XIII. The case is, that this change of modes, contains at the bottom a certain venom, which Cicero gives an admirable description of; for he remarks, that in Greece, with the same pace manners declined towards corruption, music declined from its antient majesty, towards an affected softness; either because an effeminate music corrupted the integrity of men’s minds, or because a vitiated and depraved music debauches their taste, and inclines them to relish those bastard melodies, which, as symbols of, are best suited to their perverted manners: _Civitatumque hoc multarum in Græcia interfuit, antiquum vocum servare modum: quarum mores lapsi, ad mollitiem pariter sunt immutati in cantibus; aut hac dulcedine, corruptelaque depraviti, ut quidam putant: aut cum severitas morum ob olia vitia cecidisset, tum fuit in auribus, animisque mutatis etiam huic mutationi locus._ (Lib. 2. de Legibus.) So that the taste for this effeminate music, is the effect or cause of some relaxation in the mind. I would not however be understood to say, that all those who have a taste for such music, are tainted with this defect. Many of strict and incorruptible virtue, whom no vitiated music can warp, seem to approve it; but they in general do this, because they hear it is the fashion: and even many, though in reality they do not relish it, are led to say they do, only because they would not be looked upon as people wedded to, and prejudiced in favour of antiquated customs, and as persons, who are not possessed of faculties, capable of relishing the fine taste of the moderns. SECT. V. XIV. I am ready however to confess, that there have lately been published some excellent compositions, both with respect to the pleasing elegance of their taste, and the subtilty of the art displayed in them; but by way of contrast to these, which are very rare, an innumerable quantity of others have been produced, that to the ears are insufferable. This arises, partly from people undertaking to compose, who are not capable of doing it; and partly from ordinary composers pretending to take licences, which should only be attempted by great masters.