The philosophie, commonlie called, the morals vvritten by the learned philosopher Plutarch of Chæronea. Translated out of Greeke into English, and conferred with the Latine translations and the French, by Philemon Holland of Coventrie, Doctor in Physicke. VVhereunto are annexed the summaries necessary to be read before every treatise

OF MVSICKE. A Dialogue.

The persons therein discoursing: ONESICRATES, SOTERICHUS, LYSIAS. [ 20]

This treatise, little or nothing at all concerneth the Musicke of many voices ac∣cording and interlaced together, which is in use and request at this day; but rather apperteineth to the ancient fashion, which consisteth in the accord and consonance of song with the sense and measure of the letter, as also with the good grace of gesture: and by the stile and maner of writing, it seemeth not to be of Plutarchs doing. [ 30]

THe wife of that good man Phocion, was wont to say, that the jewels and ornaments wherein she joined, were those stratagemes and wor∣thy feats of armes which her husband Phocion had atchieved: but I for my part may well and truely avouch, that the ornaments not onely of my selfe in particular, but also of all my friends and kins∣folke in generall, is the diligence of my schoolemaster and his affe∣ction in teaching me good literature. For this we know full well, that the noblest exploits and bravest pieces of service performed by great generals and captaines in the field, can doe no more but onely save from present perill or imminent danger, some small ar∣mie, [ 40] or some one citie, or haply at the most, one entire nation and countrey; but are not able to make either their souldiers, or citizens, or their countreymen, better in any respect: whereas on the other side, good erudition and learning, being the very substance indeed of felicitie, and the efficient cause of prudence and wisdome, is found to be good and profitable not onely to one family, city and nation, but generally to all mankinde. By how much therefore the profit and commodity ensuing upon knowledge and good letters is greater than that which proceed∣eth from all stratagemes or martiall feats; by so much is the remembrance and relation thereof more worthy and commendable. Now it fortuned not long since, that our gentle friend Onesi∣crates invited unto a feast in his house, the second day of the Saturnall solemnities, certeine per∣sons very expert and skilfull in Musicke, and among the rest, Soterichus of Alexandria, and Ly∣sias, [ 50] one of those who received a pension from him: and after the ordinary ceremonies and complements of such feasts were performed, he began to make a speech unto his company after this maner: My good friends (quoth he) I suppose, that it would not beseeme a feast or ban∣quet, to search at this time what is the efficient cause of mans voice; for, a question it is, that would require better leasure and more sobrietie: but for asmuch as the best Grammarians define voice, to be the beating or percussion of the aire, perceptible unto the sense of hearing, and be∣cause

that yesterday we enquired and disputed as touching Grammar, and found it to be an art making profession and very meet, to frame and shape voices according to lines and letters, yea, and to lay them up in writing, as in the treasury and storehouse of memorie; let us now see what is the second science next to it, that is meet and agreeable to the voice: and this I take to be Mu∣sicke. For a devout and religious thing it is, yea, and a principall duty belonging unto men, for to sing the praises of the gods, who have bestowed upon them alone this gift of a distinct and articulate voice: which Homer also by his testimonie hath declared in these verses:

Then all day long the Grecian youth in songs melodious Besought god Phoebus of his grace, [ 10] to be propitious: Phoebus I say, who from afarre doth shoot his arrowes nie, They chaunt and praise; who takes great joy, to heare such harmony.

Goe to therefore my masters, you that are professed Musicians, relate unto this good company here that are your friends, who was the first inventour of Musicke; what it is that time hath ad∣ded unto it afterwards; who they were that became famous by the exercise and profession of this science; as also, to how many things and to what, is the said study and practrise profitable. Thus much as touching that which Onesicrates our master moved and propounded; whereup∣on [ 20] Lysias inferred againe, and said: You demand a question, good Onesicrates, which hath al∣readie beene handled and discussed: for the most part of the Platonique Philosophers, and the best sort of the Peripateticks have emploied themselves in the writing of the ancient Musicke, and of the corruption that in time crept into it. The best Grammarians also and most cunning Musicians, have taken great paines and travelled much in this argument; and yet there is no small discord and jarre among them, as harmonicall otherwise as they be about these points. Heraclides in his Breviarie, wherein he hath collected together all the excellent professours of Musicke, writeth that Amphion devised first the maner of singing to the Lute or Citherne, as also the Citharaedian poësie; for being the sonne of Antiope and Jupiter, his father taught him that skill. And this may be proved true, by an olde evidence or record enrolled, and diligently kept [ 30] in the city Sicyone, where in he nameth certeine Priestresses in Argos, as also Poets and Musici∣ans. In the same age, he saith, there lived Linus also of Euboea, who composed certeine lament∣able and dolefull ditties; Anthes likewise of Anthedon in Boeotia, who made hymnes; and Pic∣rius borne in Pieria, who wrote poëmes upon the Muses: he maketh mention besides of Philam∣mon a Delphian, who reduced into songs and canticles the nativity of Latona, Diana and Apollo; and he it was who instituted first the quires and dances about the temple of Apollo in Delphos. And as for Thamyris a Thracian borne, he reporteth, that of all men living in those daies, he had the sweetest brest, and sung most melodiously, insomuch as if we may beleeve Poets, hee challenged the Muses, & contended with them in singing. It is written moreover, that this Tha∣myris compiled in verse the warre of the Titans against the Gods; as also, that Demodocus of [ 40] Corcyra was an ancient Musician, who endited a poeme of the destruction of Troy, and the mar∣riage betweene Venus and Vulcane: Semblably, that Phemius of Ithaca wrote in verse of the re∣turne of those Greeks from Troy, who came home againe with Agamemnon. Furthermore, it is said, that the stile of those poemes abovesaid, was not loose and in prose, without metricall numbers, but like unto that of Stesichorus and other old Poets and song-makers, who first made naked ditties in verse, and afterwards arraied them with Musicall tunes and notes: for the same author reporteth, that Terpander a maker of songs with notes and measures to be sung unto the Lute or Cithern, according to ech law and rule of the said measures, adorned both his owne verses and those of Homer also, with harmonicall tunes, and sung them accordingly at the so∣lemne games, wherein Musicians sing one against the other for the prise: he affirmeth likewise, [ 50] that the same Terpander was the first who imposed names and termes to those tunes which are to be sung to the foresaid stringed instruments: and in imitation of Terpander, Clonas first com∣posed songs and set tunes to the fluit and other winde instruments, as also the Prosodies and so∣nets sung at the entrie of sacrifices, and that he was a Poet who made Elegiack and Hexameter verses; also, that Polymnestus the Colophonian, who came after him, used likewise the same po∣emes. Now the Metricall lawes and songs in measures, called in Greeke 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 which these Po∣ets

and Musicians used to the pipe, were termed (good One sicrates) in this sort, namely, Apothe∣tos, Elegi, Comarchios, Schoenton, Cepion, Dios and Trimeles: but in processe of time, were devi∣sed others beside, called Polymnastia. As for the Musicall lawes or tunes to be sung unto the stringed instrument, they were invented long time before those other belonging to pipes, by Terpande; for he beforetime named those of the stringed instruments, Boeotius, Aeolius, Tro∣chaeus, Oxys, Caepion, Terpandrios and Tetraoedios. Furthermore, the said Terpander made cer∣teine prooemes or voluntary songs to the Lute, in verse. Now, that the songs or ditties to be sung unto stringed instruments, were composed in olde time of Hexamiter verses, Timotheus giveth us to understand; for mingling the first metricall rules in his verses, he sung the Dithy∣rambick dirty, to the end, that he might not seeme immediatly at the first, to breake the lawes of [ 10] the ancient Musicke. This Terpander seemeth to have beene excellent in the art of playing up∣on the Lute and singing to it; for wee finde upon record in ancient tables written, that foure times together, one after another, he caried the prise away at the Pythian games: and no doubt, of great antiquitie he was. Certes, Glaucus the Italian writer, will have him to be more ancient than Archilochus; for so he writeth in a certeine treatise as touching the olde Poets and Musici∣ans, saying, that he followed in the second place after those who instituted first songs unto the slute and other pipes. And Alexander in his Breviarie of the Poets and Musicians of Phrygia, recordeth Olympus to be the first man who brought into Greece the feat and skill of striking the strings of instruments, and besides, those that are called Idaei Dactyli. But Hyagnis was the first by his saying, who plaied upon pipes: after him, his sonne Marsyas, and then Olympus: also, that [ 20] Terpander imitated Homer in verses, and Orpheus in song: as for Orpheus, it should seeme, that he imitated none, considering that before him there was not one, but those Poets who made ditties and songs to pipes, wherewith the works of Orpheus have no resemblance at all. Touch∣ing this Clonas a composer of songs and tunes for the pipe, who lived somewhat after the time of Terpander, he was a Tegeaean borne, as the Arcadians say, or rather as the Boeotians give out, a Theban. After Terpander and Clonas, Archilochus is ranged in a third place, howsoever other Chroniclers write, that Ardalus the Troezenian ordeined the Musicke of pipes before Clonas, as also, that there was one Polymnestus a Poet the sonne of Meles a Colophonian, who made those tunes and songs which carie the name of Polymnestos and Polymneste. True it is, that those who compiled the tables and records of Musicians, make mention that Clonas devised these two [ 30] songs or tunes named Apothetos and Schoemos. And as for the above named Polymnestus, Pin∣darus and Alcman both song-makers, made mention of him; and they report besides, that olde Philammon of Delphos composed some of those songs and tunes to the Lute and Harpe, which be attributed unto Terpander. In summe, the song and musicke to the Lute and Harpe, devised by Terpander, continued very plaine and simple, unto the daies of Phrynis: for in olde time, it was not lawfull to sing voluntary, as now they do at their pleasure, to stringed instruments; nor to transferre either harmonies or musicall numbers and measures: for according to every song and tune, they kept a proper and peculiar tension or stretching of the strings; which is the rea∣son that they be called 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 as one would say, Lawes, because it was not lawfull to trangresse in any of these songs or tunes, that severall kinde of tension & stretching the strings, which was u∣suall [ 40] and ordinary. For after that they had performed those songs which apperteine to the pa∣cifying of Gods wrath, they leapt immediatly to the Poetrie of Homer and of others, at their pleasure, which may evidently appeare, by the prooemes and voluntarie tunes of Terpander. And verily, about this time, according as Caepion the scholar of Terpander reporteth, was first formed that maner of Lute or Cithern which was called Asias, for that the Lesbian Minstrels and Musicians, who bordered hard upon Asia, used such a forme: and it is said, that Periclitus was the last plaier upon such an instrument, who wan the prise at the Carnian games at Lace∣daemon, of all those who were Lesbians borne: after whose death ever after, there failed in Lesbos, that continuall succession of such Musicians. But some there be, who are greatly deceived, to thinke that Hipponax was of the same time with Terpander: and it seemeth that even Pertclitus [ 50] was more ancient than Hipponax.

Having thus declared the olde metricall songs and tunes jointly together, of Musicians to stringed instruments and pipes, let us turne now to such as properly concerne those that per∣teine to plaiers upon pipes alone: for it is said, that the above-named Olympus being a plaier of the flute and other pipes, and came out of Phrygia, set a song to his instrument in the honor and praise of Apollo, and the same was called Polycephalus: and by report, this Olympus descended

lineally from that first Olympus the scholar of Marsyas, who composed ditties, and set tunes for the worship of the gods: for this Olympus being the derling of Marsyas, and singularly loved of him, learned likewise of him to play upon the flute and other pipes, and by that meanes brought into Greece those harmonicall tunes and songs, which at this day the Greeks use at the solemne feasts of the gods. Others are of opinion, that the foresaid song or tune Polycephalus, is to be a∣scribed unto Crates ascholar of Olympus: but Pratinas writeth, that this song came from ano∣ther Olympus of later time; and as for that other kinde of song or tune named Harmation, the first Olympus, disciple to Marsyas, by report, composed it. And some there be who holde, that Marsyas was named Masses: others say no, and that he was called Marsyas onely, being the sonne of Hyagnis, who first devised the art of playing upon the flute. And that this Olympus was [ 10] the authour of the musicke or tune, named Harmatias, appeareth by the table or register of the ancient Poets, collected by Glaucus: and by the same, a man may also learne, that Stesichorus borne in Himera, proposed to himselfe for to imitate, neither Terpander, nor Antilochus, ne yet Thaletos, but Olympus; using altogether the law of Musicke Harmatias, and that forme of mea∣sure which is according to Dactylus: and that, some say, ariseth from the loud musicke called Orthios, but others hold, that it was an invention of the Mysians, for that there were certeine an∣cient pipers of the Mysians. Moreover, there is another antique song or tune, called Cradias, ac∣cording to which (as Hipponax saith) Mimnermus plaied: for at the beginning, the minstrels and plaiers of pipes, sung certeine Elegies, reduced into measures and metricall lawes, which ap∣peareth by the tables and registers, that testifie what Musicians they were, that contended at the [ 20] games of prise, in the festivall Panathenacke solemnities. Moreover, there was one Sacadas of Argos, a Poet that made songs and elegies or ditties, reduced into measures, for to be sung: and reckoned hee is among the better sort of Poets, and as it appeareth upon record in those registers, hee wanne the best game three times at the Pythian solemnities. And Pin∣darus himselfe maketh mention of him. And whereas there be three kindes of tunes and measures in Musicke, according to Polymnestus and Sacadas, to wit, the Prygian, Dorian, and the Lydian, they say, that in every one of them Sacadas made a certeine flexion or tune, cal∣led Strophe, and taught the Chorus to sing the first according to the Dorian tune; the second after the Phrygian measures; and the third, to the Lydian musicke: and that this maner of song was thereupon called Trimeres, by reason of the three changes or parts: Howbeit, in the tables [ 30] and registers of the auncient Poets, which are to be seene at Sioyone; it is observed and no∣ted, that it was Clonas who devised this melody or musicke Trimeres. Now the first maner of musicke, ordeined and instituted in the city of Sparta, by Terpander, was in such sort. The second was appointed as it is most generally received, by Thaletas the Gortynian, by Xenodamus the Cytherian, Xenocritus the Locrian, Polymnestus the Colophonian, and Sacadas the Argive; as the principall authors and directors: for as these were they who instituted first at Lacedaemon the naked daunces called Gymnopedia, so in Areadia they ordeined those that were termed Apo∣dixes; and in Argos the Endymaties. As for Thaletas, Xenodamus, and Xenocritus, they were the Poets that composed the songs of victorie, named Paeanes: Polymnestus, of the Orthian canticles; and Sacadas of the elegies. Others say, that Xenodamus was the Poet who invented [ 40] the songs entituled Hyporchemata, at the sound whereof, folke danced at the feasts of the gods: but he devised not the Paeanes aforesaid, as Pratinas did. And even at this day, there is a sonet extant of this very same Xenodamus, which is evidently an Hyporchema; and this kind of poesie Pindarus useth. Now that there is a difference betweene a Paean and an Hyperchema, the works of Pindarus sufficiently do shew, for he hath written as wel the one as the other. Polymnestus also made songs and ditties to the flute: and in Orthian canticles, used measures and melodie, ac∣cording as our harmonicall Musicians give it out: As for us, we know not the trueth, because our ancients have left nothing in writing thereof. There is some doubt also, whether Thaletas of Candie were a Poet that made Paeans: For Glaucus in saying, that he was after Archilochus, writeth indeed, that he imitated his songs; but he extended them farther, and made them lon∣ger, [ 50] inserting the measures Maron and Creticus into his melodie, which Archilochus never used, nor Orpheus, nor yet Terpander: for it is said, that Thaletas learned this from Olympus his playing and piping, and was reputed a good Poet. As touching Xenocritus of Locres in Italy, it is not yet resolved and for certeine knowen, that he was a maker of Paeanes. Certes, it is confi∣dently said, that he tooke for the subject matter and argument of his Poesie heroicke deeds, in∣somuch as some terme his arguments Dithyrambes. Glaucus assureth us, that Thaletas was

more ancient than Xenocritus. And Olympus as Aristocritus writeth, is reputed by Musicians to have beene the inventor of the Musicke called Euharmonian: for before his time, al Musicke was either Diatonique, or Chromatique: and it is conjectured to have beene invented in this maner: For Olympus practising the Diatonique Musicke, and extending his song otherwhiles as farre as to the note Parhypate Diatonique, sometimes from Paramesa, and sometime from Mese, and surpassing Lichenos Diatonique, observed the sweetnesse and beautie of such an affection, and the composition arising of that proportion, and allowing it to be good, inser∣ted it in the Dorian Musicke: for he touched nothing of that which properly perteineth to the Diatonique or Chromatique kinde, neither medled he with that which concerned harmony. And these were the beginnings of the euharmonique Musicke: For first of them they put a [ 10] Spondaeus, wherein no division sheweth that which is proper, unlesse a man having an eie un∣to a vehement Spondiasme, will conjecture and say the same to be a kinde of Diatonos. But manifest it is, that he will put a falsitie and discord, who thus setteth it downe: A falsity (I say) in that it is by one Diesus lesse than the tone or note that is next unto the prime, and a discord or dissonance: for that if a man doe set in the power of a Toniaeum, that which is proper unto a vehement Spondiasme, it will fall out that he shall place jointly together, two Diatoniques, the one simple, and the other compound, for this euharmonique reenforced, and comming thicke upon the Mese, which now adaies is so much used, seemeth not to be devised by the Poet. Thus may a man soone perceive, if he observe and marke one very well, who plaieth up∣on a pipe after the old maner: For by his good will, the Hemitone in the Mese, will be in∣compounded. [ 20] Thus you see what were the first rudiments and beginnings of Euharmoniques: But afterwards the demi-tone, was divided and distracted as well in Lydian as in Phrygian Mu∣sicke: and it seemeth that Olympus hath amplified and augmented Musicke, because he brought in that which never yet was found, and whereof his predecessors all were ignorant; so that he may very well be thought the Greekish and elegant Musician. Semblably we are to speake of the numbers and measures in Musicke called Rhythmi: for devised there were and found out to the rest, certeine kinds and speciall sorts of Rhythmi, as also there were those who or∣deined and instituted such measures and numbers. For the former innovation of Terpander, brought one very good forme into Musicke: Polymnestus after that of Terpander another: which he used, and yet he adhered also to that good forme and figure before. Semblably did [ 30] Thaletas and Sacadas: And these men verily were sufficient in making of these Rhythmi, and yet departed not from that good and laudable forme: But Crexus, Timotheus, and Philoxenus, and those about their age, were overmuch addicted to new devices, and loved novelties, in af∣fectiong that sigure which in these daies is called Philanthropon, that is to say, humane; and The∣maticon, that is to say, positive. For antiquitie embraced few strings, simplicitie also, and gravity of Musicke. Thus having according to my skill & ability discoursed of the primitive Musicke, and of the first authors who invented it, and by what inventions in processe of time it grew to some meane perfection, I will breake off my speech, and make an end, giving leave to our friend Soterichus for to speake in his turne, who is a man not onely well studied in Musicke, and as well practised therein, but also throughly seene in all other learning, & liberall literature. For mine [ 40] owne part I am better acquainted with the fingring Musicke & manuall practise than otherwise.

When Lysias had thus said, he held his peace: and then Soterichus after him began thus: You have heere good Onesicrates mooved and exhorted us to discourse of Musicke, a venerable science, and a profession right pleasing to the gods: and for mine owne part, I greatly ap∣proove of my master Lysias, as well for his good conceit and knowledge, as for his memorie, whereof he hath given us a sufficient proofe, by reciting the authors and inventors of the first Musicke, and the writers also thereof. This will I put you in minde by the way, that in all his proofes he hath reported himselfe, to the registers and records of those who have written thereof, and to nothing else. But I am of a farre other minde, and thinke verily that no earthly man was the inventour of this so great good, which Musicke bringeth with it unto us, but even [ 50] god Apollo himselfe, who is adorned with all maner of vertues. For neither Marsyas, nor Olympus, ne yet Hyagnis, as some doe thinke, devised the use of the flute and pipe, no more than both of the one and the other: the lute or harpe onely was the invention of Apollo: for this god devised the play which may easily be knowen by the daunces, and solemnities of sacri∣fices, which were brought in with the sound of hautboies and flutes, to the honour of that god: according as Alcaeus among many others, hath left written in one of his hymnes: moreover, his

very image in the Isle of Delos testifieth as much, where he is portraied standing thus; holding in his right hand a bow, and in his left the Graces, and every one of them hath an instrument of Musicke; the one an harpe or lute; another the shaulme or hautboies; and she in the middes a flute or shrill fife neere unto her mouth. And because I would not have you to thinke, that I have picked this out of mine owne fingers ends; both Anticles and Hister in their Commen∣taries, and Elucidartes, of these things doe quote and alledge as much. As for the image afore∣said, and the dedication thereof, so auncient it is, that by report, it was made and erected in the time that Hercules lived. Moreover, the childe that bringeth the lawrell out of the valley of Tempe to the citie of Delphos, is accompanied with a piper or plaier of the hautboies: yea and the sacrifices which were woont in old time to besent from the Hyperboreans into the Isle of Delos, went with a sort of hautboies, flutes, pipes, and lutes or stringed instruments about them. [ 10] And some there be who say more than this, namely, that god Apollo himselfe plaied upon the flute and hautboies. And thus writeth Alcman an excellent Poet, and maker of sonnets. And Corinna saith furthermore, that Apollo was taught by Minerva, for to pipe. See how honou∣rable and sacred every way Musicke is, as being the very invention of the gods. And in olde time they used it with great reverence, and according to the dignitie thereof, like as they did all other such exercises and professions: whereas in these daies men rejecting and disdaining the majestie that it hath, in stead of Musicke, manly, holy and acceptable to the gods, bring that into the theaters, which is effeminate, enervate, broken, puling and deceitfull. And therefore Plato in this third booke of his Common-weath, is offended with such Musicke, and utterly [ 20] rejecteth the Lydian harmonie, which is meet for mones and lamentations, like as it is said, that the first institution and making thereof was lamentable: for Aristoxenus in his first booke of Musicke reporteth, that Olympus sounded with the hautboies a dolefull and funerall dumpe in Lydian Musicke, upon the death of Python. And others there be who affirme, that Mela∣nippides began first this tune. Pindarus in his Paeans saith, that this Lydian Musicke began first to be taught at the wedding of Niobe: others, that one Torebus used first this harmonie, accor∣ding as Dionysius Iambus writeth. The Myxolydian Musicke also, is full of affection, and in that regard meet for tragedies. Aristoxenus writeth, that Sappho invented first this Myxolydian harmonie, of whom the tragedie makers learned it, and joined it with the Dorian: for that as the one giveth a certeine dignitie and stately magnificence, so the other mooveth affections: [ 30] and a tragedy you wot well is mixed of them both: Howbeit, in their rolles and registers, who have written of Musicians, it is said, that Pythoclides, the plaier of the hautboies, was the first inventer of this Musicke. But Lysis referreth the invention thereof to Lamprocles the Athenian, who having found and perceived, that the disjunction is not there where in maner all others thinke it is, but toward that which is high and small, made such a forme and figure thereof, as is from Para-mese to Hypate Hypaton. Likewise the Sublydian Musicke, if it be contrary unto the Myxolydian, and in resemblance comming neere unto the Ionique, was by re∣port devised by Damon the Athenian: Nowe because of these two harmonies, the one is mournfull and lamentable, the other dissolute and enervate; Plato had good reason to reject them both: and therefore he chose the Dorian, as that which is most beseeming valiant, so∣ber [ 40] and temperate men: not I assure you because hee was ignorant (as Aristoxenus saith, in his second booke of Musicians and Musicke) that in the other there was some thing good for a common-wealth, and circumspect pollicie: (for Plato had much applied his minde unto Musicke, as having beene the scholar of Draco the Athenian, & Metellus the Agrigentine) but considering as we have said before, that there was more gravity and dignitie in the Dorian Mu∣sicke, he preferred the same before the rest. And yet he wist well enough, that Pindarus, Alc∣man, Simonides, and Bacchylides, had written and set many other Parthenies to the Dorian Musicke: besides Prosodies and Paeans also. Neither was he ignorant, that tragicall plaints, and dolefull mones, yea, and amatorious ditties, were composed for to be sung in this Dorian tune. But he stood sufficed and contented with those which were endited to the praise of Mars and Minerva, [ 50] and with Spondaes; for these are sufficient to & confirme the minde of a tem∣perate and sober man. Neither was he unskilfull in the Lydian Musicke, nor the lonian; for he knew well enough that the tragoedie used this kinde of melodie. Moreover, all our ancients be∣fore time, being not unexpert of all other kinds of Musicke, yet contented themselves with the use of one. For ignorance or want of experience, was not the cause that they ranged themselves into so narrow a streight, & were contented with so few strings: neither are we to thinke that Ter∣pander

and Olympus, and they that followed their sect; for default of skill and experience, cut off the multiplicitie of strings, and their varietie. Witnesse heereof the Poems of Terpander, Olympus, and all their followers, and such as tooke their course: for being but simple, and ha∣ving no more than three strings, yet are they more excellent than those which consist of manie strings, and be full of varietie; in such sort, as no man is able to imitate the maner of Olympus; and all those who use many strings and varietie, be farre short, and come behinde him. Now that our ancients in old time absteined from the third, in that Spondeaik kinde, not upon ig∣norance, they shew sufficiently in the use of striking the strings: for never would they have used the accord and consonance with Pare-hypate, if the use thereof had beene unknowen unto them: but certeine it is, that beauty of affection which is in the Spondeaik kinde, by the third, [ 10] was it that led their sense to raise & exalt their note and song to Paranete: and the same reason also there is of Nete: For this verily they used to their stroke of the instrument, to wit, unto Pa∣ranete in discord, & unto Mese in accord. But in song they seemed not unto them, proper and fit for the Spondeaik kinde. And not onely in these, but also in Nete of the Tetrachord con∣junct, all used so to doe: For in the very stoake of the strings, they disaccorded with Paranete, Paramese, and Lichanos, but in song, they were ashamed thereof, for the very affection that resulted thereupon. Moreover, it appeereth manifestly by the Phrygians, that this was not for any ignorance of Olympus, or his sectaries: for they used it not onely in fingring, and in the stroake of the stringes, but also in singing at the solemne feasts of the great mo∣ther of the gods, Cybile, and in some other Phrygian solemnities. It appeareth also mani∣festly, [ 20] by the Hypates, that it was not for ignorance that in the Dorian tunes they for∣bare this Tetrachord, for incontinently in other tunes they used it: so that it is evident that they did it wittingly but to avoide affection they tooke it out of the Dorique Musicke, hono∣ring the beauty and honesty thereof: as we may observe some such like thing in tragicall Po∣ets. For never yet to this very day, did the tragoedy use Chromaticke musicke, nor rhyme: whereas the citherne or lute, which by many ages is more ancient than the tragoedy used it even from the very beginning. And evident it is that Chroma is of greater antiquity than is Harmo∣ny. For we must account this antiquity, whereby the one is said to be more ancient than an o∣ther, according to the use & practice of men, because in regard of the nature of thesekinds one is not elder than another. If then some one would say, that Aeschylus or Phrynichus forbare to [ 30] use Chromaticke Musicke upon ignorance, & for that they knew it not, were he not thinke you very absurd and much deceived? For the same man might as well say that Pancrates also was ig∣norant of this Chromaricke kind, because for the most part he forbare to use it: and yet in some places he used it. So that it was not for want of knowledge, but of set purpose, and upon judge∣ment that he abstained from it. He imitated then, as he saith himselfe, the maner of Pindarus and Simonides, and in one word, that which the moderne Musicians call the ancient Musicke. The like reason there is of Tyrtaeus the Mantinean, of Andreas the Corinthian, Thrasyllus the Phliasian, and of many others whom we know upon good consideration to have absteined from the Chromaticke, from change and multiplicity of strings, yea and many other things interser∣ted which are in common use, namely rhymes, harmonies, ditties, songs, and interpretations. [ 40] And not to goe far for proofe hereof, Telephanes the Megarian was so great an enimy to flutes, fises, and small pipes, that he would never abide the artificers and pipe-makers so much as to set them to the shawme and hautboies; and for this cause especially, he forbare to come unto the Pythicke or Apollican games of prise. In summe, if a man will conjecture that if a thing be not used, it is long of ignorance, he might condemne of ignorance many of those who live in these daies; as for example the Dorioneans, because they despise the Antigenidian kinde of Musicke, for that they used it not. To the Antigenidians likewise they might impute ignorance of the Dirionian Musicke, for the same cause, as also the minstrels & harpers, as ignorant of the maner of Timotheus his Musicke. For they have in maner all betaken themselves to patcheries and fallen to the Poëmes of Polydius. On the other side, if a man consider aright, and with ex∣perience [ 50] make comparison betweene that which then was and that which now is, he shall finde that variety and diversity was in use and request even in those daies also. For the ancient Musi∣cians used in their numbers and measure, their variety, much more diverse & different than now it is. So that we may boldly say that the varietie of thymes, the difference also and diversitie of strokes was then more variable. For men in these daies love skill and knowledge, but in former times they affected numbers and measures. So that it appeareth plainely that the ancients ab∣stained

from broken Musicke and song, not because they had no skill, but for that they had no will to approve thereof. And no mervell: for many fashions there be in the world and this our life, which are well enough knowen, though they be not practised: many strange they be by reason of disuse, which grew upon occasion that some thing was observed therein, not decent & seemly. But, that it was not for ignorance, nor want of experience, that Plato rejected other kindes of Musicke, but onely because they were not beseeming such a common wealth of his, we will shew hereafter: and withall that he was expert and skilfull in harmony: For in that pro∣creation of the soule which he describeth in the booke of Timaeus, he declareth what study he had emploied in other Mathematicall studies and in Musicke besides, writing after this maner: Thus in maner (quoth he) did God at the first: And after that, he filled the double and treble [ 10] intervals, in cutting off one portion from thence, and putting it betweene both of them: in such sort as in everie intervall or distance, there were two moities. Certes, this Exordium or Prooeme, is a sufficient proofe of skill and experience in harmonie, according as wee will shew heereafter. Three sorts of primitive medieties there be, out of which all other bee drawen, to wit, Arithmeticall, Geometricall, and Harmonicall. Arithmeticall is that which surmounteth, and is surmounted in equall number: Geometricall, in even proportion: and Harmonicall neither in reason and proportion nor in number. Plato therefore intending to declare harmonically, the harmony of the foure elements of the soule, and the cause why things so divers accorded together: in each intervall hath put downe tow medieties of the soule, and that acording to musical proportion. For in the accord Diapason in Musicke, two intervals [ 20] there are betweene two extremities, whereof we will shew the proportion. For the accord Dia∣pason consisteth in a double proportion: as for example, six and twelve, will make a double pro∣portion in number: And this intervall, is from Hypate Meson, unto Nete Diczeugmenon: Now six and twelve being the two extremities: Hypate Meson conteineth the number of six, and Nete Diezeugmenon that of twelve. It remaineth now, that we ought to take unto these the meane numbers betweene these two extremities; the extreames whereof will be found, the one in proportion Epitritos or 〈◊〉〈◊〉 the other Hemiotios, or sesquialterall. And these be numbers eight and nine. For eight is serquitertian to six and nine, sesquialterall. Thus much as touching one of the extreames. As for the other which is twelve, it is above nine in ses∣quitertian proportion, and above eight in sesquialterall. These two numbers then, being be∣tweene [ 30] six and twelve, and the intervall 〈◊〉〈◊〉 compounded and consisting of Diatesseron and Diapente, it appeareth that Mese shall have the number of eight, and Paramese, the num∣ber of nine: which done there will be the same habitude, from Hypate and Mese, that is from Paramese to Nete, of a disjoint Tetrachord. The same proportion is found also in numbers, for the same reason that is from six to eight, is from nine to twelve, and looke what reason there is betweene six and nine, the same is betweene eight and twelve. Now betweene eight and six the proportion is sesquitertian, as also betweene twelve and nine. But betweene nine and six, ses∣quialterall, like as betweene twelve and eight. Thus much may serve to shew that Plato was well studied and very expert in the Mathematicks.

Now that harmony is a venerable, worthy and divine thing, Artstotle the desciple of Plato testifieth in these words: Harmony (quoth he) is celestiall, of a beautifull and wonderfull na∣ture and more than humaine: which being of it selfe divided into foure, it hath two medieties, the one arithmeticall, the other harmonicall; and of the parts thereof the magnitudes and [ 40] extremities are seene according to number and equality of measure: for accords in song are appropriat and fitted in two Tetrachords. These be the words of Aristotle: who said that the bo∣dy of harmony is composed of parts dislike, and accordant verily one with the other, but yet the medieties of the same agree according to reason arithmeticall: for that Nete according to Hy∣pate, by double proportion maketh an accord and consonants of Diapason: For it hath as we have before said, Nete of twelve unities, and Hypate of six, & Paramese according with Hypa∣te, in proportion sesquialterall of nine unities. But of Mese, we say, that it hath eight unities: [ 50] & the principal intervals of Musicke are composed of these: to wit, Diatessaron, which consist∣eth of a proportion sesquitertian, & of Diapente, which standeth upon a sesquialterall: and Dia∣pason of a duple: For so is preserved the proportion sesquioctave, which is accordingto the proportion Toniaeus. Thus you see how the parts of harmony doe both surmount and also are surmounted of other parts, by the same excesse: and the medieties of medieties, as well accor∣ding to expresse in numbers, as Geometricall puissance. Thus Aristotle declareth them to

have these and such like powers, namely that Nete surmounteth Mese by a third part, and that Hypate is semblably surmounted of Paramese: in such sort as these excesses, are of the kinde of Relatives, which have relation to another: for they surmount and be surmounted by the same parts. And therefore by the same proportion the two extreames of Mese and Paramese, doe surmount, and be surmounted, to wit sesquitertian and sesquialterall. And after this fort is the harmonicall excesse. But the excesse of Nete and Mese by arithmeticall proportion, sheweth the exuperances in equall partie: and even so Paramese in proportion to Hypate: for Parame∣se surmounteth Mese in proportion sesquioctave: Like as againe Nete is a double proportion of Hypate: and Paramese of Hypate in proportion sesquialterall: and Mese sesquitertian in regard of Hypate. See then how harmony is composed according to Aristotle himselfe, of her [ 10] parts and numbers. And so verily by him it is composed most naturally of a nature as well finit as infinit: both of even and also of od, it selfe and all the parts thereof: for it selfe totally and whole is even, as being composed of foure parts or termes: the parts whereof and their propor∣tions, be even, od, and even not even. For nete it hath even of twelve unities: Paramese od of nine unities: Mese even of eight unities, and Hypate even not even of six unities. So that harmony thus composed both it selfe and the parts thereof one to the other, as well in excesse as in proportions, the whole accordeth with the whole and the parts together. And that which more is, the very senses being inserted and ingraffed in our bodies by harmony, but principally those which are celestiall and divine, namely sight and hearing, which together with God give understanding and discourse of reason unto men with the voice and the light, doe represent har∣mony: [ 20] yea and the other inferrior senses which follow them, in as much as they be senses, are likewise composed by harmony: for all their effects they performe not without harmony, and howsoever they be under them and lesse noble, yet they yeeld not for all that: for even they en∣tring into the body accompanied with the presence of a certaine divinity, together with the discourse of reason, obtaine a forcible and excellent nature. By these reasons evident it is that the ancient Greeks, made great account, and not without good cause, of being from their infancie well instructed and trained up in Musicke: for they were of opinion, that they ought to frame and temper the mindes of yoong folke unto vertue and honesty by the meanes of Musicke, as being right profitable to all honest things, and which wee should have in great recommendation, but especially and principally for the perillous hazzards of warre: In which [ 30] case some used the Hautboies, as the Lacedaemonians, who chaunted the song called Castori∣um, to the said instruments, when they marched in ordinance of battell, for to charge their eni∣mies. Others made their approch, for to encounter and give the first onset, with the noise of the Lyra that is to say, the harpe or such like stringed instruments. And this we finde to have bene the practise of the Candiots for a long time, for to use this kinde of Musicke, when they set forth and advanced forward to the doubtfull dangers of battell. And some againe continue even to our time in the use of Trumpets sound. As for the Argives, they went to wrestle at the solemne games in their city called Sthenia with the sound of the Hautboies. And these games, were by report instituted at first in the honor and memory of their king Danaus: and afterwards againe were consecrated to the honor of Jupiter surnamed Sthenius. And verily even at this [ 40] day, in the Pentathlian games of prise, the maner and custome is to play upon the Hautboies, and to sing a song thereto, although the same be not antique nor exquisite, nor such as was wont to be plaied and sung in times past as that Canticle composed sometime by Hierax, for this kinde of combat, and named it was Eudrome. Well though it be a faint and feeble maner of song, yet somewhat, such as it was, they used with the Hautboies. And in the times of greater antiquity it is said that the Greeks did not so much as know Theatricall Musicke, for that they emploied all the skill & knowledge thereof in the service and worship of the gods, & in the insti∣tution and bringing up of youth, before any Theater was built in Greece by that people: but all the Musicke that yet was, they bestowed to the honor of the gods and their divine service in the temples, also in the praises of valiant and woorthy men: So that it is very probable that [ 50] these termes Theater afterwards, and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 long before were derived of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 that is to say, God. And verily in our daies, Musicke is growen to such an heigth of difference and diversity, that there is no mention made, nor memory remaining of any kinde of Musicke for youth to be taught, neither doth any man set his minde thereto, or make profession thereof: but looke whosoever are given to Musicke, betake them selves wholy to that of Theaters for their delight. But some man may haply say unto me: What good sir, thinke you that in old time they devised

no new Musicke and added nothing at all to the former? Yes I wis, I confesse they did adjoine thereto some new inventions, but it was with gravity and decency. For the historians who wrote of these matters, attributed unto Terpander the Dorian Nete, which before time they used not in their songs and tunes: And even so it is said that the Myxolidien tune was wholly by him de∣vised to the rest: as also the note of the melody Orthien: and the song named Orthius, by the Trochaeus, for sounding the al' arme and to encourage unto battell.

And if it be true as Pindarus saith, Terpander was the inventour of those songs called Scolia, which were sung at feasts. Archilochus also adjoined those rhymes or Iambicke measures called Trimetra: the translation also and change into other number and measures of a different kinde, yea, and the maner how to touch and strike them. Moreover, unto him, as first inventour, are [ 10] attributed the Epodes, Tetrameter, Iambicks, Procritique and Prosodiacks; as also, the aug∣mentation of the first, yea, and as some thinke, the Elegie it selfe: over and besides, the intensi∣on of Iambus unto Paean Epibatos, & of the Herous augmented both unto the Prosodiaque & also the Creticke. Furthermore, that of Iambique notes, some be pronounced according to the stroke, others sung out. Archilochus was the man, by report, who shewed all this first, and af∣terwards, tragicall Poets used the same: likewise it is said, that Crexus receiving it from him, transported it to be used at the Bacchanall songs, called Dithyrambs. And he was the first also, by their saying, who devised the stroake after the song; for that beforetime they used to sing, and strike the strings together. Likewise unto Polymnestus is ascribed all that kinde of note or tune which now is called Hypolydius, and of him they say, that he first made the drawing out of [ 20] the note longer, and the dissolution and ejection thereof much greater than before. More∣over, that Olympus, upon whom is fathered the invention of the Greeke musicke, that is tied to lawes and rules, was hee who first brought, by their saying, all the kinde of harmonie, and of rhymes or measures, the Prosodiaque, wherein is conteined the tune and song of Mars; also the Chorios, whereof there is great use in the solemnities of the great mother of the gods: yea, and some there be, who make Olympus the authour also of the measure Bacchius. And thus much concerning every one of the ancient tunes and songs. But Lasus the harmonian, having transferred the rhymes into the order of Dithyrambs, and followed the multiplicitie in voice of hautboies, in using many sounds and those diffused and dispersed to and fro, brought a great change into Musicke, which never was before. Semblably, Melanippides who came after [ 30] him, conteined not himselfe in that maner of Musicke which then was in use, no more than Philoxenus did & Timotheus for he, whereas beforetime unto the daies of Terpander the Antis∣saean, the harpe had but seven strings, distinguished it into many more sounds and strings: yea, and the sound of the pipe or hautboies, being simple and plaine before, was changed into a Musicke of more distinct varietie. For in olde time, unto the daies of Melanippides a Dithy∣rambicke Poet, the plaiers of the hautboies were wont to receive their salaries and wages at the hands of Poets, for that Poetrie you must thinke, bare the greatest stroke, and had the principal place in Musicke and acting of plaies, so as the Minstrels beforesaid were but their ministers: but afterwards, this custome was corrupted; upon occasion whereof, Pherecrates the Comicall Poet bringeth in Musicke in forme and habit of a woman, with her bodie piteously scourged [ 40] and mangled all over: and he deviseth besides, that Dame Justice demandeth of her the cause why, and how she became thus misused; unto whom Poësie or Musicke maketh answere in this wise:

MUSICKE.

I will gladly tell, since that we pleasure take You for to heare, and I to answere make: One of the first, who did me thus displease And worke my woe, was Melanippides; He with twelve strings my bodie whipt so sore, That soft it is, and looser than before. [ 50] Yet was this man unto me tolerable And not to these my harmes now, comparable. For one of Athick land, Cynesias he, Shame come to him, and cursed may he be, By making turnes and winding cranks so strange In all his strophes, and those without the range

Of harmony; hath me perverted so, That where I am, unneth I now do kno. His Dithyrambs are framed in such guise, That left seeme right, in shield and targuet wise. And yet of him, one can not truly say, That cruelly he me ant me for to slay. Phrynis it was who set to me a wrest (His owne device) that I could never rest: Wherewith he did me winde and writhe so hard, That I well neere for ever was quite marr'd. [ 10] Out of five strings for sooth he would devise No fewer than twelve harmonies to rise: Well, of this man I cannot most complaine, For what he mist, he soone repair'd againe. Timotheus sweet Lady (out alas) Hath me undone: Timotheus it was, Most shamefully who wrought me all despite, He hath me torne, he hath me buried quite.

JUSTICE.

And who might this Timotheus be (deere hart) That was the cause of this thy wofull smart? [ 20]

MUSICKE.

I meane him of Miletus, Pyrrhias Surnam'd, his head and haire so ruddy was. This fellow brought upon me sorrowes more Than all the rest whom I have nam'd before. A sort he of unpleasant quavers brings, And running points, when as he plaies or sings: He never meets me when I walke alone Upon the way, but me assailes anone. [ 30] Off go my robes, and thus devested bare He teawes me with twelve strings, and makes no spare.

Aristophanes also the Comicall Poet maketh mention of Philoxenus, and saith, that he brought songs into the dances called Rounds: and in this maner he deviseth, that Musick should speake and complaine:

What with his Exharmonians, Niglars and Hyperbolians, And such loud notes, I wot not what, He hath me stuft so full, as that My voice is brittle when I speake, Like radish root that soone will breake.

Semblably, other Comicall Poets have blasoned and set out in their colours, our moderne Mu∣sicians, for their absurd curiositie, in hewing and cutting Musicke thus by peace-meale, and min∣cing [ 40] it so small. But that this science is of great power and efficacie, aswell to set strait and re∣forme, as to pervert, deprave and corrupt youth in their education and learning, Aristoxenus hath made very plaine and evident: for he saith, that of those who lived in his time, Telesias the Theban happened when he was yoong, to be brought up and instructed in the most excellent kinde of Musicke, and to learne many notable ditties and songs; among which, those also of Pindarus, of Dionysius the Theban, of Lamprus, Pratinas and other Lyricall Poets, singular men in their facultie, and profession of playing cunningly upon the harpe and other stringed instru∣ments. [ 50] He had learned likewise to sound the hautboies passing well, and was sufficiently exerci∣sed and practised in all other parts of good literature: but when he was once past the flower and middle of his age, he became so farre rivished and caried away with this Scenicall musicke so ful of varietie, that he despised that excellent musicke and poesie wherein he was nourtred, & all for to learne the ditties and tunes of Philoxenus and Timotheus, and principally such of them as had most varietie and noveltie: and when he betooke himselfe to compose ditties and set songs,

making triall what he could do in both kinds, aswell in that of Pindarus and this of Philoxenus, he was able to performe nothing wel and to the purpose in that Musicke of Philoxenus: the rea∣son whereof, was his excellent education from his infancie. If rhen a man be desirous to use musicke well and judiciously, let him imitate the olde maner: and yet in the meane while furnish the same with other sciences, learne Philosophie, as a mistresse to guide and leade; for shee is able to judge what kinde of measures is meet for musicke, and profitable. For whereas three principal points and kinds there be, unto which all musicke is universally divided, to wit, Diato∣nos, Chroma and Harmonie, he ought to be skilfull in Poetrie, which useth these severall kinds, who commeth to learne Musicke; and withall, he must atteine to that sufficiencie, as to know how to expresse and couch in writing his poeticall inventions. First and formost therefore he [ 10] is to underst and, that all musicall science is a certeine custome and usage, which hath not yet at∣teined so farre as the knowledge to what end every thing is to be leatned by him that is the scho∣lar. Next to this it would be considered, that to this teaching and instruction, there be not yet adjoined presently the enumeration of the measures & maners of musicke. But the most part learne rashly and without discretion, that which seemeth good & is pleasant either to the learner or the teacher; as the Lacedaemonians in old time, the Mantineans likewise and the Pellenians: for these, making choise of one maner above the rest, or els of very few, which they tooke to be meet for the reformation and correction of maners, used no other musicke but it: which more evidently may appeare, if a man will enquire and consider, what it is that every one of these sci∣ences taketh for the subject matter to handle: for certaine it is, that the Harmonique skill con∣teineth [ 20] the knowledge of intervals, compositions, sounds, notes and mutations of that kinde which is named Hermosmenon, that is to say, well befitting and convenient: neither is it possible for it to proceed farther. So that, we must not require nor exact of her, that she should be able to discerne whether a Poet hath well, properly and fitly used (for example sake in musicke) the Hyperdorian tune in his entrance; the Mixolydian and the Dorian at his going forth; and the Phrygian or Hypophrygian in the mids: for this perteineth not at all to the subject matter of the Harmonicke kinde, and hath need of many other things: for he knoweth not well the force of the proprietie. And if he be ignorant of the Chromaticke kinde and Enharmonian, he shall never atteine to have the perfect and absolute power of the proprietie, according to which, the affection of the measures that are made are seene: for this is the office and part of the artificer. [ 30] And manifest it is, that the voice of the composition called Systema, is one thing; and the melo∣die or song which is framed in the said composition, another: which to teach and whereof to treat, perteineth not to the facultie of the Harmonicke kinde. Thus much also we are to say as touching Rhythme; for no Rhythme will ever come to have in it the power of perfect proprie∣tie: for that alwaies which is said to be proper, is in regard and reference to the affection; wher∣of we affirme the cause to be either composition or mixtion, or els both together: like as with Olympus, the Enharmonian kinde is put in the Phrygian tune, and Paeon mixed with Epibatos: for this affection of the beginning hath it ingendred and brought forth in the song of Minerva. For when the melody and rhythme or measure was artificially set to, & the number or rhythme alone cunningly transmuted, so as a Trochaeus was put in stead of a Paeon. Hereof came the [ 40] Harmonicke kinde of Olympus to be composed. Yet neverthelesse, when both the Enharmo∣nicke kinde and the Phrygian tune remaine, and beside these, the whole composition also, the affection received a great alteration: for that which is called Harmonie in the song of Mi∣nerva, is farre different from the affection which is in common use and experience. If he then, who is expert and skilfull in Musicke, had withall, the facultie to judge, certeine it is, that such an one would be a perfect workman, and a passing good master in Musicke. For he who is skilfull in the Dorique musicke, and knoweth not how to judge and discerne the proprietie, he shall ne∣ver know what he doth, nor be able to keepe so much as the affection, considering there is some doubt as touching the judgement of Dorian melodies and tunes, whether they apperteine to the subject matter of Harmonie or no? as some Dorians are of opinion. The like reason there [ 50] is of all the Rhythmike skill; for he who knoweth Paeon, shall not incontinently know the pro∣perty of the use thereof, forasmuch as there is some doubt as concerning the making of Paeo∣nik rhythmes, to wit, whether the Rhythmetique matter is able to judge with distinct knowledge of them? or whether as some say, it doe not extend so farre? Of necessitie therefore it foloweth, that there must be two knowledges at the least in him, who would make distinction and be able to judge betweene that which is proper and that which is strange: the one of maners and af∣fections,

for which all composition is made; the other, of the parts and members of which the composition doth consist. Thus much therefore may suffice, to shew that neither the Har∣monique, nor the Rhythmicke, nor any one of these faculties of Musicke, which is named parti∣cular, can be sufficient of it selfe alone to judge of the affection, or to discerne of other qualities. Whereas therefore, Hermosmenian, which is as one would say, the decent and elegant tem∣perature of voices and sounds, is divided into three kinds, which be equall in the magnitudes of compositions, in puissances of sounds, and likewise of Tetrachords; our ancients have trea∣ted but of one: for those who went before us, never considered, either of Chroma, or Diato∣nos, but onely of Enharmonios, and that onely in a magnitude of a composition, called Dia∣pason: for of the Chroma they were at some variance and difference: but they all in maner did [ 10] accord to say, that there was no more but this Harmonie alone. And therefore he shall never understand that which perteineth unto the treatise of Harmonie, who hath proceeded so farre as to this onely knowledge: but apparent it is that be ought to follow both other particular sci∣ences, and also the totall body of Musicke; yea & the mixtions and compositions of the parts: for he that is onely Harmonicall, is confined within one kinde and no more. To speake there∣fore generally and once for all, it behooveth that both outward sense and inward understanding concurre to the judgement of the parts in Musicke: Neither is one to prevent & runne before another, as the senses doe, which are more forward and hastie than their fellowes; nor to lagge behinde and follow after, as those senses doe which are slowe and heavy of motion. And yet o∣therwhile in some senses it falleth out upon a naturall inaequallitie which they have, that both [ 20] happen at once, to wit, they draw backe, and hast forward together: wee must therefore cut off these extremities from the sense, if we would have it runne jointly with the understanding: for necessarie it is, that there be alwaies three things at the least meet together in sense of hearing, to wit, the sound, the time, and the syllable or letter. And come to passe it will, that by the going of the sound, will be knowen the proportionable continuitie, called Hermosme∣non; by the gate of time, the Rhythme, and by the passing and proceeding of the syllable or let∣ter, the dittie: Now when they march altogether, there must needs be an incursion of the sense. This also is evident, that the sense not being able to distinguish and discerne every one of these three things, and accompany them severally, impossible it is, that it should know or judge that which is well or amisse, in ech of them particularly. First and foremost therefore, we are [ 30] to take knowledge of the coherence and continuation; for necessarie it is, that there should be in the facultie and power of judging, a certaine continuall order, for as much as good and bad be not determinately in such sounds, times, letters or syllables, severed one from the other, but in the continued suit and conherence of them, for there is a certeine mixture or parts which cannot be conjoined in usage. And thus much may suffice for the consequence. After this we are to consider, that men, sufficient otherwise, and skilfull masters in Musicke, are not by and by able to judge: for impossible it is to be a perfect Musician, and a judge withall, of those which seeme to be the parts of totall Musicke, as the science and skill of instruments; likewise of song, as also of the exercise of the senses, I meane that which tendeth to the intelligence & knowledge of the well proportioned Hermosmenon, and of Rhythme. Over and besides, of the [ 40] Rhythmick and Harmonique treatise, and of the speculation, touching the stroke and the dit∣tie, and what other soever there are besides. But what the causes should be, that it is not possi∣ble for one to be a Critick and able to judge, by meanes of these things by themselves, let us endevour to search and know. First, by this supposall, That of those things which are propo∣sed unto us for to be judged of, some be perfect, others imperfect: Perfect, for example, eve∣ry Poeticall worke, that is either chaunted, or plaied upon the pipe, or sounded on the lute and stringed instrument; or else the interpretation or elocution of the said Poemes, which they call 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 as is the noise of the pipe, or of the voice, and such like: unperfect, as those which tend heereto, and are for them ordeined, as by the parts of that which is called interpretation. Se∣condly, by Poesie or fiction, whereof the case is alike; because a man may as well judge if hee [ 50] heare the minstrell play or sing, whether his pipes accord or no, and whether his dialect or dit∣tie be cleere, or contrariwise obscure; for ech of these is a part of the foresaid interpretation of pipes, not the end it selfe, but that which respecteth the end; for the affection of the interpre∣tations shall be judged heerby, and by all such causes, whether they be well fitted & accommo∣date to the Poeme composed, which the agent hath taken in hand to treat of, to handle, to ex∣presse and interpret. Semblable is the reason also of the affections and passions, which are sig∣nified

in the Poemes, by Poesie. Our ancients then, as those who made principall account of the affection, preferred and esteemed best that fashion of antique Musicke, which was grave, not curious nor much affected. For it is said that the Argives did set downe in times past a pu∣nishment for those who brake the lawes of Musicke, yea, and condemned him to pay a good fine, who first used more than seven strings, & who went about to bring in the use of the Myxo∣lydian Musicke. But Pythagoras that grave and venerable personage, reproved all judgement of Musicke which is by the eare, for he said, that the intelligence and vertue thereof, was verie subtile & slender, and therfore he judged thereof, not by hearing, but by proportionall harmo∣nie: and he thought it sufficient to proceed as farre as to Diapason, and there to stay the know∣ledge of Musicke: Whereas Musicians in these daies disesteeme and reject wholly that kinde [ 10] of Musicke which was in greatest reputation among our ancestors, for the gravitie thereof: in∣somuch as the most part of them make no reckoning of any apprehension of Euharmonian intervals and spaces. So idle and lazie they be, that they thinke and say, the harmonicall diesis giveth no apparence at all, nor representation of those things that fall under the sense of hea∣ring; yea, and banish it quite out of their tunes and songs, counting those no better than pra∣ting, vaine, and toyish persons, who have either written or spoken thereof, or used that kinde: and for proofe heereof, that they say true, they suppose they have found a doubty good argu∣ment and demonstration, drawen from their owne grosse stupiditie and senselessenesse, as if all that which their sense apprehended not, must needs incontinently have no subsistence at all in nature, and be altogether unprofitable. And then moreover they hold, that there can no mag∣nitude [ 20] be apprehended by symphonie and consonance of voice, as the halfe note, and other such intervals. Meane while they doe not perceive (such is their ignorance) that they may as well banish the third magnitude, the fifth, and the seventh; whereof the first consisteth of three, the second of five, and the third of seven Dieses: and generally they should reject and reproove all the intervals that be odde, as superfluous and good for nothing: inasmuch as none of them can be found by consent or symphonie. And these they may be, which the least Die∣sis doeth measure in odde number: whereupon it followeth necessarily, that no division of the Tetrachord, is profitable, but this onely, by which we may use all even intervals: and this veri∣ly were that of Syntonos, Diatonos, and Toniaean Chroma. But to give out, or to conceive such things, were the part not of those onely who contradicted that which is apparent and evi∣dent, [ 30] but also of such as went against themselves: for they use more than any other such parti∣tions of Tetrachords, wherein all the intervals be either odde or else proportionable to those that be odde: for evermore they mollifie all the notes, called Lichani, and Paranete: yea, and they let downe a little, those very notes which are stedfast and firme, by I wot not what intervall, without al reason; and together with them, they let slacke also very absurdly, the Thirds and the Paranetae, & they suppose that the use of such compositions is most commendable, wherein the most part of the intervals, be without al reason & proportion, by letting downe not onely those sounds which naturally are woont to stir & bemooved, but also some of them which are innu∣merable: as appeareth manifestly to those who are sufficient and able to judge of such things. [ 40]

To come now to the use of Musicke, how meet and seemely it is for a valiant man; gentle Homer hath given us very well to understand: for to proove unto us how commodious Musicke is in many respects, he feigned and devised Achilles to concoct his anger which he had concei∣ved against Agamemnon, by the meanes of Musicke, which he had learned of that most prudent and wise Chiron: for thus he writeth:

They found him then, within his tent, with sound of lute so shrill, His heart that was now discontent, to solice and to still: An instrument right faire in sight this was, and trimly wrought: [ 50] The necke with silver richly dight, which he himselfe had caught Out of the spoiles then lately won of Thebes, that stately towne, And citie of Eetion, when it was rased downe:

Heerewith I say, he pass'd his time, this was his hearts delight, He sung withall the praise in rhyme of many a valiant knight.

Note heereby and learne (quoth Homer) what use we ought to make of Musicke: for he sung unto the lute, the noble exploits of brave men, and the glorious acts of woorthies and demi∣gods: a thing that full well beseemed Achilles the sonne of most righteous Peleus. Over and besides, Homer teaching us the proper and convenient time of using Musicke, found out an ex∣ercise, both profitable and pleasant for a man at leisure, and not occupied otherwise in affaires. For Achilles being a martiall man of action, yet for the anger that he had conceived against Agamemnon, had no hand in the perils and hazards of warre: Homer thought therefore that it [ 10] became very well this heroique and hardy knight, to what his courage by these excellent songs, to the end that he might be provided and ready against that sallie and skirmish which soone af∣ter he undertooke: and this no doubt he performed very well, by calling to remembrance the doubty deeds and feasts of armes achieved by others in times past. Such verily was the anci∣ent Musicke, and for this purpose it served. For we doe heare that both Hercules made use of Musicke, and also Achilles, with many other valourous knights, whom Chiron that most sage and learned master and bringer up of youth taught, who was a teacher not of Musicke onely, but of justice beside and Physicke. In summe, a man of wisedome and sound judgement, will thus deeme, that good sciences are not to be blamed, if haply they be not well used, but impure all the fault unto them that abuse the same. And therefore if any one from his childhood, shall [ 20] be well instructed and trained up in Musicke, and withall employ his labour and diligence therein, he will receive and approove that which is honest and commendable: blame also he will and reject the contrary: not in musicke onley, but in all things else: and such a one will de∣cline all unhonest and unwoorthy actions, and thus reaping from musicke the greatest and best contentment that can be, he may benefit exceeding much, as well himselfe as his whole coun∣trey, using no word nor deed unseemely, but observing at all times and in every place, that which is befitting, decent, temperate and elegant. Moreover, that cities and states best gover∣ned by pollicie and good lawes, have alwaies had a speciall regard of generous and good mu∣sicke, many and sundry testimonies may be alledged: and namely, a man may very well cite to this purpose Terpander, who suppressed in times past, the great sedition and civill descord [ 30] that was in Lacedaemon: Thales also the Candiot, who went as it is said, by the commande∣ment and oracle of Apollo, to Lacedaemon, and there cured the citizens and delivered them from that great pestilence, which reigned in that citie, and all by the meanes of musicke, as writeth Pratinas. Homer also himselfe saith, that the plague which afflicted the Greeks, was by musicke staied and appeased:

Then all day long, the Grecian youth in songs melodious, Besought god Phoebus of his grace, to be propitious: [ 40] Phoebus I say, who from a farre doth shoot his arrowes nie They chaunt and praise, who takes great joy, to heare such harmonie.

with these verses as with Corollarie, good master I will conclude this my discourse of Musicke, and the rather, because you first by the very same verses commended unto us the force and pow∣er of Musicke: for in very trueth, the principall and most commendable worke thereof, is thanksgiving unto the gods, and the acknowledgement of their grace and favour: the second, and that which next followeth, is a sanctified heart, a pure, consonant and harmonicall estate of the soule. When Soterichus had said: Thus you have (quoth he) my good master heard us dis∣course of Musicke round about the boord as we sit. And verily Soterichus was highly admired [ 50] for that which he had delivered: for he shewed evidently both by his voice and visage, how much he was affected unto Musicke, & what study he had emploied thereto. Then my master: Over and above other things, this also I commend in you both, that you have kept your owne course and place, the one as well as the other. For Lysias hath furnished our feast with those things which are proper and meet for a Musician, who knoweth onely to handle the lute or

harpe, and hath no farther skill than manuall practise. Soterichus also hath taught us whatsoever concerneth both the profit and also the speculation thereof, yea and withall comprehendeth therein the power and use of Musicke, whereby he hath mended our fare and feasted us most sumptuously. And I suppose verily that both of them, have of purpose and that right willingly, left thus much unto me, as to draw Musicke unto feasts and banquets: neither will I condemne them of timidity, as if they were ashamed so to doe: For if in any part of mans life, certes in such feasts and mery meetings it is right profitable. For according as good Homer saith:

Both song and daunce, delight affoord, And things that well beseeme the boord.

Neither would I have any man to inferre heereupon, that Homer thought Musicke good for [ 10] nothing else but to delight and content the company at a feast: considering there is in those verses couched and hidden a more deepe and profound meaning. For he brought Musicke to those times and places wherein it might profit and helpe men most, I meane the feasts and mee∣tings of our ancients: and expedient it was to have her company there, for that she is able to di∣vert and temper the heat and strength of wine, according as our Aristoxenus also else where saith: Musicke (quoth he) is brought in thither, because that whereas wine is wont to pervert & overturne as well the bodies as the minds of those who take it immoderatly, Musicke by that order, symmetry, and accord which is in it, reduceth them againe into a contrary temperature, and dulceth all. And therefore Homer reporteth that our ancients used Musicke as a remedy and helpe, at such a time. But that which is principall and maketh Musicke above all things [ 20] most venerable, you have my good friend let passe and omitted. For Pythagoras, Archias, Pla∣to, and all the rest of the old Philosophers doe hold that the motion of the whole world, together with the revolution of the starres, is not performed without Musicke: For they teach that God framed all things by harmonie. But to prosecute this matter more at large, this time will not permit: and besides it is a very high point and most Musicall to know in every thing how to keepe a meane and competent measure. This said, he sung an hymne, and after he had offered a libation of wine unto Saturne, and to all the gods his children, as also to the Muses, he gave his guests leave to depart [ 30]