 

Whatever the first Song may do, this last is not likely to make any Body effeminate. I mention these two common Songs, because they are what every Reader is capable of digesting, and on that Account are more proper for the Purpose than any of those Songs out of Operas, which are not generally known.

But we beg Leave here to make a necessary Distinction between two Ideas, which are sometimes confounded together, and which is apt to lead People into this Error as much as any Thing.

It would be very proper in us, before we prejudice ourselves against any Art or Science, to be quite clear in the Objections which we raise against it; we should be certain that they are just, and founded upon good Grounds. Some People are apt to confound the Idea of raising the softer Passions, which have their Residence in our Nature, with the Idea of Effeminacy, which, as I said before, are quite distinct. We have an Instance of the Passion of Pity in the well known Picture of Bellisarius. The Hero, who stands in the dejected Attitude, appears to be very much softened by the Misfortunes and Distress to which he sees Bellisarius reduced; and yet no one will say that he is an effeminate Fellow for it; on the contrary, it will be allowed that he shews a Greatness of Soul; he is struck with a contemplative Sorrow at the Misfortunes of a General, whose invincible Courage and great Worth he himself had been Witness of. And Bravery in Distress is not only the Subject of Painting, but it is the constant Theme of Music: The Operas and Oratorios are full of it, and though the Misfortunes of the Heroes which are the Subject of them do soften, yet it is not such a Kind of Softness as to beget any Effeminacy, but of a contrary Nature, and is such a Sensation as an ordinary Hearer will perceive at the Beginning of this common Song, which is well enough in its Way.

 
How little do the Landmen know,
What we poor Sailors feel,
When Seas do roar, and Winds do blow;
But we have Hearts of Steel.
 

If we are to be moved by such a Song as this, what shall we feel at some of the masterly Strokes of Handel in his Oratorio of Samson.

 
Total Eclipse, no Sun, no Moon,
All dark, amidst the Blaze of Noon.
 

One would think, by the resigned Solemnity of this following Movement,

 
Bring the Laurel, bring the Bays, &c.
 

that he had been reading Milton's Paradise Lost as well as the Samson Agonistes. This seems to be the very Music of the fallen Angels, where he says, they made Use of soft Airs, which inspired true Heroic Bravery, and which he prefers to the noisy, as it was the Cause of a lasting, fixed, and reserved Courage. Milton says, that as soon as the Colours were displayed, they marched to the Sound of Flutes and soft Recorders:

 
"Anon they move
In perfect Phalanx, to the Dorian Mood
Of Flutes and soft Recorders; such as rais'd
To Height of noblest Temper Heroes old
Arming to battle, and instead of Rage
Deliberate Valour breath'd firm and unmov'd
With Dread of Death to Flight and foul Retreat."
 

In short, the March in Rinaldo might possibly make Soldiers seize hold of their Arms and March, but it must be such an Air as that in the Overture of Berenice which makes them face an Enemy.