403 
O D I 
The third part is chiefly fpeculative, and confined to 
harmonics: forming the ficale, and dividing the mono¬ 
chord, by numbers, and giving rules for the proportions 
of organ-pipes, and the calling of bells. He fpeaks ot 
the three kinds of melody, “ De tribus generibus Canti¬ 
lena;” and, after defcribing the diatonic, chromatic, and 
enharmonic, of the ancients, he fupports his opinions by 
the authority of Nicomachus. Greek mufical authors, or 
at lead their doCtrines and technical, terms, feem familiar 
to Odington, who quotes the firft book of Euclid at the 
beginning of his work; and in this third part he gives the 
characters and names of the notes in the Greek fcale, and 
tranflates them into the fame language as MartianusCa- 
pella and Boethius. In his chapter “ De Organis com- 
ponendi,” he gives a diagram of numbers and intervals, 
in naming which by the letters of the alphabet he begins 
with the Greek T, and goes on from A to S. At the fide 
of the diagram he mentions the Greek names of the fe- 
veral tetrachords and confonances; with the numbers, 
tones, and femitones. All this is manifellly for the pro¬ 
portions of pipes in the inllrument called an organ, not 
the organum, or fecond voice-part in difcant, of which he 
treats in his laft book, as will appear farther on. This, 
and his chapter “ De Cymbalis faciendis,” or calling of 
bells, are curious, and the firft inftruCtions of the kind 
that v.c have ever leen among the MSS. of the middle ages. 
Names and figures occur in this work of fuch notes as 
were in ufe in the Weltern church before the invention 
of lines, many of which were not merely characters to 
exprefs the elevation and deprefiion of founds, but, ac¬ 
cording to Odington, thefe characters extended their im¬ 
port to the inflections of the voice in almolt every fpecies 
of interval, while groups of notes were exprelfed by a 
Angle term of art. After explaining thefe characters, he 
fpeaks of the modern expedient of naming the founds 
from the fyllables of the hymn “ Ut queant laxis,” &c. 
but without mentioning Guido. Then he gives the great 
fyltem or'fcale in feptenaries, after Guido’s manner, in 
capital, fmall, and double, letters. Here he fpeaks of 
voces lyubiles in the ancient manner, and of F quadrata, 
as ufed in mufica fnlfa, or tranfpofitions, not, fays he, 
“ per dilTonem, fed extranea et apud antiques inufitata.” 
Then he has a chapter “ De Mutationibus,” in which he 
explains the change of names in folmifation, in the fame 
manner as was done by fucceeding writers long after his 
time. The reft of this book is employed in defcribing 
different kinds of ecclefiaftical chants, and in giving rules 
for compofing them. Then, dividing the modes into au¬ 
thentic and plagal, he gives examples of canto fermo, 
which feem more florid than appear in miflals of the fame 
period. This is the molt complete defeription and no¬ 
tation of the ecclefiaftical chant that we have found in 
any author of equal antiquity. 
In thelaft part, befides the “ Cantus Menfurabilis,” he 
treats “ De Generibus Organorum, et de Compofitione 
Cantuum Organorum,” of organizing chants, or the 
compofition of organic or fecond parts to chants; and 
firft, “ De Organo puro.” Here we meet with all the 
technica of later times, as tenor, motetus, coloratus, canti¬ 
lena, and rondellus. The mufical examples, however, as 
ufual in old manuferipts, are incorreCt, and frequently 
inexplicable, owing to the ignorance of mufic in the 
tranferibers ; but, if this traCt were corrected, and fuch 
of the examples as are recoverable regulated and reftored, 
it \yould be the molt ample, fatisfaCtory, and valuable, 
which the middle ages can boaft ; as the curious enquirer 
into the ftate of mufic at this early period, may dilcover in 
it not only what progrefs our countrymen had made in 
the art themfelves, but the chief part of what was then 
known elfewhere. 
O'DIOUS, adj. [odieuoc, Fr. odinfus, Lat.] Hateful ; de- 
teftable ; abominable.—Expel from Italy that odious name. 
Dryden. 
She breathes the odious fume 
Of naufeous (teams, and poifons all the room. Granville. 
O. D O 
Expofed to hate.—Another means for raifing money, was, 
by enquiring after offences of officers in great place, who, 
as by unjuft dealing they became molt odious, fo by juftice 
in their puniffnnents the prince acquired both love and 
applaufe. Hayward.- —Caufing hate; invidious : 
The feventh from thee, 
The only righteous in a world perverfe. 
And therefore hated, therefore fo befet 
With foes, for daring fingle to be juft, 
And utter odious truth, that God would come 
To judge them with his faints. Milton's P. L. 
A word expreffive of difguft : ufed by women : 
Green fields, and fliady groves, and cryftal fprings, 
And larks, and nightingales, are odious things ; 
But fmoke, and dull, and noife, and crowds, delight. 
Young. 
O'DIOUSLY, ado. Hatefully; abominably: 
Had thy love, ftill odioujly pretended. 
Been as it ought, fincere, it would have taught thee 
Far other, reafonings. Milton's S. A. 
Invidioufly ; fo as to caufe hate.—Arbitrary power no 
lober man can fear, either from the king’s difpofition or 
his practice ; or even where you would odioujhj lay it, 
from his minifters. Dryden. 
O'DIOUSNESS, J'. Hatefulnefs.—Have a true fenfe of 
his fin, of its odioufnejs, and of its danger. Wake's Prep, 
for Heath. —The ftate of being hated.—There was left of 
the blood royal, an aged gentleman of approved goodnefs, 
who had gotten nothing by his coulin’s power but danger 
from him, and odioujnefs for him. Sidney. 
O'DIR, a fmall ifiand in the Eaftern Indian Sea, near 
the weft coaft of Aroo. Lat. 5. 23. S. Ion. 1 34. 58. E. 
O'DIUM, J~. [Latin.] Invidioufnefs; quality of pro¬ 
voking hate.— Projectors and inventors of new taxes, 
being hateful to the people, feldom fail of bringing odium 
upon their matter. Davenant. 
She threw the odium of the faCt on me, 
And publickly avow’d her love to you. Dryden. 
OD'NESS, a cape of Scotland, on the eaft coaft of the 
ifiand of Stronfa. Lat. 58. 59. N. Ion. 2. 26. W. 
O'DO, a Romifh faint, and abbot of Clugny in the 
tenth century, was of noble defeent, and born in the 
country of Maine, in the year 879. He received his early 
education in the palace of Foulques count of Anjou; and 
at the age of nineteen was made a canon of St. Martin’s at 
Tours. Afterwards he went to Paris, where he became a 
difciple of St. Remi of Auxerre. Having refolved to em¬ 
brace the monaltic life, in the year 912 he took the habit 
in the monaftery of Baume in the diocefe of Befangon, 
where he diltinguiftied himfelf by the practice of the molt 
auftere exercifes of the cloilter, and at the fame time fe- 
duloufly applied to the acquifition of fuch learning as the 
ignorance of the times permitted. On account of the fu- 
periority of his attainments, he was appointed to prefide 
over the fchool of the monaftery. About the year 926 
he received prieft’s orders ; and, in the following year, 
upon the death of Berno, firft abbot of Clugny, he was 
eleCted his fuccefior in that dignity. At this period the 
Latin monks had loft fight of all fubordination and difei- 
pline ; and part of them knew not, even by name, the 
rule of St. Benedict, which they were obliged to oblerve. 
Odo endeavoured with great zeal to correct thefe abufes. 
Fie not only obliged the monks to live in a rigorous ob- 
fervance of their rules, but alfo added to their difeipline 
new rites and ceremonies, which were attended with an 
air of fanCtity ; and, though in reality trifling and infig- 
nificant, were at the fame time fevere and burthenfome. 
The fame of this new rule of difeipline loon fpread all 
over Europe; and it was adopted in the greateft part of 
the ancient monalteries which had been founded in France, 
Germany, Italy, Britain, and Spain, as well as in the con¬ 
vents which had been newly-eftablifiied. So high was 
4 Odo’s 
