Comp. Verb. Ed. Upton's, s. 11, p. 76) is of a far different character. Having defined the accent of the voice in declamation to be confined to the fifth, as we before stated, he proceeds: "But the organic (instrumental) and odic (lyric, vocal) muse does not confine herself to this, but makes use of various intervals, nor is limited to the fifth, but beginning from the octave and the the fifth, modulates (pedeira) through the fourth. The diatonic,* (chiefly consisting of tones), chromatic (called also rovior), and even the enharmonic (formed with the dioic), so as to be sensibly audible (alonτws), even, as some suppose, to the interval of a quarter of a tone." Before proceeding further, not to leave my readers in the dark as to these expressions, it seems well that I should give some ideas relative to the terms here used by Dionysius, as constituting the grand difference between the usual and the more sonorous use of the voice. With regard, then, to the chromatic and enharmonic scales, I have shewn, in my Lecture on Ancient Greek Music, that Wallis (Appendix, t. III. Opp. p. 180, apud Gerbert, t. II. lib. iv. p. 400, de Cantu et Musica Sacra) supposed these genera, as they are called, to have been disused for many ages, though Scaliger thinks they were not entirely abandoned until the time of Domitian, when the Greek language underwent a change in its pronunciation (mutatâ linguæ Græcæ pronuntiatione): the enharmonic because of its difficulty, and the chromatic because of its softness; and, adds Wallis, "hodierna musica co subtilitatis pervenire non affectat, neque aut vox, aut auris tam minuta facile distingueret prout nos saltem nunc dierum existimamus." But, with deference to the great and learned Wallis, though I admit the cessation of their practice as scales in a musical point of view, yet they are still heard in the slur or "trainant" of a violin, and even by the performance of some skilful players on the flute; and though fallen into disuse as scales, they are heard in declamation and even conversation, though imperfectly for want of study, at least so far as the enharmonic is concerned, and perhaps even the rather larger intervals of the chromatic μαλάκον and ἡμιόλιον, for in practice they exhibit intervals little more than the imperfect elevation or depression of the voice, by an interval considerably within the limits of what we are accustomed to call a tone or half a tone, being little more than the variant of two limmas, or enharmonic or quarter tones.* *The diatonic (ovvTovov) was very similar to our present scale, . 1. 1; the diatonic (μaλakov) had less intervals, 4; the chromatic (TovαTIKOV) chiefly consisted of tones.; in the uótov the intervals were less,; in the μalakov iess still, ; the enharmonic interval was the least of all, 4.2. † Και τὸ διάτονον, καὶ τὸ ἡμιτονιον, και τὴν διεσιν αισθητῶς. There is a little difficulty with me here, as he is speaking of intervals, not of systems, whether it should have been τον δίτονον or it should be ήμιόλιον, but the effect and sum is the same. *See Col. T. Perronet Thompson's Instruction for the Enharmonic Guitar. * Dionys. Hal. Ed. Reiske, Vol. V. p. 63. The passage is differently given by Matthie: ΧΟΡΟΣ Σιγα σιγα λέπτον ἴχνος ἀρβύλης Τίθετε, μὴ ψοφεῖτε μηδ' ἐστω κτύπος НЛЕКТРА ἀπο πρόβατ ̓ ἐκεισ ̓ ἀποπρό μοι κοίτας. But this seems at variance with Dionysius, who says of the whole passage "when Euripides makes Electra address to the Chorus." Barnes, edit. Glasguæ, 1. c., reads the two first lines the same, but divides the last thus: Dr. W. Smith (Dict. of Antiquities) says "There seems little evidence that any of these xpóa were practically used except the three principal— διάτονον, χρώμα, άρμονια. But it would be wrong to conclude hastily that the others would be impossible in practice, or necessarily unpleasing. In the soft diatonic, for instance, the interval which is roughly described as of a tone, would be greater than a major tone, but less than a minor third; now there are two intervals of this kind corresponding to the super particular ratios and, which ought therefore by analogy to be consonant, or at any rate capable of being employed as well as the tone and semitone; and although they are not used in modern music, or at least not admitted in theory, nothing but experiment can determine how far the ear might be accustomed to them (Smith's Harmonics, sec. IV. art. 10). These intervals exist in the natural scales of the horn and trumpet, &c., and are in fact used instead of the minor third and tone in the harmony of the dominant seventh, both by stringed instruments and voices, when unaccompanied by tempered instruments." (Smith, Dict. Antiq. art. Mus.) Having thus shewn the difference of common spoken acent (porcia) from the vocal (dikỳ μsoa), Dionysius proceeds: "And in this kind (vocal) it is thought advisable (or worth the while,. aoi) to make the diction or words (Acc) subject to the modulations (uéλeov), and not the modulations to the words, as is obvious from many other examples, but most especially from those verses (modulations), of Euripides, in Orestes, which he makes Electra address to the chorus Σιγα σῖγα λευκὸν ἴχνος ἀρβύλης Αποπροβατ ̓ ἐκεῖσ' ἀπόπροθι κοίτας. For these words, oïya oiya Xevкòv, are modulated in one sound or tone of voice (to'èvoc plóyys μéλwoeirai), although each word has its grave and acute accents (rágeis, tensions), and ap¤úλne has the third accent "homotone," with the middle syllable, though it is contrary to all rule (aunxáve öVTO) that there should be two acutes in one word (noun); and again of the To the first becomes grave, and the two which follow oxytone and homophonous (or of the same sound). In the KTURETTE, the (perispomene or) circumflex is lost (ngáriorai, vanishes), for the two syllables are pronounced in one (tension) tone. 'Amorрóßar' does not retain (receive) the acute accent of the middle syllable (την τῆς μεσῆς συλλαβῆς προσῳδίαν ožɛía), but removes the intension (rúsic) back to the fourth syllable.” Απο προβατ' ἐκεῖσ ̓ The scholiast makes the first foot of the first line anapæst; the second he makes iambic trimeter acatalectic, which would seem to sanction Tideîte, not Tiere. The two list, he says, are fourth Pœonics, whereby in Dionysius, und' éσtw KTUños Would seem to be omitted. The passage from Aristoxenus quoted by Pennington, p. 225: Φαινεροῦ δὲ ὄντος ὅτι δεῖ τὴν φωνὴν ἐν τῷ μελῳδεῖν, τὰς μὲν ἐπτάσεις τε καὶ ἀνέσας ἀφανεῖς ποιεῖσθαι, τὰς δὲ τάσεις αὐτὴν φθεγγομένην φανερὰς καθιστάναι, ἐπειδὴ μὲν τοῦ Διαστήματος τόπον ἐν διεξέρχεται, ὁτὲ μὲν ανιεμένη, ὁτὲ δὲ ἐπιτεινομένη, λανθάνειν αὐτὴν δεῖ διεξιοῦσαν, τοὺς δ ̓ ὁρίζοντας φθόγγους τὰ διαστήματα ἐναργεῖς τε καὶ ἑστηκότας arodidoval-Aristo. I. Meib. p. 20. Which any musician will understand to mean, that the sung intervals should be given clearly and distinctly, without slurring all the notes between, up or down. The learned Pennington (p. 226), I think, is in error with regard to the application of a text from Aristoxenus, with regard to this remark of the circumflex being lost in this phrase (pávioral). It is true that in both the cases the ἐπιτάσις and ἀνέσις (rise and fall of the voice become (ἀφανείς, or) lost, but in the text of Aristoxenus, it means to avoid a slurring or sliding from one note to another; and here, it signifies that the vocal sound absorbs that proper to speech, as the sentences will show.* The sum and substance of which is, that in singing any intervals the voice should not slur or trail them out, but the passage from one to the other should be inaudible, till you come to the note required to mark the interval, and that should be clear and distinct. The conclusion which Pennington draws from it is totally foreign; namely, that vocal music makes the accents undistinguishable. Though this is true, and agreeable to what Dionysius says: τοῦ “κτυπείτε” ὁπερισισπαμος pavioral, yet there is nothing in common but the word disappears, or is lost, or overwhelmed; one being that the voice should not slur from interval to interval in a slovenly way (Aristoxenus), the other that the syllabic accent is lost in the metre* (Dionysius). And, therefore, while the deduction which Professor Blackie (p. 62) has taken from Mr. Pennington, that in some cases (which I beg to say are when the musical tone interferes with the syllabic or accent) "the spoken accent... is apt to be overwhelmed or superseded" (by the musical), is so far correct, the Professor, I think, before so boldly advancing, on the authority of Pennington (p. 62), that we have a distinct testimony of an ancient musical writer to this effect," and then sarcastically adding, "which will be useful to those who in all matters are constitutionally apt to depend more on authority than on reason," and bringing in the note part of the above text from Aristoxenus (apud Pennington, p. 226), would have done well to have seen whether these things were so by looking himself in Meibomius (v. i. p. 20), and not taking it on authority. And again, before advancing (p. 62) that "in ancient treatises on poetical measures we find not a word said about the spoken accent," the Professor should have read Aristoxenus Meib. 1, p. 18, &c. Another observation of Dionysius's may be worth explaining, to those who are uninitiated in ancient music. While he says that the words are rendered subservient to the modulation, he only means with respect to the effect on the accents, not that the words were less audible, as is evident from the testimony of all antiquity (Plato among the rest); and is ably commented on by Calmet (Dict. of the Bible) and Burney, who in this would seem to do the ancients justice, whatever he may do in other things which he did not understand. The song was always subservient to the words, as words. And herein, from a very long study of the subject, I must say I think the learned Pennington is still at fault when he says (p. 225), "Airs were composed of exquisite melody, but with little attention to the words set to them." To the accents of the words "concedo," to their sense 'nego;" nor have we yet found any airs in which three or four notes are set to a *It is greatly to be lamented that there seems hardly sufficient matter in these remarks of Dionysius to found a rule as to the way in which such mutations from spoken to sung accent were conducted; though perhaps by careful examination and comparison something might be concluded as to whether it be pure arbitrary melody or founded on some dednctions of a more positive character, and we may have more to say on this inquiry on a future occasion. syllable; and from what I can gather, the words were always most distinctly heard. Again he says, "I have given my reasons for thinking that the accents were generally distinguishable by the ear in verse, as well as in prose." This, however, was not "the case." I beg to distinguish : Not when the verse was sung, granted; always, when recited; witness the case of the "weasel," Orestes, 140. Professor Blackie (p. 62) speaks of "the musical accent, or, rhythmical beat," and makes such a jumble of them, that, with the best will in the world, it is impossible to understand him. Therefore I will, with permission, cut the matter short by saying, Dionysius (1. c.) having finished his remark about the alterations occasioned in the accent of speech by that of music, then comes to another distinct question of syllablic, rhythmic, and musical quantity. Therefore the rhythmic and musical times are again distinct questions from musical tune. . . . immedicabile vulnus Ense recidendum, says Ovid (Met. 1, 190); and that I may lay the axe to the root of this long and inveterate error about accent, quantity, and stress, it may not be amiss to elucidate whence it seems to have grown. I must commence as if speaking to those who are entirely unlearned. The ancients, unfortunately, had four words which they especially applied to voice" spoken," by some called continuous, avvexic, (Aristides Quint. I. Meibom. ii. p. 7) to that in which we sing (diaσrnμatik) (ibid.), and to the ictus rhythmicus and metricus, thus aries, raising of voice in accent (acute and first part, circumflex); Eragic, fall of voice in accent (grave and second part of circumflex); apote, the raising of the voice in the acute; Stoic, the fall (Gram. passim). Then, again, in Rhythm they have ἄρσις, the raising (ἤνικα ἂν μέλλωμεν ἐμβανειν) of the foot, as when we wish to walk; Or, the putting down of the same; orα KEμεvoç. (Bacchius, Meibom. ii. 22;)" elevatio," "supplosio," (Quint.) In a word, this rise and fall means a raising and a lowering of the voice, but also of the foot or hand, the "battuta in aria," and the "battuta in terra" of the Italians. Now for their agreement, or rather "simultaneousness," and disagreement," separate influence." Quintilian and all the grammarians tell us, Latin dissyllables have always, with a few exceptions, the acute (apric) on the former of the two. Therefore cáno will have the apog or elevation of voice on the former, and (ut necessario secunda gravis esset, Quintil. 1. i. c. v.) the tous or depression on the second, cánò, eugè the same; but cănō is an Iambic, and engě a trochee; and in the Iambic the apois, elevation of foot or hand for rhythmic beat, is elevated to the one short time, că, and falls to the two, in the long syllable nõ, äpoiç, unosemos, Geois, disemos); but in the trochaic enge the operation is reversed; and the disemic, Stoic or beat down of two times, is performed, though the voice is raised, (because the prior syllable of two, according to rule, is always acute,) and the hand is raised, or the mono * Ίαμβος . . . ἄρχεται δὲ ἀπὸ ἄρσεως οἷον θεοῦ χορεῖος . . . ἀπὸ θέσεως οἷον πῶλος, &ς. &c.-Bacchij Senioris Tract. art. Mus. Meibomij. II., 24 p.; and Aristides Quint. I. Meib. II. p. 36. semis thesis is made, while the voice falls (in Emiráσic) on the second, which is necessarily grave.* It was by beating time with the foot (rapà rv povo, Plutarch de Musica, ad Reiske, vol. x. p. 581), that the tragic actors executed many of the iambic parts of the tragedy. And as Quintilian observes (lib. lx. c. iv. Gibson edit. page 456), to the senarian there were three "percussiones," or beats of the póraλov.* Thus, in Edipus, 1. 1-the ictus rhythmicus, would be Where the epitasis of the foot is frequently contrary to that of the voice, but what of that? they are as distinct from one another as the song or time from the leader's "baton." How Mr. Blackie, who does not seem to know the very first rudiments of rhythmopoeia, could therefore teach his pupils, is a mystery to me; and how he can (p. 65) assert that "those who so train the young classical ear will find that in turning to poetry and keeping time with their foot as they read any metre, the attentive scholar will not only readily follow the given rhythm, and appreciate the position of the musical accent, but will be able also to preserve the spoken accent in those places where the flow of the rhythm does not altogether overpower it," is still more incomprehensible; since, as has been proved beyond dispute, that the ictus rhythmicus has nothing to do with the ad-cantus (accent), and, since I know not of another example of musical accent than that given by Dionysius, and above quoted, and which has nothing to do with rhythm, as Dionysius afterwards shows-how then, from this wonderful manner of teaching, a boy is to know how a musician would have applied the (wikηpovoa) or in other words, what song he would have put to certain verses, is past finding out. And when the learned Professor (p. 65) talks about "deep and mellow fulness of vocalization, a deliberate stateliness of verbal procession," a hasty trip (as applied to reading) "long quantities not being slurred," what a Scotch pupil may understand of it I know not; but, for myself, the obscurities of the Ambrosian, French, and Vatican libraries did not puzzle me so much as these expressions; and I almost wish, with a recent reviewer, "that Dr. Blackie would perform to his own works what he is said to have done for Eschylus and Goethe, i. e., translate them into English.” Most unfortunately, the example which the learned professor has selected of what he calls musical accent, by which I suppose he means beat or ictus, clashing with the spoken accent (p. 67), is utterly at variance with the fact. The example is this: A'rma virum'que cáno Trójæ quí prímus áb óris ... * Mr. Pennington, when he says (p. 232) that "the beat was at the end of the metrical foot," is decidedly under two misapprehensions: 1st, that there would be (or at least ought to be) a metrical verge in the oratoric "preamble" of Demosthenes (Omeres Dionissio excepto); 2ndly, the λóкŋ of recitation was not on these occasions consonant to every thesis of a foot. But as Quint. says, 1. c., there were three beats to a senarium; two to a quaternarian, &c., whence in the Iambic and Trochaic verses these were called trimeters and dimeters. |