Style of a Purcel or Corelli. This is owing to successive Improvements. The Ear is formed to an elegant Judgment by Degrees. What is harsh and harmonious is discovered and corrected. By many Advantages, some at last come to find out what, in the whole Compass of Sounds, is most soft and touching, most brisk and enlivening, most lofty and elevating. So that whatever the Artist intends, whether to set an Air, or compose a Te Deum, he does either, with an equal Genius, that is, with equal Propriety and Elegance. Thus long ago,
Timotheus to his breathing flute, and sounding Lyre, Could swell the Soul to Rage, or kindle soft Desire. And, Thus David's Lyre did Saul's wild Rage controul, And tune the harsh Disorders of his Soul.
This may direct us to another Cause, from whence a Genius arises: A Genius that is formed and acquired. For the Turn that Education, Company, Business, the Taste of the Age, and above all, Principles of vitious or virtuous Manners, give to a Man's natural Capacities, is what chiefly forms his Genius. Thus we say of some, they have a rude unpolish'd Genius; of others, they have a fine, polite Genius. The manner of applying the natural Powers of the Mind, is what alone may produce the most different and opposite Genij. Libertine Principles, and Virtuous Morals, may form the Genius of a Rake, from the same natural Capacity, out of which Virtuous Principles might have form'd an Hero.
There is certainly in our natural Capacities themselves, a Fitness for some Things, and Unfitness for others. Thus whatever great Capacities a Man may have, if he is naturally timorous, or a Coward, he never can have a Warlike Genius. If a Man has not a good Judgment, how great soever his Wit may be, or polite his Manners, he never will have the Genius of a Statesman. Just as strong Sounds and brisk Measures can never touch the softer Passions. Yet as the Art and Skill of the Composer, is required to the Genius of Musick, so is a Knowledge of the Force and Power of the natural Capacity, and a judicious Application of it to the best and most proper Purposes, what forms a Genius for any Thing. This is the effect of Care, Experience and a right Improvement of every Advantage that offers. On this Observation Horace founded his Rules for a Poetical Genius.
Versate diu quid sere recusent Quid valeant humeri. And, Ego nec studium sine divite vena, Nec rude quid profit video ingenium.
To speak my Thoughts, I hardly know What witless Art, or artless Wit can do.
The same Observation in another kind is elegantly described by Mr. Waller.
Great Julius on the Mountains bred, A Flock perhaps, or Herd had led. He that the World subdued, had been But the best Wrestler on the Green. 'Tis Art and Knowledge that draw forth The hidden Seeds of Native Worth. They blow those Sparks, and make 'em rise Into such Flames as touch the Skies.
The High and Martial Spirit of Casar would have inclined and fitted him, to gain the Prize of Wrestling above any Country Sport. But it was the Circumstance of his own Birth and Fortune, the State and Condition of the Commonwealth, and the Concurrence of many other Advantages, which he improv'd with great Care and Application, that made him a finish'd Genius, both in Arms and Policy.
There is yet another Thing of Consequence to a true Genius in Musick. A Knowledge of the Compass and peculiar Advantages of each several Instrument. For the same Composition will very differently touch both the Ear and the Mind, as perform'd by a Flute, or Trumpet, an Organ, or a Violin. A difference of which, all discern by the Ear, but which requires a judicious Observation in the Composer. Mr. Hughes has thus express'd their different Powers.
Let the Trumpet's shrill Voice, And the Drum's thundering Noise Rouse every dull Mortal from Sorrow profound. And, Proceed, sweet Charmer of the Ear, Proceed, and through the mellow Flute, The moving Lyre, And Solitary Lute, Melting Airs, soft Joys inspire, Airs for drooping Hope to hear. And again, Now, let the sprightly Violin A louder Strain begin: And now, Let the deep mouth'd Organ blow, Swell it high and Sink it low. Hark! how the Treble and the Base In wanton Fuges each other chase, And swift Divisions run their Airy Race. Thro' all the travers'd Scale they fly, In winding Labyrinths of Harmony, By turns They rise and fall, by Turns we live and die.
One might not unfitly compare to this difference of Instruments, the different Make and Constitution of Mens Bodies, with the Influence they have, and the Impression they make on their Minds, Passions and Actions. From hence alone they may know much, how
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