"The 22d of November, being St Cecilia's day, is observed throughout all Europe by the lovers of music. In Italy, Germany, France, and other countries, prizes are distributed on that day, in some of the most considerable towns, to such as make the best anthem in her praise. . . . . . On that day, or the next when it falls on a Sunday,... most of the lovers of music, whereof many are persons of the first rank, meet at Stationers' Hall in London, not through a principle of superstition, but to propagate the advancement of that divine science. A splendid entertainment is provided, and before it is always a performance of music, by the best voices and hands in town; the words, which are always in the patronesses praise, are set by some of the greatest masters. This year [1691] Dr John Blow, that famous musician, composed the music; and Mr D'Urfey, whose skill in things of that nature is well known, made the words, Six stewards are chosen for each ensuing year; four of which are either sons of quality or gentlemen of note, and the two last either gentlemen of their majesties music, or some of the chief masters This feast is one of the genteelest in the world; there are no formalities nor gatherings as at others, and the appearance there is always very splendid. Whilst the company is at table, the hautboys and trumpets play successively." in town. per The merit of the following Ode has been so completely lost in that of "Alexander's Feast," that few readers give themselves even the trouble of attending to it. Yet the first stanza has exquisite merit; and although the power of music is announced, in those which follow, in a manner more abstracted and general, and, therefore, less striking than when its influence upon Alexander and his chiefs is placed before our eyes, it is perhaps only our intimate acquaintance with the second ode that leads us to undervalue the first, although containing the original ideas, so exquisitely brought out and embodied in " Alexander's Feast." SONG FOR ST CECILIA'S DAY, 22D NOVEMBER, 1687. I. FROM harmony, from heavenly harmony, And could not heave her head, The tuneful voice was heard from high, "Arise, ye more than dead." Then cold, and hot, and moist, and dry, In order to their stations leap, And Music's power obey. From harmony, from heavenly harmony, This universal frame began; From harmony to harmony Through all the compass of the notes it ran, II. What passion cannot music raise and quell? That spoke so sweetly, and so well. III. The trumpet's loud clangor And mortal alarms. The double, double, double beat, *The diapason, with musicians, is a chord including all notes. Perhaps Dryden remembered Spenser's allegorical description of the human figure and faculties: "The frame thereof seem'd partly circular, Fairy Queen, Book II. canto ix. stanza 22. IV. The soft complaining flute, The woes of hopeless lovers; Whose dirge is whisper'd by the warbling lute. V. Sharp violins proclaim Their jealous pangs, and desperation, Depth of pains, and height of passion, VI. But, oh! what art can teach, Notes inspiring holy love, VII. Orpheus could lead the savage race; But bright Cecilia raised the wonder higher; * St Cecilia is said to have invented the organ, though it is not known when or how she came by this credit. Chaucer introduces her as performing upon that instrument : "And while that the organes maden melodie, To God alone thus in her heart sung she." GRAND CHORUS. As from the power of sacred lays So when the last and dreadful hour The descent of the angel we have already mentioned. She thus announces this celestial attendant to her husband: "I have an angel which that loveth me; Is ready aye my body for to kepe." The Second Nonne's Tale. |