It is recorded that the greatest generals played on the lyre and the pipe, and that the armies of Sparta were fired to martial ardour by the strains of music. And what else is the function of the horns and trumpets attached to our legions? The louder the concert of their notes, the greater is the glorious supremacy of our arms over all the nations of the earth.

It was not therefore without reason that Plato regarded the knowledge of music as necessary to his ideal statesman or politician, as he calls him; while the leaders even of that school, which in other respects is the strictest and most severe of all schools of philosophy, sc. the Stoics. held that the wise man might well devote some of his attention to such studies. Lycurgus himself, the founder of the stern laws of Sparta, approved of the training supplied by music.

Indeed nature itself seems to have given music as a boon to men to lighten the strain of labour: even the rower in the galleys is cheered to effort by song. Nor is this function of music confined to cases where the efforts of a number are given union by the sound of some sweet voice that sets the tune, but even solitary workers find solace at their toil in artless song.

So far I have attempted merely to sound the praises of the noblest of arts without bringing it into connexion with the education of an orator. I will therefore pass by the fact that the art of letters and that of music were once united: indeed Archytas and Euenus held that the former was subordinate to the latter, while we know that the same instructors were employed for the teaching of both from Sophron, a writer of farces, it is true, but so highly esteemed by Plato, that he is believed to have had Sophron's works under his pillow on his deathbed:

the same fact is proved by the case of Eupolis, who makes Prodamus teach both music and literature, and whose Maricas, who was none other than Hyperbolus in disguise, asserts that he knows nothing of music but letters. Aristophanes Knights, 188. again in more than one of his plays shows that boys were trained in music from remote antiquity, while in the Hypobolimaeus of Menander an old man, when a father claims his son from him, gives an account of all expenses incurred on behalf of the boy's education and states that he has paid out large sums to musicians and geometricians.

From the importance thus given to music also originated the custom of taking a lyre round the company after dinner, and when on such an occasion Themistocles confessed that he could not play, his education was (to quote the words of Cicero) regarded as imperfect. Tusc. Disp. I. ii. 4.

Even at the banquets of our own forefathers it was the custom to introduce the pipe and lyre, and even the hymn of the Salii has its tune. These practices were instituted by King Numa and clearly prove that not even those whom we regard as rude warriors, neglected the study of music, at least in so far as the resources of that age allowed.

Finally there was actually a proverb among the Greeks, that the uneducated were far from the company of the Muses and Graces.

But let us discuss the advantages which our future orator may reasonably expect to derive from the study of Music. Music has two modes of expression in the voice and in the body; Music includes dancing. for both voice and body require to be controlled by appropriate rules. Aristoxenus divides music, in so far as it concerns the voice, into rhythm and melody, the one consisting in measure, the latter in sound and song. Now I ask you whether it is not absolutely necessary for the orator to be acquainted with all these methods of expression which are concerned firstly with gesture, secondly with the arrangement of words and thirdly with the inflexions of the voice, of which a great variety are required in pleading.

Otherwise we must assume that structure and the euphonious combination of sounds are necessary only for poetry, lyric and otherwise, but superfluous in pleading, or that unlike music, oratory has no interest in the variation of arrangement and sound to suit the demands of the case.

But eloquence does vary both tone and rhythm, expressing sublime thoughts with elevation, pleasing thoughts with sweetness, and ordinary with gentle utterance, and in every expression of its art is in sympathy with the emotions of which it is the mouthpiece.

It is by the raising, lowering or inflexion of the voice that the orator stirs the emotions of his hearers, and the measure, if I may repeat the term, of voice or phrase differs according as we wish to rouse the indignation or the pity of the judge. For, as we know, different emotions are roused even by the various musical instruments, which are incapable of reproducing speech.

Further the motion of the body must be suitable and becoming, or as the Greeks call it eurythmic, and this can only be secured by the study of music. This is a most important department of eloquence, and will receive separate treatment in this work. Book chap. iii.

To proceed, an orator will assuredly pay special attention to his voice, and what is so specially the concern of music as this? Here too I must not anticipate a later section of this work, and will content myself by citing the example of Gaius Gracchus, the leading orator of his age, who during his speeches had a musician standing behind him with a pitchpipe, or tonarion as the Greeks call it, whose duty it was to give him the tones in which his voice was to be pitched.

Such was the attention which he paid to this point even in the midst of his most turbulent speeches, when he was terrifying the patrician party and even when he had begun to fear their power. I should like for the benefit of the uninstructed, those creatures of the heavier Muse, as the saying is, to remove all doubts as to the value of music.

They will at any rate admit that the poets should be read by our future orator. But can they be read without some knowledge of music? Or if any of my critics be so blind as to have some doubts about other forms of poetry, can the lyric poets at any rate be read without such knowledge? If there were anything novel in my insistence on the study of music, I should have to treat the matter at greater length.

But in view of the fact that the study of music has, from those remote times when Chiron taught Achilles down to our own day, continued to be studied by all except those who have a hatred for any regular course of study, it would be a mistake to seem to cast any doubt upon its value by showing an excessive zeal in its defence.

It will, however, I think be sufficiently clear from the examples I have already quoted, what I regard as the value and the sphere of music in the training of an orator. Still I think I ought to be more emphatic than I have been in stating that the music which I desire to see taught is not our modern music, which has been emasculated by the lascivious melodies of our effeminate stage and has to no small extent destroyed such manly vigour as we still possessed. No, I refer to the music of old which was employed to sing the praises of brave men and was sung by the brave themselves. I will have none of your psalteries and viols, that are unfit even for the use of a modest girl. Give me the knowledge of the principles of music, which have power to excite or assuage the emotions of mankind.

We are told that Pythagoras on one occasion, when some young men were led astray by their passions to commit an outrage on a respectable family, calmed them by ordering the piper to change her strain to a spondaic measure, while Chrysippus selects a special tune to be used by nurses to entice their little charges to sleep.

Further I may point out that among the fictitious themes employed in declamation is one, doing no little credit to its author's learning, in which it is supposed that a piper is accused of manslaughter because he had played a tune in the Phrygian mode as an accompaniment to a sacrifice, with the result that the person officiating went mad and flung himself over a precipice. If an orator is expected to declaim on such a theme as this, which cannot possibly be handled without some knowledge of music, how can my critics for all their prejudice fail to agree that music is a necessary element in the education of an orator?