1874.! Notices of Books. 519 
deafness, or was supposed to be a long way off; and perhaps 
that was the general style of Greek antiquity. It recalls Elijah’s 
mockery of the priests of Baal—telling them to ‘cry aloud: 
peradventure he sleepeth, and must be awakened.’” But for 
ordinary purposes the Greek compass was much the same as 
that of the present day. The various Greek octaves were called 
Lydian, Phrygian, Dorian, &c., by Euclid, Gaudentius, and 
other writers. 
Any time during the last two centuries the question whether 
the Greeks practised simultaneous consonances mixed with dis- 
cords (what we call harmony) has been discussed. It was 
discovered that ‘Apyorvr’a does not mean simultaneous concordant 
sounds: ovpgwua is the word for simultaneous consonance, but 
this was generally not allowed, ‘If the enquiry had been 
pursued in the only proper way, by searching for and comparing 
Greek definitions of harmonia, its meaning would inevitably 
have been traced to the theory and practice of music, and 
identical with the later word Harmonike. Harmonia includes 
poetry united with music, but not poetry alone, and so it has a 
more restricted sense than Mousike. Again, the chanting of 
poetry, though unregulated by musical intervals, is melodia, and 
the metre of poetry brings it within the. denomination of 
Mousike; but it is not harmonia. So that the primary transla- 
tion of the word harmonia is our ‘ music.’”” Mr. Chappell quotes 
various ancient authors to prove that harmony was well known 
to and employed by the Greeks. He quotes, among other 
authors, Seneca and Cicero: the former says—‘‘ And now to 
music: you teach how voices high and low make harmony to- 
gether, how concord may arise from strings of varying sounds.” 
(Is not this rather a free translation Mr. Chappell? ‘‘ Doces me 
quomodo inter se acute et graves voces consonent, quomodo 
nervorum disparum reddentium sonum fiat concordia.”) ‘Teach 
rather how my mind can be in concord with itself, and my 
thoughts be free from discord.” Cicero, in the second book of 
the ‘“‘ Republic,” says—‘ For as in strings or pipes, or in vocal 
music, a certain consonance is to be maintained out of different 
sounds, which, if changed or made discrepant, educated ears 
cannot endure; and as this consonance, arising from the control 
of dissimilar voices, is yet proved to be concordant and agreeing, 
—so, out of the highest, the lowest, the middle, and the inter- 
mediate orders of men, as in sounds, the State becomes of accord 
through the controlled relation, and by the agreement of dissi- 
milar ranks; and that which, in music, is by musicians called 
harmony, the same is concord in a State.” Mr. Chappell consi- 
ders that Cicero’s mere definition of the word concentus, and the 
assertion of Aristotle that ‘‘all concordant sounds are more - 
agreeable than single notes, and of concords the octave is the 
most agreeable,” are alone sufficient to prove that the Greeks 
were acquainted with harmony. ‘ But,” he adds very happily, 
