S72 L O 
tom was fet again ft a lock of wool, and the found was 
quite deaded. Bacon. —They nourifh ontya lock of hair on 
the crown of their heads. Sandys's Travels. —A fluice, or 
floodgate on a river. See the article Canal Naviga¬ 
tion, vol. iii. p. 69a & feq.—To deftroy any fluice or 
lock on a navigable river, is made felony without benefit 
of clergy ; and the offender may be tried, as well in an 
adjacent county, as in that wherein the aft i? committed. 
Scat. 8 Geo. II. c. 20. made perpettiai by 17 Geo. II. c. 16. 
To LOCK, v. a. To flint or fallen with locks : 
The garden, feated on the level floor, 
She left behind ; and, locking ev’ry door, 
Thought all fecure. Dryden. 
To flrut up or confine, as with locks.—Always lock up a 
cat in a clofet where yon keep your china plates, for fear 
the mice may fteal in and break them. Swift. 
I am loekt in one of them ; 
If you do love me, you will find me out. Shakefpcare. 
Then feek to know thofe things which make us blefl ; 
And, having found them, lock them in thy breall. Denham. 
To clofe fall.—Death blafts his bloom, and locks his fro¬ 
zen eyes. Gay. 
To LOCK, v. n. To become fall by a lock* 
For not of wood, nor of enduring brafs. 
Doubly difparted it did lock and clofe, 
That, when it locked, none might through it pafs. F. Queen. 
To unite by mutual infertion.—Either they lock into each 
other, or flip one upon another’s furface ; as much of their 
Surfaces touches as makes them cohere. Boyle. 
LOCK (Matthew), organift and compofer to king 
Charles II. was a native of Exeter, and a chorilter in the 
cathedral of that city, while William Wake was organifl: 
there. He had afterwards inftruftions in nulic from Ed¬ 
ward Gibbons; and had fo much diftir.guifhed himfelf as 
a profeflor, that we are told, in the Continuation of Sir 
Richard Baker’s Chronicle, he was appointed to compofe 
the mufic for the public entry of the king at the reftora- 
tion. But he feems firft to have appeared as an author in 
1657, during the interregnum, by the publication of his 
“ Little Confort of three parts for viols or violins, confift- 
ing of pavans, ayres, corants, farabands, in two feveral 
varieties; the firft twenty of which are for two trebles and 
a bafe.” Some of his compofitions appear in the fecond 
part of John Playford’s continuation of Hilton’s Catch 
that catch can, in 1667. Of which -publication, the fe¬ 
cond part contains “ Dialogues, Glees, Ayres, and Bal¬ 
lads, of two, three, and four, voices ;” among which we 
find the moll pleating of Lock’s compofitions; “Never 
trouble thyfelf about times or their turnings,” a glee for 
three voices. 
Lock was the firft who attempted dramatic mufic for 
the Englifli ftage, if we except the mafques that were per¬ 
formed at court, and at the houfes of the nobility, in the 
time of Charles I. and II. When mufical dramas were 
dirft attempted, which Dryden calls heroic plays and dra¬ 
matic operas, Lock was employed to fet moil of them. 
Circe, written by fir William Davenant’s fon, Dr. Dave- 
nant, was fet by Bannifter ; but the femi-operas, as they 
were called, the Temped, Macbeth, and Pfyche, tranflated 
from the French of Moliere by Shadwell, were fet to mu¬ 
fic "by Lock. The Tempeft and Pfyche were performed 
in 1673, with mufic, dancing, and fplendid feenes; but 
not printed till 1675; w'hen it was publifhed with the fol¬ 
lowing title: “ The Englifli Opera; or the vocal Mufic 
in Pfyche, with the inftrumental therein intermixed. To 
which is adjoined the inftrumental Mufic in the Tempeft. 
\By Matthew Lock, Compofer in ordinary to his Majefty, 
and Organilt to the Queen.” This publication is dedi¬ 
cated to James duke of Monmouth. There is a preface 
of fome length by the compofer, Matthew Lock, which, 
like his mufic, is rough and nervous, exaftly correfpond- 
sng with the idea which is generated of his private cha- 
C K. 
rafter, by the perufal of his controverfy with Salmon, 
and the fight of his pifturein the mufic-fchool at Oxford. 
It is written with that natural petulance which probably 
gave birth to mod of the quarrels in which he was in¬ 
volved. He begins with a complaint of the tendency of 
his brother-muiicians “ to peck and carp at other men’s 
conceptions, how mean foever may be their own.” And, 
expecting to fall under the lath of “ fome foft-lieaded 
or hard-hearted compofer,” he fets about removing “the 
few blocks at which they may take occafion to Hum¬ 
ble,” with a degree of indignation that implies a fpirit 
under no great governance. The firft objeftion which he 
thinks likely to be made is to the word opera ; to which 
he anfwers, that it is a word borrowed from the Italian, 
who by it diftinguifhed this kind of drama from their co¬ 
medies, which, after a plan is laid, is fpoken extempore; 
whereas this is not only defigned, but written, with art 
and indullry; and afterwards fet to fuitable mufic. In 
which idea lie has produced the following compofitions, 
which, for the moft part, are “in their nature foil, eafy," 
and, as far as his abilities could reach, agreeable to the 
defign of the poet. For in them there is ballad to iingle 
air, counterpoint, recitative, fugue, canon, and chroma¬ 
tic mufic ; which variety, without vanity be it faid, was 
never in court or theatre till now prefented in this na¬ 
tion.” Pie confefles, however, that fomething had been 
attempted before in this way of compofition, but more 
by himfelf than any other. And adds, “ that the author 
of the drama prudently confidering, that, though Italy 
was and is the great academy of the world for mufic and 
this fpecies of entertainment, yet, as this piece was to be 
performed in England, which is entitled to no fuch praife, 
he mixed it with interlocutor, as more proper to our ge¬ 
nius.” Here we have a fliort hiftory of thefe early at¬ 
tempts at dramatic mufic on our ftage, in which, as in the 
moft fuccefsful reprefentations of this kind in later times, 
the chief part of the dialogue was fpoken ; and recitative, 
or mufical declamation, which feems to be the true crite¬ 
rion and charafteriftic of Italian operas, but feldom uled, 
unlefs merely to introduce fome particular airs and 
chorufes: as in, the modern Comus, the air, “ On ev’ry 
bill, in ev’ry dale,” is preceded by the fliort recitative 
“ How gentle was my Damon’s air.” 
Upon examining this mufic, it appears to have been 
compofed very much on Lulli’s model. The melody is 
neither recitative nor air, but partaking of both, with a 
change of meafure as frequent as in any old French opera. 
Lock had genius and abilities in harmony fufficient to 
have furpafled his model, or to have caft his movements 
in a mould of his own making; but fuch was the paflion 
of Charles II. and confequently of his court at this time, 
for every thing French, that in all probability Lock was 
inftrufted to imitate Cambert and Lulli. Plis mufic for 
the witches in Macbeth, which, when produced in 1674, 
was as fmooth and airy as any of the time, has now ob¬ 
tained, by age, that wild and favage caft which is admi¬ 
rably fuited to the infernal cliarafters that are fuppofed to 
perform it. 
This mufician was of fo irafcible a difpofition, that he 
feems never to have been without a quarrel or two on his 
hands, He had a quarrel with the gentlemen of the cha¬ 
pel royal, early in Charles II’s reign. Being compofer 
in ordinary to the king, he produced for the chapel royal 
a morning fervice, in which he fet the prayer after each 
of the ten commandments to different mufic from that 
to which the fingers had been long accuftomed, which 
was deemed an unpardonable innovation; and, on the 
firft day of the performance of it before the king, 
there was a difturbance, and an obftruftion for fome time 
to the fervice. To convince the public that it was not 
from the meannefs or inaccuracy of the compofition that 
this impediment to its performance happened, Lock 
thought it neceftary to print the whole fervice ; and it 
came"abroad, in fcore, on a fingle ftieet, with a long and 
laboured vindication, by way of preface, under the fol¬ 
lowing 
