not a difference in kind: in other words, that when by means of the motion of the atmosphere, the larger divisions of time are rendered perceptible to the sense of hearing, those divisions are all expressed by terms relating to time; but when these divisions are too minute for the ear to take cognizance of its separate and individual vibrations or knocks, it is then expressed by terms relating to tune: and though, according to the ordinary conception, time and tune have no relation the one to the other, it is nevertheless a fact that in strict truth they are one, and not two, both in relation to cause and effect. Again, duration cannot be said to relate to time, in the sense of its corresponding to tune, being nothing more than another word for time: besides, correspondences are by discrete degrees, and here we are immersed in time only, which is altogether in the natural degree. But that time relates to, or rather corresponds to, truth, is confirmed by Swedenborg.

Mrs. C. next proceeds to state that "the soprano is feminine, and the bass masculine," which may be true for any thing I know to the contrary; but the truth cannot surely rest upon the mere circumstance that the soprano is suitable to the female, and the bass to the male voice; for if so, we would ask whether the voice of boys, to which the soprano is also adapted, be likewise feminine? And whether the falsetto, or head voice, in man, is feminine? Mrs. C. proceeds:—" But take woman's voice alone, and it divides into soprano and contralto; and man's voice divides into tenor and bass. Soprano is the voice of woman's affections, and contralto of woman's intellect. Tenor is the voice of man's affections, and bass of his intellect." But since the terms soprano, contralto, tenor, and bass, are at best but a convenient classification of the human voice generally, how can it be said that the woman's voice divides into soprano and contralto, or that the man's voice divides into tenor and bass? Will any one assert that these distinctions are consonant with nature-that every individual voice is precisely one of these four, and that no nicer shades are found to exist? And yet, unless this be really true, what becomes of Mrs. Child's very amusing, ingenious, and fanciful classification, but nevertheless doubtful correspondences?

Again :-"The air in music relates to the affections or sentiments, and the accompaniments to truth." Now upon this point I beg leave to differ entirely from Mrs. C., without, however, presuming to state authoritatively what is true, or what false, in reference to correspondences, except in so far as I am supported by Swedenborg himself. To my apprehension the air operates its effects simultaneously upon the affections in conjunction with the intellect; and if so, the first link in the chain of correspondences is between the air and the intellect, and not with the

affections or sentiments, which correspond to the accompaniment. The reason is, the accompaniment, generally speaking, is only listened to, as it were, indirectly:-we hear it and do not hear it,--it is to the ear and mind what surrounding objects are to the sight; while our minds are directly engaged upon some one object in particular: in both cases its details affect us in some mysterious way or other; but the impression they make is more or less obscure, equivocal, and evanescent. And why is this, but from the very circumstance that the light of the intellect (the mind's eye) is only in an indirect way drawn thereto? Furthermore, in the accompaniment, the amount of particulars is commonly vastly greater than in the air itself, and, in many instances, such as entirely to transcend the grasp of the intellect, especially to follow or attend to; which are, nevertheless, neeessary to the general effect; more especially to that luxurious fulness of enjoyment in which we feel ourselves lifted up, and conducted through states of joy; breathing, as it were, in a vast atmosphere of sound. Who at such a time attends to the details of a multifarious accompaniment? Would not the affections be suddenly chilled, if not frozen, by the very attempt? And would not even the intellectual powers be diverted thereby from ends to means; and thus the soul itself experience a fall, as from heaven to earth? But though the details of an elaborate accompaniment may be too vast for the intellect, it does not follow but that the affections may be competent to the task; and that this view is in agreement with the writings of Swedenborg, no one, I think, will deny, who has studied his works; for, does he not everywhere maintain the supremacy of the affections, and of the innumerable things contained in any single affection, over the intellect? From these considerations, I presume that the accompaniment corresponds to the affections, and not to the intellect.

Mrs. C. then goes on to speak of "the perfect chord of music-of the correspondence of the number 7 to the seven notes supposed to constitute the diatonic scale-of the 8th or octave," &c., in all of which she is, instead of natural truths, merely detailing a tissue of fallacies; the offspring of artificial systems, every one of which becomes dissipated before the light of science: and surely correspondences can have no connection with terms which, instead of describing things, and the truths of things, relate only to signs and appearances in which there is no truth. To attempt to prove this, in the present case, would be out of place; I shall therefore merely observe, that there is no one chord in music that has any exclusive claim to the title of perfect-that there is no scale in music by which we can ascend and descend by the same intervals; or, in other words, by taking the same series of sounds in a

reversed order. But in order to afford some evidence of this fact, let any one play the following series of notes, called the diatonic scale, on a piano-forte, or organ, by taking the notes indicated by the letters in the upper row, with the right hand, as treble notes, and those of the lower row, which are their fundamentals, with the left hand, as bass

notes; namely, in ascending,

C BAG FED C
C G F G G C G C

CDEFGA B C

C G C F GF GC and in descending, and he will find, that in ascending, the treble F demands F in the bass, for its fundamental; and that in descending, the note f in the treble, demands G in the bass, for its fundamental. Now if we inquire into the cause of this, it will be found that the ascending F, when in tune, differs considerably from the descending ƒ; and that ƒ requires to be much flatter than F: that in as far as the affections are concerned, F and ƒ are totally distinct; which will become the more apparent when played in full harmony. To this I will add, that F has relation to the numbers 1, 2, 4, 8, &c., which is real, and not merely artificial; and that ƒ has a real relation to the number 7; whence it follows that eight, and not seven sounds, are involved in this scale; and that the octave is in truth the ninth sound: and that though the notes F and ƒ are confounded, to suit practical convenience, they are in themselves two essentially distinct sounds; and to a member of the New Church, their essentially distinct natures will appear in a striking point of view, if he reflect, but for a moment, upon the peculiar qualities of the numbers to which they relate. Το conclude, it behoves every one to desire that the subject of correspondences should never be handled, even in conversation, but more especially in writing, in such a manner as to give occasion to the observation "flippant nonsense" from those who may feel disposed to give credence to the writings of Swedenborg, but are not yet wholly receivers of the heavenly doctrines.

H

A FEW FRIENDLY HINTS TO CHOIRS AND CONGREGATIONS.

MUCH having been said at different times in the Repository on the subject of Church Music, I should be unwilling now to intrude any further remarks, were it not that more yet remains to be said, and still more to be understood on this point, fraught as it is with so much interest and importance to all those who have susceptibilities on the side of music generally, and who, it is hoped and presumed, form the

majority of mankind. To these the following observations are more particularly addressed, hoping that the minority, who have less interest in the matter, will bear with me while I endeavour to throw out a few hints, as the title specifies, both to choirs and congregations, in the hope of producing at least some degree of practical benefit.

From the experience I have had in the matter, it appears to me that some choirs, instead of being extant for the people's sake, find themselves sometimes extant for their own sake, as Carlyle says of Parliaments—and are so found by congregations—a no very pleasant discovery—but which reveals itself from time to time in the choirs by a certain unfair monopoly in regard to the singing, and a certain disregard of the tastes and condition of the congregation generally; the first named not deeming it necessary, or even right, that the last should have any voice or participation in the matter; while, on the other hand, the ultras, as it were, of the congregation, not considering that a certain amount of knowledge in regard to singing is absolutely necessary to enable them to bear their part with propriety in this portion of the service, give their voice as the ultras of the community would their vote, without any degree of preparation for the duty, thus producing, in the church or choir, discord, as in the government, disorder.

This state of things, then, being presumed, where lies the remedy? First, in both choirs and congregations looking into, and thinking well on the subject, and, at the same time, sinking themselves, as individuals, in the carrying out of the end designed by the investigation, viz., the praise and worship of God in the most appropriate and best possible manner—to effect which, those who are capable of imparting instruction—and we presume, of course, the superior knowledge of the choir-should, on all occasions, endeavour to make this knowledge subservient to its great end-the production and manifestation of true devotional feeling; and it behoves, therefore, both the organist and the choir to eschew all pieces, whether vocal or instrumental, in which skill is more apparent than devotional feeling, especially all lengthy performances, where the congregation have to stand all the time and listen only; (the first of which, by the way, is a very wearisome thing*) and, on the other hand, endeavour to select such voluntaries and vocal pieces, whether hymn tunes or otherwise, as shall have a tendency to elevate the feelings and refine the taste (there being numerous short services of this kind that are seldom songht after); and as this is a busy, bustling

*To the best of my belief the congregations in Cathedrals always sit during the performance of music in which they do not join.

world in which we live and move six days out of the seven, it seems to me that tranquility should be, for the most part, the prevailing characteristic of the music in churches on the Sunday, especially the voluntary and introductory hymn, the tune or melody of which should, as a late correspondent recommends, together with the symphonies between each verse, ever bear reference to the sentiment of the words-whether of prayer or praise-which the organist would do wisely to make himself acquainted with previously, or he may chance to give you a trumpet stop, by way of variety, when the instrument ought to be made to express a whisper only; or vice versa, as the case may be.

And now, having bid farewell to the choir, let me take leave of the congregation with a few words of advice, which, together with the choir, they may accept or reject as seemeth unto them best.

It may be supposed, from the foregoing remark, that "some degree of knowledge in regard to singing is necessary to enable the members of the congregation to bear a part with propriety in this portion of the service," and that I would exclude all who have not made music a study, from joining therein; but I do not mean any thing of the kind, knowing that very few, comparatively, have the opportunity of learning; and although, for my own part, I should be more than content, if the unlearned male members of the congregation would be content, to listen only to the rest-(male voices being only adapted for the lowest, or intermediate parts)—still, as few think they are doing their duty, or, at any rate, few are satisfied to listen only, I should be sorry to deprive them of their enjoyment, or what they may conceive to be their duty, on general occasions, provided they would be satisfied sometimes to listen without grudge or complaint, to pieces performed by the choir alone on particular occasions, or during portions of the service-as they should ever bear in mind, to use a homely proverb, that what is one man's poison is or may be another man's meat," and at all times (if they have reason to put confidence in the choir) make a point of following, instead of attempting to lead it; for, the dismay of an organist and choir may well be imagined, when endeavouring to give proper effect to such words as-" Say to my trembling heart, Be still”— to hear fifty or a hundred lusty voices giving forth nothing but noise, and drowning both choir and organ. I put the case supposititiously, never having been shocked to the extent imagined; but what I wish to indicate is not only the possibility, but the great probability of such things being done. Not that I presume for a moment that taste and feeling exist only among the taught; for so far from this being the case, the taught are too often lamentably deficient in both; but taste

66