mortals, and the invention of the seven-stringed vina is attributed to the god Nareda. Saraswati, the Minerva of the Hindoos, is represented playing on the lute, Krishna on the transverse flute, and harpists are adorned with wings.
In Egypt, the formation of the three-stringed lyre is attributed to one of the secondary gods. Osiris is regarded as the giver of the flute, Isis of songs, and Thoth of musical theory. In Egyptian hieroglyphics the nofre, a long-necked stringed instrument played with the hands, is labeled "good." In a satiric papyrus, now at Turin, Rameses III, as a lion, is playing chess with a favorite, figuring as a gazelle; and in another papyrus in the same collection these characters reappear playing respectively a lyre and harp, a crocodile is performing on a nofre and a slave on the double pipes. Music occupied a much more important place in the religion and daily life of Eastern peoples than it does among ourselves, where it is often regarded as an ordinary amusement or diversion, and unworthy any higher function. Hence the unwillingness so commonly manifested by very many religionists, having the best possible intentions—who accept the Bible, and think they regard all its teachings—to be cross-questioned with reference to their belief in its many statements respecting this art. They find the sacred writings of the Hebrews bearing testimony to its worth and power as well and fully as those of other ancient nations, and that not only the Jews (who were always extremely fond of and susceptible to its influence) are addressed, but also succeeding Christians; for, according to the New Testament, the blessed ones in heaven are unceasingly occupied in music.
The Hebrews were taught that Jehovah gave Moses special directions for the making of silver trumpets and a code of signals. They were allowed to mend musical instruments in the Temple on the Sabbath-day; believed the art to be efficacious in curing mental aberration, and the prophets not only employed it, but, as in the case of Elisha, appear to have found its use essential. Their music-schools, the arrangements for the Temple-worship, the various styles of composition adapted to different social occasions, prove the time and thought spent in the practice of music to have been, at least from our point of view, excessive; yet in no passages is long-continued indulgence in its exercise censured or moderation advised. The high estimation in which this art was held in times long past and our difficulty in understanding the matter find an illustration in the meeting of Saul with the company of prophets descending a hill, each playing upon a musical instrument. It would seem exceedingly strange to us if a king or president should meet and join a body of learned men in a similar manner.
The technical study of Oriental systems of music is rendered difficult from the fact that these are overlaid with a mass of symbolism, that makes accurate, positive definition frequently unattainable.
