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The Commoner.
VOLUME 10, NUMBER
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THE HARP
(By Van Voachton Rogers)
Tho harp, apart from Its graceful
shape, rendering it literally "a thing
of beauty," has a' unique history of
its own oxtonding back into tho re
motest ages. Indeed no othor musi
cal instrument is at once so linked
with tho past, as is the harp. Ex
tract from lecture by Mr. Louis Eli
sob: "And now a word about tho
Jiarp. It comes from the addition
of ono extra string to a bow, and is
tho most ancient instrument. Tho
harp is used as tho typo of heavenly
music, not for its tone color, but be
causo it was tho best developed in
strument at tho time tho Bible was
written."
All except Wagner have pictured
heaven with harps. Ho used tho high
notes of the violin. Tho harp was
icnown to tho Hebrews at the timo
of tho earliest prophets. It is found
in primitive form upon the Egyptian
monuments, dating as far back as
2,000 B. C.
Tho first mention wo have of the
instrument is in holy writ where wo
aro told, when tho sacred penman
is enumerating tho posterity of Cain,
that Jubal, the sixth descendant from
Cain is called "the father of all such
as handle tho harp and organ." Gen.
4:21.
Tho harp associated with David
and tho Psalms. "Above tho couch
of David, according to Rabinical tra
dition, there hung a' harp. Tho mid
night breeze, as it rippled over tho
strings, made such music that tho
poet-king was constrained to rise
from his bed, and till the dawn
flushed the eastern skies, ho wedded
words to the strains. Tho poetry of
that tradition is condensed in the
saying that the book of Psalms con
tains the whole music of the heart
of man, swept by the hand of his
maker. In it are gathered the lyri
cal burst of his tenderness, the moan
of his penitence, the pathos of his
sorrow, the triumph of his victory,
the despair of his defeat, the firm
ness of his confidence, the rapture
of his assured hope.
Gleanings from the History of Music
(By Joseph Bird, 1850.
The trayeler, James Bruce, found
in a cave in a mountain near Thebes,
a painting, upon which was a harp,
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which for beauty of form and finish,
would compare favorably with those
which are mado at the present time.
As this is curious and important, he
may tell his own story.
"Behind tho ruins of the Egyptian
Thebes,-and a little northwest of it,
are a number of mountains hol
lowed into monstrous caverns; the
sepulchres, according to tradition, of
the first kings of Thebes. The larg
est contains a large sarcophagus of
granite, of which the lid only is
broken. In the entrance of the pas
sage which leads sloping gently
down into the chamber, there are
two panels, one on each side. On!
that on the right is the figure sup
posed to have been the hieroglyphic
of immortality. At the end , of the
passage, on the left hand, is the pic
ture of a man playing upon the
harp, painted in fresco and quite
entire. His left hand seems em
ployed on the upper part of the in
strument, among the notes in alto,
as if in arpeggio, while stooping for
ward, ho seems with his right hand
to be beginning with the lowest
string. If we allow the performer
to be about five feet ten inches, then
we may compute the harp to be a
little less -than slxsfeet and a half.
It seems to support itself on its base,
and needs only the guidance of the
player to keep it steady. It has thir
teen strings. It is of much more ele
gant form than the Grecian harp. It
wants the fore piece of the frame,
opposite the longest string, which
must- have improved its tone, but
must have rendered it weaker and
more liable to accidents, if carriage
had not been so convenient in Egypt.
The back part is the sounding board,
composed of four thin pieces of wood
joined together in form of a cone;
that is, growing wider towards the
bottom, so that as the length of the
string increases, the square of the
correspondent space of the sounding
board, in which the tone is to undu
late, increases in proportion. The
ornamental parts are executed in the
best manner. The bottom and sides
of the fraTne seemed to be veneered,
or inlaid, probably with ivory, tor
toise shell and mother of pearl. It
would even now be impossible to
finish an instrument with more taste
and elegance. Besides the elegance
of its outward form, we must ob
serve likewise how near it ap
proached to a perfect instrument;
for it wanted only two strings of
having two complete octaves in com
pass. I look upon this instrument
then as the Theban harp before and
at the " time of Sesistris, who
adorned Thebes, and perhaps caused
it to be painted there, as well as the
other figures, in the tomb of his
father,"
. Of this harp Burney says: VI
have now to speak of the Theban
harp, the most curious and beautiful
of all the ancient instruments that
have come to my knowledge. The
number of strings, the size and form
of the instrument, and the elegance
of its ornament, awaken reflections
which to indulge would lead me too
far from my original inquiries, and
indeed out of my depth. The mind
is wholly lost in the antiquity of the
painting in which it is represented;
indeed the time is so remote as to
encourage the belief that arts, after
having been brought to great perfec
tion, were again lost and again in
vented long before this period; and
there can be no doubt but that hu
man knowledge and refinements have
shared, the same fate as the king
doms in which they were cultivated.
It seems a matter of great wonder
that, with such a model before their
eyes as the Theban harp, the form
and use of such an instrument should
not have been perpetuated by pos
terity, but that many ages after, an
other and of an inferior kind, with
fewer strings, should take the place
of it." . .
'. Burn,ey calls
insanity: and It mav ho infniM.,i .!..
music was a remedy for that disease
This ancient and beautiful instru
ment has been an Inspiration for tho
expression oi tno noblest of senti
ments and associated with tho best
in art and poetry through all ages.
The ham is the naHnnnl rnn0ii
instrument of Ireland. Tho follow-
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