With these four perfect forms of Christian chant, of which we may take for pure examples the "Te Deum," the "Te Lucis Ante," the "Amor che nella mente,"[66] and the "Chant de Roland," are mingled songs of mourning, of Pagan origin (whether Greek or Danish), holding grasp still of the races that have once learned them, in times of suffering and sorrow; and songs of Christian humiliation or grief, regarding chiefly the sufferings of Christ, or the conditions of our own sin: while through the entire system of these musical complaints are interwoven moralities, instructions, and related histories, in illustration of both, passing into Epic and Romantic verse, which gradually, as the forms and learnings of society increase, becomes less joyful, and more didactic, or satiric, until the last echoes of Christian joy and melody vanish in the "Vanity of human wishes." 43. And here I must pause for a minute or two to separate the different branches of our inquiry clearly from one another. For one thing, the reader must please put for the present out of his head all thought of the progress of "civilization"--that is to say, broadly, of the substitution of wigs for hair, gas for candles, and steam for legs. This is an entirely distinct matter from the phases of policy and religion. It has nothing to do with the British Constitution, or the French Revolution, or the unification of Italy. There are, indeed, certain subtle relations between the state of mind, for instance, in Venice, which makes her prefer a steamer to a gondola, and that which makes her prefer a gazetteer to a duke; but these relations are not at all to be dealt with until we solemnly understand that whether men shall be Christians and poets, or infidels and dunces, does not depend on the way they cut their hair, tie their breeches, or light their fires. Dr. Johnson might have worn his wig in fullness conforming to his dignity, without therefore coming to the conclusion that human wishes were vain; nor is Queen Antoinette's civilized hair-powder, as opposed to Queen Bertha's savagely loose hair, the cause of Antoinette's laying her head at last in scaffold dust, but Bertha in a pilgrim-haunted tomb.