Let us now go to another class, which may be found in the same collection; I mean the bacchanalian. Men are invited here to sacrifice frequently at the shrine of Bacchus. Joy, good humour, and fine spirits, are promised to those, who pour out their libations in a liberal manner. An excessive use of wine, which injures the constitution, and stupifies the faculties, instead of being censured in these songs is sometimes recommended in them, as giving to nature that occasional stimulus, which is deemed necessary to health. Poets too, in their songs, have considered the day as made only for vulgar souls, but the night for the better sort of people, that they may the better pursue the pleasures of the bottle. Others have gone so far in their songs, as to promise long life as a consequence of drinking; while others, who confess that human life may be shortened by such means, take care to throw out, that, as a man's life thus becomes proportionably abridged, it is rendered proportionably a merry one. Now the Quakers are so particularly careful with respect to the use of wine and spirituous liquors, that the society are annually and publicly admonished to beware of excess. Quakers are discouraged from going even to inns but for the purposes of business and refreshment, and are admonished to take care, that they stay there no longer than is necessary for such purposes. The Quakers therefore, cannot be supposed to approve of any of the songs of this class, as far as they recommend or promote drunkenness. And they cannot but consider them as containing sentiments injurious to the morals of their children.
But let us examine another class of songs, that may be found in the same collection. These may be denominated martial. Now what is generally the tenor of these songs? The authors celebrate victories. They endeavour, regardless of the question, whether their own cause be a right or a wrong one, to excite joy at the events, it is their aim frequently to rouse the soul to the performance of martial exploits, as to exploits the fullest of human glory. They frequently threaten enemies with new chastisements, and new victories, and breathe the spirit of revenge. But the Quakers consider all wars, whether offensive or defensive, as against the spirit of the christian religion. They cannot contemplate scenes of victory but with the eye of pity, and the tear of compassion, for the sufferings of their fellow-creatures, whether countrymen or enemies, and for the devastation of the human race. They allow no glory to attach, nor do they give any thing like an honourable reputation, to the Alexanders, the Caesars, or the heroes either of ancient or modern date. They cannot therefore approve of songs of this class, because they conceive them to inculcate sentiments, totally contrary to the mild and peaceful spirit of the christian religion.
If we were to examine the collection farther, we might pick out other songs, which might be reckoned of the class of the impure. Among these will be found ideas, so indelicate, that notwithstanding the gloss, which wit and humour had put over them, the chaste ear could not but be offended by their recital. It must be obvious, in this case also, that not only the Quakers, but all persons filling the stations of parents, would be sorry if their children were to come to the knowledge of some of these.
It is unnecessary to proceed farther upon this subject. For the reader must be aware that, while the Quakers hold such sentiments, they can never patronise such songs; and that if those who are taught or allowed to sing, generally lay hold of all the songs that come into their way, that is, promiscuously and without selection. The Quakers will have a strong ground as a Christian society, or as a society, who hold it necessary to be watchful over their words as well as their actions, for the rejection of vocal music.
SECT. IV.
The preceding are the arguments of the early Quakers—new state of music has produced new ones—instrumental now censurable for a waste of time—for leading into company—for its connection with vocal.
The arguments which have hitherto appeared against the admission of music into education, are those which were nearly coeval with the society itself. The incapability of music to answer moral ends, the sensuality of the gratification, the impediments it might throw in the way of religious retirement, the impurity it might convey to the mind, were in the mouths of the early Quakers. Music at that time was principally in the hands of those, who made a livelihood of the art. Those who followed it as an accomplishment, or a recreation, were few and these followed it with moderation. But since those days, its progress has been immense. It has traversed the whole kingdom. It has got into almost all the families of rank and fortune. Many of the middle classes, in imitation of the higher, have received it; and, as it has undergone a revolution in the extent, so it has undergone another in the object of its practice. It is learned now, not as a source of occasional recreation, but as a complicated science, where perfection is insisted upon to make it worthy of pursuit. In this new state therefore of music new arguments have arisen on the part of the Quakers, which I shall now concisely detail.
The Quakers, in the first place, are of opinion, that the learning of music, as it is now learned, cannot be admitted by them as a christian society, because, proficiency being now the object of it, as has been before observed, it would keep them longer employed, than is consistent with people, who are commanded to redeem their time.
They believe also that music in its present state, has an immediate tendency to leading into the company of the world. In former tunes, when music was followed with moderation, it was esteemed as a companion, or as a friend: it afforded relaxation after fatigue, and amusement in solitary hours. It drew a young person to his home, and hindered him from following many of the idle diversions of the times. But now, or since it has been practised with a new object, it produces a different effect. It leads into company. It leads to trials of skill. It leads to the making up of festive parties. It leads, for its own gratification, to the various places of public resort. Now this tendency of leading into public is considered by the Quakers as a tendency big with the dissolution of their society. For they have many customs to keep up, which are quite at variance with those of the world. The former appear to be steep and difficult as common paths. Those of the world to be smooth and easy. The natural inclination of youth, more prone to self-gratification than to self-denial, would prefer to walk in the latter. And the influence of fashion would point to the same choice. The liberty too, which is allowed in the one case, seems more agreeable than the discipline imposed in the other. Hence it has been found, that in proportion as young Quakers mix with the world, they generally imbibe its spirit, and weaken themselves as members of their own body.
The Quakers again, have an objection to the learning of instrumental music on account of its almost inseparable connection with vocal, in consequence of which, it leads often to the impurity, which the latter has been shewn to be capable of conveying to the mind.
This connection does not arise so much from the circumstance, that those, who learn to play, generally learn to sing, as from another consideration. Musical people, who have acquired skill and taste, are desirous of obtaining every new musical publication, as it comes out. This desire is produced where there is an aim at perfection in this science. The professed novel reader, we know, waits with impatience for a new novel. The politician discovers anxiety for his morning paper. Just so it is with the musical amateur with respect to a new tune. Now, though many of the new compositions come out for instrumental music only, yet others come out entirely as vocal. These consist of songs sung at our theatres, or at our public gardens, or at our other places of public resort, and are afterwards printed with their music, and exposed to sale. The words therefore, of these songs, as well as the music that is attached to them, fall into the hands of the young amateur. Now as such songs are not always chaste, or delicate, and as they frequently contain such sentiments, as I have shewn the Quakers to disapprove, the young musician, if a Quaker, might have his modestey frequently put to the blush, or his delicacy frequently wounded, or his morality often broken in upon, by their perusal. Hence, though instrumental music might have no immoral tendency in itself, the Quakers have rejected it, among other reasons, on account of its almost inseparable connection with vocal.
SECT. V.
Objection anticipated, that though