renowned for their successful cultivation of philosophy, astronomy, poetry, music, and the other branches of science. "The first progress was slow and difficult, but after a time their endeavours were crowned with success, greater than could have been expected. Greece became the seat of politeness, arts, and sciences, the centre of legislation, the parent of wit and genius, and the standard of imitation to all the nations around."* Many of their works, either entire or in fragments, remain to this day; and are ungainsayable testimonies to the strength of mind, correctness of taste, and genuine flow of poetic feeling which then existed; and present so eminent a standard, that modern reputation in such achievements, thinks it an honour to attain. Nor was the love of music the least prominent part of their character, "For in the period of their greatest barbarism," as Fermely says, "this art outweighed every other merit." It mingled itself with every other study, and the education of no person was deemed complete without some knowledge of music. "Almost every profession appears to have had songs peculiarly appropriated to it. Athenæus mentions the songs of the slaves grinding in the mill, of the gleaners, of the nurses, of the agricultural labourers, and those who had the care of cattle; of the keepers of the public baths, of the shepherds, the reapers, of * M. Fermely's History of Philosophy, p. 36. those who got in the harvest, and those who trod out the corn; of the water-drawers, millers, weavers, carders, and dressers of wool, children, &c. They had, likewise, songs adapted to their particular circumstances or ceremonies, and to festivals, as courtships, marriages, funerals, joy, sorrow, &c. They had also blind mendicants, who went from door to door soliciting alms, singing as they traversed the streets in their eleemosynary occupation." As their mythology was crowded with gods and goddesses, music was in constant requisition, to give effect to the worship which to them was so profusely rendered. Hymns were sung to all their deities, with one exception: "Death was the only god who would neither be moved by offerings, nor conquered by sacrifices, nor oblations; and therefore he was the only one to whom no altar was erected, and to whom no hymns were sung." That great attention was paid to music by the Grecians in their early history is satisfactorily shewn in the writings of Homer, their own poet, who has stood out to all succeeding ages, and to all nations, as a master of song, to be imitated, but rarely equalled, in the majesty, beauty, and pathos with which he invested his theme. To him the reader turns with confidence for a picture of the times in which he wrote. "Music is mentioned in the Iliad and Odyssey upwards of fifty times, and always with rapture. Vocal music, however, appears to have been the most general; for, although we have singing without instruments, there does not appear the least trace in his writings of instrumental music without vocal. Even dancing seems to have been accompanied with the voice "Then to the dance they lead the vocal strain, As a considerable part of our knowledge of music, it is true, in main through the medium of the Romans, has come from the Greeks, a few more observations on its character, and the circumstances attending its cultivation, may be the reasonable wish of the reader. Such a desire may be supported by recollecting the vast influence which Grecian writings have upon this Christian age, in the formation of literary character. In legislation they present many powerful reproofs to modern systems of national polity. Their eloquence still burns, and melts, and conquers uз, as we turn over the pages of Demosthenes; their poetry, stretching over a period of seven or eight hundred years, by a great number of poets,—in many instances presents such finished specimens of character as to leave the moderns but small chance of adding another charm. Besides, the Grecian character stands out to us in another imposing position. By their extent of empire, and the patronage they gave to learning, a considerable - portion of the knowledge of more ancient nations, as well as that of their contemporaries, became their own, and has been transmitted down to us by the growing consent of ages, under the fascinating appellation of classical knowledge. Hence the practice of both poets and musicians inscribing their effusions to some of their popular deities, or to some place rendered famous for musical patronage. CHAPTER III. The origin of Greece-fabulous history to be cautiously received-inventions of Minerva, Pan, Mercury, Apollo-celebrated places-names and origin of the muses-names and influence of the Syrens-Dr. J. Johnson's opinion-Olympus and Orpheus-improvement of the lyre-musical achievements of Museus, Chiron, Amphion, &c.-reflections upon Grecian music-musical attainments of Terpander, Pythagoras, &c.— Names, origin, and influence of the national games-Roman music-derived from the Greeks – extensively cultivated-kinds of instruments used-Dr. Burney quoted-Nero's musical character-plays on his lyre while Rome is burning. GRECIAN history may be divided into fictitious and real,-or, in other words, the fabulous and classical; the fabulous, of course, preceding; commencing with its origin as a nation, which was founded by Cadmus when he landed in that country at the head of a band of Phoenicians, in the first instance forming the kingdom of Thebes. This event is supposed to have taken place about two years after the departure of the children of Israel from Egypt, and about 1493 years before Christ. Of the vast number of gods and goddesses that held dominion in Grecian mythology, many of them were distinguished for some discovery in music, or some miraculous musical performance. To some of these we shall introduce the reader, |