The World's Earliest Music: Traced to Its Beginnings in Ancient Lands by Collected Evidence of Relics, Records, History, and Musical Instruments from Greece, Etruria, Egypt, China, Through Asyria and Babylonia, to the Primitive Home, the Land of Akkad and SumerSmith, Hermann
History
The World's Earliest Music: Traced to Its Beginnings in Ancient Lands by Collected Evidence of Relics, Records, History, and Musical Instruments from Greece, Etruria, Egypt, China, Through Asyria and Babylonia, to the Primitive Home, the Land of Akkad and Sumer
Smith, Hermann
Music -- To 500 -- History and criticism
stage of mind at which the Chinese stay—checked, undeveloped. The
development of the mind of the child life that is growing around our
feet we watch with never-failing interest, well knowing that childish
things will be put away, and its illusionary world will fade and be as
a world of dream. Yet the future of the Chinese we cannot so interpret
by any signs of the present outlook, nor imagine how many centuries
must pass before their minds can be fitted to work in parallel grades
with European thought and culture.
CHAPTER XXIV.
Evolution of the Lyre, Harp, and Lute.
THE BOW WITH THE BOAT.
Art is always the superfluous. Food and shelter are the first
necessaries, they drive man into direct courses of activity; he becomes
a fruit gatherer, a hunter in forests, a hut builder, or cave dweller;
his intelligence prompts him to the making of bows and to using of
arrows, and this is an advance in mechanical perception; beyond the
mere force of darts or spears in this new aid to his strength. After
his chief wants are satisfied he has leisure, and his instinct, after
rest, is towards activity of some kind, and what he does then is
pass-time. To please himself, that is the object of his exertion,
willingly he undergoes much to this end.
The man who first fixed a second string to his bow began the art of
making stringed instruments of music. In the chase this second string
is of no use to him. He put it there solely for his pleasure. Many a
morn preparing his bow for the chase, many an eve, ere setting it
aside unstrung, he has “heard the tense string murmur,” has listened
and the sound has pleased him; it is the voice of the string; a chance
wish comes into his quiet mood, and from desire to gain another sound,
he adds another string to please him more.
The beginning of a lyre is in the bow; but something beyond is needed
for the endurance of the sounds, and the aid required is found in
the boat allied with the bow. When the hunter came down from the
mountains and the dark forests, into the vast fertile valleys of the
great rivers, he naturally turned his industry to cultivation of the
land, and here, amongst the water-courses set himself to the task of
constructing boats, that he might go hither and thither. Perhaps the
bark of old fallen trees prompted his first ventures, or as native
races do at this day, he made a boat of papyrus stems, plaiting
them together; the flowering ends of the stalks closely gathered
up, naturally curved forming the prow, and in this way, leaving the
after portions to be spread out, filled in between a floor of reeds
in such a fashion as would produce a floating raft, or a carrying
vessel capable of bearing him and the produce he would convey upon the
waters. Singularly enough this simple craft presents an appearance that
may have furnished the idea of a prow. The prow is so persistent a
feature in the build of ancient vessels, that possibly its ornamental
retainment maybe due to the early rudimentary possession.
Public-domain text, read in full here on John Shaqi.
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