Welch and Scotch, (for it was formerly much esteemed in Scotland) acknowledge they received it; but this does not prove that the sons of Erin invented the instrument.

The harp is also said to have been first made at Lesbos, B. C. 682, and from thence introduced to other countries; but as Sesostris was reigning in Egypt, A. M. 2420, by a brief calculation it will be proved that the celebrated Theban harp is something more than 700 years older than any that could have been invented at Lesbos, in the period named. Besides, "upon the architectural ruins of Upper Egypt," says Wilson in his history of that country, "harps have been discovered in various stages of improvement." The same author also relates the early commerce carried on between the Egyptians and Indians (Hindoos), and the exact similarity of their religion in many points, which may by some thought quite conclusive.

Edinburgh, Nov. 1825.

be

TO THE EDITOR.

ORIENTAL MUSIC CONSIDERED,

IN THREE ESSAYS.

With Anecdotes and Remarks on the Opinions of Sir William Jones, Dr. Brown, and others, on the Music of the Hindus, Persians, and Chinese.

SIR,

THE opportunity I had during a season of leisure some time ago, of perusing various works upon oriental literature, presented to my mind many contradictory opinions which different writers give of the principles and effects of Hindu, Persian, and Chinese music, and induced me to note down a few memoranda, as guides to form a decided opinion at some future time upon the subject,

which I have always considered interesting, as in many particulars the efforts of the two former nations in poetry and song are not so contemptible as some may suppose, but are highly imaginative and often beautifully descriptive. Upon examining the works of our most reputed musical historians and essayists, so little is the music of these remote but singular people thought worthy of remark, that many (and amongst the number Dr. Burney) never even bestow a single page on such an investigation, thinking it either beneath their powers, or too obscure for any satisfactory discussion. I have therefore been induced to consider the subject a little, and feeling that any attempt, however imperfect, towards reconciling, or at least accounting for the contradictory statements of different writers, (who though qualified by education and various learning to decide upon other branches of knowledge, might, from a more limited acquaintance with musical theory and practice, not perhaps be so fully equal to decide in that department), believing this would be received by you with indulgence and attention, I have begun to recall my ideas, and shall now state the object of these essays, which is three-fold.

1st. To examine, and by argument and facts to disprove the assertion of Sir W. Jones, "that the principles of the Hindu and Persian music are superior to ours."

2d. To give a more detailed account of the music of Hindostan, Persia, and China, collected from numerous sources down to the present time, than can be found in any work I am acquainted with; and

3d. To render so apparently dry and remote a subject as interesting by anecdotes, &c. as the nature of it will permit.

ESSAY THE FIRST.

On the Music of the Hindus.

The first contradiction that attracted my notice on perusing the works of that distinguished writer, Sir W. Jones, was the peculiar interest he seemed unaccountably to take in exalting the principles of the Hindu music to a most extraordinary height. I allude particularly to the following passage" The Hindu system of music has, I believe, been formed upon truer principles than our own; and all the skill of the composer is directed to the great object of their art, the natural expression of strong passions.”

He adds" Nearly the same may be asserted of the Arabian and Persian system." This assertion, extraordinary as it may appear to modern artists, (and to me I own it was at first absolutely startling, considering the authority from whence it emanated) seems the decided conviction of that elegant writer's mind. But if this were really a true statement, which I deny with due deference to so superior a man, how extraordinary must it not appear, that amid the amazing influx of novelty in every branch of our art, the quantity of new music of almost every description from the continent, we have not yet been favoured with any exhibition of this music "formed upon truer principles than our own" that we might acknowledge its beauties and delight in its powers. But it is plain in this instance that Sir William has inadvertently confounded the cause with the effect. Burke, in his often-quoted work on the Sublime,* has a passage which will best explain what Sir W. intended:-" The most powerful effects of poetry and music have been displayed and perhaps are still displayed, where these arts are but in in a low and imperfect state. The rude hearer is affected by the principles which operate in these arts, even in their rudest condition, and he is not skilful enough to perceive the defects." This is philosophically explained. A confusion in technical terms, when employed in any manner, either in bare assertion or definition, must be productive of false conclusions in using the word principles; he might with more justice have said"their music was capable of producing greater effects upon that people than our own could possibly do upon practised and highlycultivated Europeans," which will readily be admitted by those who know any thing of the emotions of an uncultivated mindupon hearing sounds rudely descriptive of the passions he feels every day. But the truth is, and this it was that shook my faith as a believer in this assertion of Sir William's, he in another part of his work directly confutes (I conceive) his former opinion. In the paper" on the Musical Modes of the Hindus" he says-" The Persians and the Hindus (at least in their most popular system) have exactly eighty-four modes, though distinguished by different appellations and arranged in different classes, but since many of them are unpleasing to the ear (!) others difficult in execution, and

* See the Introduction" on Taste."

few sufficiently marked by a character of sentiment and expression which the higher music always requires, the genius of the Indians (?) has enabled them to retain the number of modes which nature seems to have indicated, and to give each of them a character of its own, by a happy and beautiful contrivance." This, as compared with the former assertion, is one of the most lame and impotent conclusións that could possibly proceed from a writer. We are first told," that the Hindu music is formed upon truer principles than our own;" then, "that out of the eighty-four modes' of which this wonderful system is composed, many are unpleasing to the ear,"" (a very curious species of superiority) "others difficult and unmarked by any character or expression." This paradoxical system, so exalted in its nature, now suddenly retrenches itself, and dwindles down to the few modes, which the genius of the Indians has enabled them to retain. It seems to me as if Sir William was betrayed by his desire of saying something in praise of the music of the country whose literature and institutions he was so instrumental in improving, into a premature and unthinking avowal, which his better judgment afterwards obliged him to re

tract.

From all the specimens of Hindu music that have been distributed in this country, (some of the most characteristic airs are preserved in Dr. Crotch's "Specimens of various styles of music") a distinct originality of character may be traced in some of the airs, and a wild but pleasing tenderness in others; but will any one, even of those who have resided in that country, pronounce upon the superiority of these airs in respect to the principles upon which they are written, over the compositions that have been produced in Europe or on the continent? I should conceive not.

The inherent principles of music (if we must discuss the primitive and accepted meaning of the word) consist in depicting the different passions, imitating the appearances and effects of nature, warlike actions, and every idea, sensation, or affection, that can be illustrated by the agency of sounds; and those composers are said to act up the nearest to the principles of their art who can best pourtray the passions, &c. or in other words who can so imitate by sounds the appearances of certain passions as to make the sensitive spectator feel elevated, alarmed, joyous, or melancholy, as best suits his purpose or ability. Every country (England exVOL. VII. NO. XXVIII.-Dec. 1825.

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cepted) has melodies of its own that have been handed down from remote times; each no doubt consider theirs as the most expressive and effective, because better adapted to their modes of feeling effects of climate or domestic associations. As the opinion of a young writer is not of much consequence in the mind of his readers, I may confirm this part of my argument by a passage from Dr. Brown,* which so clearly and conclusively points out the true reasons of the great effect of music upon an uncultivated people, that I cannot do better than quote it.

"In the first rude essays towards an expressive melody in barbarous countries, certain imperfect modes of sound must of course be applied, as being expressive of certain subjects or passions. The succeeding generation will be naturally bred up to an appli cation of the same sounds. Hence these modes of melody, though imperfect in expression, being impressed on infant minds with all the force of an early application, must acquire a power over those which unaccustomed minds can never feel. Thus certain sounds being appropriated by use, and having become the common indications of grief, terror, joy, pity, rage, or any other passion, will naturally excite their respective affections among those who have adopted them, while a hearer from another country, whose associations and habits are different, will be little, or if at all, perhaps very differently affected by them." In fact music cannot have an auxiliary so powerful as association of ideas; more than half the effect of melodies especially depend upon it. The well-known instance of the Swiss Ranz de vache is a very strong one. The effect of a solemn anthem is never the same when sung by the comfortable fire-side of an individual, even supposing the very same performers should execute it, as when "the vaulted roof" of some Gothic pile resounds with these sublime praises of the "King of kings." The simple air of "Sweet home" has affected foreigners who scarcely know a word of our language, full as much as ourselves; they feel (I have been assured by several) a something in the simple unaffected nature of the melody that reminds them of the placid and serene enjoyments of “home,” that is sufficient to call forth an interest, and every tender recollection of past times and domestic enjoyments. This is not a character

* "Dissertation on the Rise, Progress, and Union of Poetry and Music."