From the earliest times, the value of music has been recognised by its effect upon armies engaged in war; that it inspired to greater courage and action. Tyr-teus, the Spartan poet, by certain verses which he sang to the accompaniment of flutes, so inflamed the courage of his countrymen, that they achieved a great victory over the Messenians, to whom they had submitted in several previous conflicts.

"And I that prated peace, when first I heard War-music, felt the blind wild-beast of force Whose home is in the sinews of a man Stir in me as to strike."

In martial music the appeal is made to both mind and feeling through love of country and the desire for freedom; its influence and power over the lives of men may be noted in such striking examples as the Marseillaise, Die Wacht am Rhein, Rule Britannia, and other equally well-known battle-songs and hymns. According to the listener's development, will such music appeal to him. In one man it will arouse only his lower passions, in another, the love of country, patriotism or the desire to keep free; different interpretations of the same music will arise from different degrees of development.

During the time of the French Revolution, a young army officer, by the name of De Lisle, composed the words and music of the most stirring, as well as the most famous of all war-songs - the Marseillaise. Carlyle called it the luckiest musical composition ever promulgated. Heine exclaimed "What a song! It thrills me with fiery delight, it kindles within me the glowing star of enthusiasm." Sir Walter Scott called it the finest hymn to which liberty has given birth. Lamartine said: "Glory and Divine Victory and Death are mingled in its train." "De Lisle, after he had finished the music and words, we are told, went to the house of a friend and had his eldest daughter play the accompaniment while he sang it, with the result that at the first stanza all faces turned pale. At the second tears ran down every cheek, and at the last all the madness of enthusiasm broke forth. The hymn of the country, destined also to be the hymn of terror, had been found."

"But still the music of his song Rises o'er all elate and strong; Its master-chords Are Manhood, Freedom, Brotherhood."

A noted traveller, in the early part of the nineteenth century, gives a description of a military trumpet used in Abyssinia. He wrote that it sounds only one note, in a hoarse and terrible tone; that it is played loudly when the soldiers are on the march or before an enemy appears in sight, but on going into battle the note is repeated very quickly and with great violence. It has a powerful effect upon Abyssinian soldiers, absolutely transporting them with fury and madness, and rendering them so regardless of life as to make them throw themselves into the midst of the enemy and fight with the most determined gallantry against all disadvantages. The writer adds that often in time of peace he tried what effect the rapid blowing of the trumpet would have upon them, and found that none who heard it could remain seated; they all arose and kept continually in motion while the trumpet was sounding.

The very highest music of all, however, comes only through what we speak of, in the first place, as human love, and, in the second, as religious or divine love; the first having to do with love in a personal way, and the second with love from a more universal point of view. It is undoubtedly thus that the very highest music is distinctively religious, not in any sectarian way, but in the broad sense of the word, since it arouses the deepest feeling in the life of man. It was such music men sang when being burned at the stake, and which caused mind and soul to so transcend their bodies that in all probability there was no physical suffering.

On every plane of being, music must be considered as being good; but we know that on every plane of being even the highest things may be put to perverted uses, and because of this become highly destructive; for the greatest good, when perverted or put to a wrong use, really becomes the greatest evil. It is perhaps not well known that in the action of law any evil or perverse action reacts upon the life of the one who produces such action; when this is fully known and understood, people will become more careful as to what they give to the world, and in the time to come, men and women will seek to put into action only those things which they conceive to be for the greatest good for the rest of mankind. Consequently we may expect from music, as from everything else, higher and better results than even those which have been attained in the past.

"Ring out ye crystal spheres! Once bless our human ears, (If ye have power to touch our senses so) And let your silver chime

Move in melodious time,

And let the bass of Heaven's deep organ blow. And with your nine-fold harmony-Make up full consort to the angelic symphony."

I have pointed out the part that music plays in religion and in warfare, but it has also a place in what we term the relaxations of life, for when the mind lays aside for the time being its burdens, it may enter into such real enjoyment of music as brings with it peace of mind and harmony of body. No one who has any knowledge of the subject will dispute any of the foregoing statements; but that music may be used to bring about a permanently harmonious mental condition and a strong, healthy condition of body, many people will question. I am convinced, however, that in the time to come music will not only do this, but will eventually be considered as the greatest curative agent of which man can avail himself.

On every plane of human life, from the most elemental to the most highly civilised, music produces not only a wonderful influence on mind, but on the body also. Even when we leave the human plane altogether, we find that very many animals come under its influence; especially is this noticeable among the many varieties of serpents. The effect produced upon them, in many cases, is to turn a state of anger into one of tractability, not to say of pleasure; a condition is induced in the serpent very similar to the one David produced on King Saul.