of the fine arts, beginning with architecture. The Ionic was the favourite order when archi-<283>tecture was in its height of glory. The Corinthian order came next; which, in attempting greater perfection, has deviated from the true simplicity of nature: and the deviation is still greater in the Composite order(a).
With respect to literary productions, the first essays of the Romans were very imperfect. We may judge of this from Plautus, whose compositions are abundantly rude, though much admired by his cotemporaries, being the best that existed at that time in Rome. The exalted spirit of the Romans hurried them on to the grand and beautiful; and literary productions of all kinds were in perfection when Augustus reigned. In attempting still greater perfection, the Roman compositions became a strange jumble of inconsistent parts: they were tumid and pompous, and at the same time full of antitheses, conceit, and tinsel wit. Every thing new in a fine art pleases; and, for that reason, such compositions were relished. We see not by what gradual steps writers after the time of Augustus devia-<284>ted from the patterns that were before them; for no book of any moment, from the death of that Emperor, is preserved till we come down to Seneca, in whose works nature and simplicity give place to quaint thought, and bastard wit. He was a great corrupter of the Roman taste; and after him nothing was relished but brilliant strokes of fancy, with very little regard to sentiment: even Virgil and Cicero made no figure in comparison. Lucan has a strained elevation of thought and style, very difficult to be supported: he sinks often into puerile reflections; witness his encomium on the river Po, which, says he, would equal the Danube, had it the same number of tributary streams. Quintilian, a writer of true and classical taste, who was protected and encouraged by Vespasian, attempted to stem the tide of false writing. His rhetoric is composed in an elegant style; and his observations contain every delicacy of the critical art. At the same time flourished Tacitus, possessing a more extensive knowledge of human nature than any other author ancient or modern, if Shakespeare be not excepted. His style is original, concise, com-<285>pact, and comprehensive; and, in what is properly called his history, perfectly correct and beautiful. He has been imitated by several, but never equalled by any. Brutus is said to be the last of the Romans for love of liberty: Quintilian and Tacitus may be said to be the last of the Romans for literary genius. Pliny the younger is no exception: his style is affected, turgid, and full of childish brilliancy. Seneca and Pliny are proper examples of writers who study show more than substance, and who make sense yield to sound.30
Whether music be or be not on the decline, seems a doubtful point, as the virtuosi are divided about it. In Greece, celebrated for taste, music was a theatrical entertainment, and had a dignified office, that of enlivening or enforcing the impressions made on the audience by the action. In that office, harmony being of little use, was little cultivated: nor did the musical instruments at that time known, afford great scope for harmony. Among us, harmony is brought to perfection; and, in modern compositions, it commonly is the chief part. To have melody<286> and harmony both in perfection, they can never be united in the same piece. The heart, swoln by a melancholy strain, is regardless of harmony; and, when subdued by a delightful strain of whatever kind, it has no leisure for complicated harmony. Rich harmony, on the other hand, engrossing the whole attention, leaves the heart in a measure vacant.* The Greeks excelled in melody: the moderns excel in harmony. A just comparison between these, with respect to their effects on the hearer, will give instruction, and perhaps may enable us to determine whether music be or be not on the decline.
Nature, kindly to its favourite man, has furnished him with five external senses, not only for supporting animal life, but for procuring to him variety of enjoyments. A towering hill as an object of sight, a blushing rose as an object of smell, a pine-apple as an object of taste, a fine fur as an object of touch, do every one of them<287> produce a pleasant feeling. With respect to the sense of hearing in particular, certain sounds heard at the same instant raise a pleasant feeling; and certain sounds heard in succession raise another pleasant feeling; the former termed harmony, the latter melody. Harmony, like the pleasure of tasting or of smelling, affects us at the organ of sense only, and ceases when its object is removed. But melody is not confined to the organ of sense: it pierces to the heart, and produces different emotions, according to the nature of the modulation. An emotion so raised, such as that of gaiety, of melancholy, of pity, of courage, of benevolence, subsists after the music ceases, and even swells into a passion where it meets with a proper object. An air, sweet and melting, raises an emotion in the tone of love, and readily is elevated to the passion of love on the sight of a beautiful object. An air, slow and plaintive, produces an emotion in the tone of pity or grief, which, on the appearance of a person in distress, becomes a passion. A lively and animating strain produces an emotion of courage: the hearer exalted to<288> a hero, longs for an opportunity to exert his prowess.
Spumantemque dari, pecora inter inertia, votis
Optat aprum, aut fulvum descendere monte leonem. 31
Can harmony produce an effect in any degree similar? The greatest admirer of harmony will not affirm that it can. The emotion raised by harmony has no affinity to passion or sentiment, more than the smell of a tuberose, or the taste of an ortolan; and it vanishes instantaneously with the concordant sounds that produced it.
Hence it may fairly be concluded, that, as far as melody is superior to harmony, as far was Greek music superior to the generality of what is now in practice. Exceptions there are undoubtedly that rival whatever could be performed by the ancients: but they are not many in number; the talent of composing music in the tone of a passion, seems in a great measure to lie dormant. The Italian opera resembles in form the Greek tragedy, from which evidently it is copied, but very little in substance. In the latter, the dialogue maintains its superior station; and music, confined to its proper place, has the strong-<289>est effect that music can produce. In the former, music usurping the superior station, commands attention by a storm of sound, leaving the dialogue languid and uninteresting. This unnatural disjunction of sound from sense, has introduced a sort of bastard music, termed recitative. Suffering the words to pass, though abundantly flat and languid,* I object to the execution, an unnatural movement between pro nouncing and singing, that cannot be agreeable but to those who have been long accustomed to it. Of one thing I am certain, that graceful pronunciation, whether in the calm narrative tone, or in the warm tone of passion, is far more pleasant. What puts the preference of the Greek model far beyond a doubt, is, that the tragedies of Sophocles and Euripides were for a long course of time the delight of the most refined nation that ever existed: an Italian opera, on the contrary, never runs above a season; and, after being once laid aside, is never revived. But this slight and superficial taste for harmony above melody, can-<290>not be lasting: nature may be wrested, but soon or late resumes its empire. Sentimental music will be seriously cultivated, and restored to the place in the theatre it anciently possessed with dignity and propriety. Then it is that we may hope to rival the Greeks in music as in other arts. Upon the whole, music undoubtedly is much improved with respect to its theory; but, with respect to the practical part, there appears as little doubt of a woeful degeneracy.32
I lay hold of this opportunity to add a short article concerning the history of music, which regard to my native country will not suffer me to omit. We have in Scotland a multitude of songs tender and pathetic, expressive of love in its varieties, of hope, fear, success, despondence, and despair. The style of the music is wild and irregular, extremely pleasing to the natives, but little relished by the bulk of those who are accustomed to the regularity of the Italian style. None but men of genius, who follow nature and break loose from the thraldom of custom, esteem that music. It was a favourite of the late Geminiani, whose compositions show deli-<291>cacy of taste equal to the superiority of his genius; and it is warmly praised by Alessandro Tassoni, the celebrated author of Secchia Rapita. Discoursing of ancient and modern music, and quoting from various authors the wonderful effects produced by some modern compositions, he subjoins the following passage. “Noi ancora possiamo connumerar trà nostri, Iacopo Rè de Scozia, che non pur cose sacre compose in tanto, ma trovò da sestesso una nuovo musica lamentevole e mesta, differente da tutte l’atre. Nel che poi è stato imitato da Carlo Gesualdo Principe di Venosa, che in questa nostra età ha illustrata anch’ egli la musica con nuova mirabili invenzioni”(a).* The king mentioned must be James I. of Scotland, the only one of our kings who seems to<292>