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No. X., Christmas, 1886 (Part II. of Volume III).

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By EDWIN ARNOLD, M.A., C.S.I.,
Author of "The Light of Asia," &c.

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A HISTORY

OF

MUSIC.

BY JOHN FREDERICK ROWBOTHAM,

Late Scholar of Balliol College, Oxford.

CONTENTS.

BOOK III.

The Decline of Paganism and the Dark Ages.

In CHAPTER I. the languishing of Greek Music under Euripides and Agathon is treated, and its declining fortunes pursued to the age of the Attic Orators.

CHAPTER II. opens in the Schools of Alexandria, and the mathematic conception of music under Euclid and his followers briefly treated.

In CHAPTER III. which passes to Rome in the Imperial Times, the performances of the Pantomimes are treated at length, the rise of the Organ, the music of the early Christians, the singing in the catacombs, &c.

CHAPTER IV. traces the growth of Christian Music, the reforms of Ambrose, the Byzantine Music in the times of Justinian and Theodora, the reforms and labours of Gregory, his collection of Christian Song, and organisation of the Gregorian System.

CHAPTER V. is occupied with a discussion of the Gregorian Musical Notation, in it relation of parentage to that of modern times.

CHAPTER VI. deals with the spread of the Gregorian Song under Charlemagne, the musical systems of Alcuin and others, the endowment and establishment of Song Schools throughout Europe by Charlemagne.

BOOK IV.

The Middle Ages, the Arabians, and the Troubadours.

CHAPTER I. Music in the Monasteries. The Illumination of Musical MSS. The Musical Studies of the Monks. The Services of the Canonical Hours. The Bells, their Casting, Chimes, &c., Legends and Superstitions attached to them. The Musical Forms in Use at the Time in Europe.

CHAPTER II. The Musical Mummeries of the Middle Ages: the Feast of Asses, the Pope of Fools, the Boy Bishop. The Growth of the Popular Music. The Dances of the Peasants. The Development of Harmony under Hucbald, and of Rhythmical music under Franco of Cologne. The Labours of the Organ Builders, the Growth of the Organ, the Toy Organs of Pope Gerbert. Guido d' Arezzo and his System. The Wandering Minstrels. The Introduction of the Violin through Spain from the Arabians.

CHAPTER III. The Influence of the Arabians on the Music of the Middle Ages. Bagdad. Music at the Court of the Caliphs. The Music of Private Life in the Time of Haroun-alRaschid. The Arabian Musical System. The Arabian Lute and Violin. The Arabian Music in Spain. Music in the Alcazar and the Alhambra under the Moorish Kings. The Music of the Spanish Chivalry. The Spanish Troubadours.

CHAPTERS IV. AND V. The Troubadours.

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ROWBOTHAM'S POETICAL ROMANCES.

Messrs. TRÜBNER & Co. beg to announce the publication of a Series of "Poetical Romances," of which the first Volume will be ready in July, entitled,

THE DEATH OF ROLAND.

In the works about to be issued, the author introduces a new Form into Literature. The Poetical Romance is a novel in Verse. To the interest of narrative and the variety of character and incident which distinguish the old prose fiction, the new form of story adds the colouring of poetical imagery and the melody of language. The Poetical Romance seems, indeed, in one point of view, to be the natural and easy development of the novel, or the novel seen in higher surroundings. Its characters are more dignified; its scenes are more splendid; fancy is allowed a larger latitude; and the more dramatic treatment, which is obvious and necessary to the writer, cannot fail to enhance the pleasure of the reader. In another point of view, the Poetical Romance may be looked upon as the popularising of the Epic Poem, which is here lightened of much of its stiffness, clipt of its inordinate length, and reduced to proportion and style within the sympathies of modern readers.

THE DEATH

OF ROLAND:

A POETICAL ROMANCE.

BY JOHN FREDERICK ROWBOTHAM,
Author of "The History of Music."

The famous medieval legend of Roland, as told in the Latin chronicle of Turpin and in the French Chanson de Roland, has furnished the author with the basis of his poem. The period of the poem is during the frontier wars between Franks and Saracens, and its plot is concerned with the stupendous act of treachery, which, having for its object the betrayal of Roland to the Saracens, culminated in the celebrated battle of Roncesvalles.

The following extract, which will be an example of the metre and manner of the poem, describes some of the principal dramatis persona at an early period of the action: Hot was the day and sultry the season, and under the shade of the spreading palm Charlemagne sat in the orchards of Cordova, he and his Paladins twelve. And some Dandled their helmets and talked of arms, and others at chess beguiled the day, And the sun beat down on the roof of clustering branches and chequered the lawn with light. He, himself, apart from the others, in sober meditation sat,

Resting his chin on a staff of ebony, poring in reverie on the ground.

But who is the Paladin moving so martially down the dim avenue like a king,

His casque in his hand, and the tall plume terribly nodding; his golden hair uncased,

Curling and falling in forests and glittering fitfully under the straggling light?

This is Roland, the peerless Paladin, he who fought at Absharon,

He who vanquished the hordes of Hamet by the might of his single arm,

He whom the Saracens dread as invincible: never a fight has he fought in vain.

But now he walks with another valorous knight, and arm in arm they go,

And the other is second in beauty and bearing among them all to him alone.

This is Oliver, his compagnon! in battle they breast it side by side;

In peace they are lovers, in war twin thunderbolts; hosts cannot tarry the terrible two.

And their swords clank gloomily over the meadow; sheathed they are swords, but unsheathed they are stars.

Haute Claire is Oliver's, Durandál is the beautiful blade of Roland called.

But who is this Paladin, who, as they saunter along the dim meadow, has crossed their path,
Nor turned to speak, for brooding on somewhat and haughty and hasty he strides along?
Lithe is his form as the Leopard's, whose dappled and velvety hide is wrapped around
His sinewy shoulders. This is Sir Ganelon. Woe to the day when the feud arose
'Twixt him and them! For Roland, defying his hot hostility and menace,
Had taxed him once with an act of treachery, never met and ne'er disproved.
But they who sit at the tables toying with ivory draughts or reclining at length
On the sward are Salomon, King of Brittany; Naimes, the Duke of Bavaria;
Archbishop Turpin of Rheims, a doughtier warrior never had wielded a mace;
Lovely Astolpho of England, whose excellent beauty is girlish and soft among
The bearded warriors; Oger the Terrible; Malagigi and Florisinart;
Last not least, Rinaldi, a Paladin known in the lists of Ascalon.

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