^36 On Ancient Greek Music. and from thence as a starting-post has followed the dictates of his genius. And one of the great advantages of this is, that he is rendered independent of all those circumstances which have at various periods tended to corrupt and deprave his art : he does not view it through the medium of these, but goes to its best and purest development, and learns it there. Now I find that of all the arts music is the one which has been least treated in this spirit. When this first struck me, I naturally became anxious to enquire whether it had arisen from any thing inherent in the art itself which has distinguished it from others in unfitting it for this treat- ment, or whether it be not from some culpable and unartist- like neglect in ourselves, that we have not followed in our musical studies those rules by which all other art is guided. I think I have satisfied myself in the investigation, which of these two is the right answer as far as the ancient Greek music is concerned. In order to satisfy our readers also, it will be necessary for me to justify, in this particular branch of art, the principles which I have laid down concerning art in general ; to shew that this is of the same kind and to be treated according to the same laws : and to make it at least probable that the proficiency of the ancient Greeks in music was such as might have been expected from their excellence in the other arts. As the enquiry whether the ancients were acquainted with counterpoint, i. e. playing and singing in parts, closely con- cerns my present subject, I hope I may be excused if I enter somewhat at length into its bearings, and endeavour to justify the conclusion at which I have myself arrived. In the absence of any treatise which can be supposed to lay down rules for playing or singing in parts, the advocates of the affirmative side of the question have grounded their opinion on some scattered passages which seem to imply a knowledge of counterpoint. One of the most important occurs in Plato de Legg. lib. viT. § 16. TovToov TOLvvv C6i X'^P^^ '^^^^ (pOoyyoi^ Ti]^ vpm Trpos- XPwOaiy aaCprjveia^ kveKa rcoi/ yopctiov^ tov T€ KiOapLCTTrjv Kai Tov Traidevdjuevov^ aTTOoioovTa^ Trpo^^ppca to, (pOeyfxaTa tols ^pOey/uaat* tyjv de €T(^po(pwvLav Kcti iroiKiXiav tyj^ Xvpas^ aXXa
