An essay towards a natural history of serpents

But to return to Italy; ’tis observable, that it hurts no where but in Apulia, and that only in Summer, especially in the Canicular-Days, so called from Canicula, that signifies a Dog; hence Dog-Star, which rises cosmically with the Sun the 19th of July, and is supposed to be the brightest, as well as the largest Star in the Firmament.

The Dog-Days denote certain Days before and after the Rising of this Star, to whose Appearance the Antients ascrib’d terrible Effects: the very first Day it appears, they say (but without Reason) the Sea becomes boisterous and boils like a Cauldron, produces Variety of Distempers, sours Wine, and Dogs grow mad.... The Romans, dreading the Indignation of this Star, sacrificed a Dog every Year to it, (viz. at its first Appearance in our Hemisphere) to appease its Rage against Mortals.

In Winter, this Italian Spider lurks in Caverns, and solitary Places; and if it happens to bite, hurts not: There it lives in a drowsy Posture, and keeps Lent till Summer; when the whole Tribe creeps out, and disperse themselves over that pleasant Land; and Wo to the Body asleep, and bare Legs, in Corn-Fields.

Those on the Plains are much to be feared, the Air being hotter there than on the Mountains, where their Bite is not dangerous, the Solar Rays not being so strong in those Heights: and what is yet more surprizing, is, that if they wound any out of Apulia, though in places not remote from it, the Wounded receive no deadly Hurt^[318].

When it bites, the Pain resembles that given by the Sting of a Bee, and is attended with various Symptoms, according to their different Natures: The Northern Tarantula is the most terrible; those that are inclin’d to the white Colour are not so dangerous; the spotted differs from both.

The Wound given by any of them is dangerous, and has different Indications. In some that are bitten, an universal Stupor follows; others weep: Some tremble and vomit; others laugh, fancying themselves to be Kings. This perhaps made Dr. Cornelio represent this as an imaginary Disease; that those who imagine themselves hurt, are most of our young wanton Girls, who, falling from some particular Indisposition into Melancholy and Madness, persuade themselves that they have been stung by a Tarantula^[319].

Some grow pale, sick and faint, and die in a short time, unless relieved by Musick, which alone, without the Help of Medicine, performs the Cure.

The Wounded are as Men half dead, but at the first Sound of a musical Instrument, though they are very weak, and seemingly unable to stir, they begin by degrees to move their Hands and Feet, till at last they get up, and then fall to dancing with wonderful Vigour, for two or three Hours, their Strength and Activity still encreasing. Some will continue the Dance, without Intermission for six Hours; and when tired they are put to Bed, and after they are sufficiently recruited by Rest, they are called up again by the same Tune, and renew the Dance with great Violence, the Musick still playing; and when the Patients grow weary, they are put into Bed again, and kept warm to encourage Perspiration. These Exercises being continued six or seven Days, the Patient finds himself fatigued and unable to dance any longer, which is the Characteristic of a Cure.

They usually spend ten or twelve Hours a-day in this violent Exercise, and continue it for three or four, or six Days; by which time they are generally freed from all their Symptoms, tho’ not always, says the learned Baglivi, who observes, that about the same time next Year, the Distemper returns, and will prove fatal, if not prevented by the same musical Application.

In Apulia is a Scorpion, whose Wounds are accompanied with the same Effects as those produced by the Tarantula, and are only curable by Musick and Motion. These Apulian Scorpions, are less violent than those of Africa, but more virulent than those in other Parts of Italy. I shall only offer two Remarks here.

1. THAT different Patients must be entertain’d with different Tunes, according to the different Symptoms of the Disease; in which the great Art of curing them seems to consist. e. g. Some are roused by a Pipe, others by a Timbrel: Some are roused by a Violin, others by the Harp; and all must be entertain’d with different Airs. The Musicians therefore make Trial before they can accommodate the Sound to the Venom; which requires the most brisk and lively Tunes, to produce a powerful Vibration in the Body; and till this be done, the miserable Patients stand still, sighing and sobbing. The Vibrations must be quick and frequent.

2. DURING the Time of Cure, the wounded People throw themselves into a Variety of strange Forms, and behave like Drunkards and Madmen ... talking foolishly ... diverting themselves with naked Swords, red Cloth, &c. but the Sight of any Object that appears black is terrible to them. Ibid.

To this Account of the Tarantula, I have (by way of Illustration) added the Remarks of another learned Foreigner, who says.... The venemous Bite of the Tarantula is quickly follow’d with a very acute Pain, and soon after, with Numbness, profound Sadness, difficult Respiration: The Pulse grows weak, the Sight disturbed; Persons lose their Knowledge, Sense, and Motion; and if destitute of Help, they die.... The most effectual and certain Remedy is Musick: When the Person becomes destitute of Knowledge and Motion, a Musician tries a Variety of Airs: Shou’d he hit on that whose Harmony is suited to the Patient, he begins to move by successive Degrees, and keeps Time with his Fingers, Arms, Legs, &c. he raises himself, and dances about six Hours without Intermission....

When the Musick ceases, the sick Person gives over dancing, and is put to Bed: The same Air brings him out of Bed for a new Dance, an Exercise that lasts six or seven Days.——N. B. Every sick Person must have his particular and specific Tune, and always one that is very sprightly and moving.

The Poison of the Tarantula, adds he, thickens the Blood, and stops several of its Passages; thence the Numbness: The Blood being thick, furnishes but a small Quantity of animal Spirits, their Canals are shrunk up in the Brain: The Nerves being destitute of Spirits, relax; thence proceed the Inactivity, and Defect of Knowledge and Motion: But the Vibrations of the quick Airs which are play’d, agitate the Blood and the rest of the animal Spirits, which are soon increased by the Agitation of the Blood: Being agitated and multiply’d, they run into the Fibres and Nerves, which being put into Unison with the sonorous Strings, receive their Vibrations, and are shorten’d or extended successively; whence proceeds the successive Motion of the Fingers, Arms, Legs, &c.^[320]

The action of Dancing augments the Agitation of the Blood, and makes the Patient sweat. The Poison being agitated and attenuated, is exhaled by Transpiration; in proportion as the Poison is exhaled, the sick Person perceives himself eased; this Ease continually inclines him to dance: When all the Poison is dissipated by Agitation and Sweat, the Blood recovers its Fluidity and usual Course.

I Shall conclude this historical Account, with a Passage taken out of a formed History of the Tarantula^[321], writ by a learned Author, who having described the Disease, proceeds to the manner of Cure, viz. The salivous Poison of that Spider seizes principally on the Nerves and Muscles––the manner of Cure thus––

The Air moved by the musical Motion of Instruments, moves the next, and so onwards (as we see in the circular increasing Motion of the Water, when a Stone is cast into it) till the like be produced in the Spirits of the Body, to which the Air is impelled.––Now, adds he, the Commotion of the Passions depends upon the Spirits, and the viscous Humour of the Tarantula is a very capable Subject of Sound: Hence the next Air being moved by a musical Tone suitable to the Patient, the lurking Poison, and Spirits of a Man are put into a Commotion; by which Agitation, the Nerves being vellicated, the Spirits vehemently stirred, and Muscles moved, the Dancing, or something like it, must of necessity ensue, by which the Cure is performed: For, by vehement Motion the Blood is heated, the Pores are opened, and the Poison rarified; which can’t be done by common Sudorificks, because the Medicines can’t reach, or at least can’t stir those little Particles where the Poison lies, as Motion by Dancing does.

I shall add here some Reflections on the Power of Musick, and give Instances of it in the human Mind, in animal, and inanimate Bodies.

MUSICK appears to be one of the most antient of Arts, and of all other, vocal Musick must have been the first kind, and borrowed from the various natural Strains of Birds^[322]; as stringed Instruments were from Winds whistling in hollow Reeds, and pulsatile Instruments (as Drums and Cymbals) from the hollow Noise of concave Bodies. This is the Conjecture.

Musick has ever been in the highest Esteem in all Ages, and among all People. Nor could Authors express their Opinions of it strongly enough, but by inculcating, that it was in Heaven, and was one of the principal Entertainments of the Blessed. The Effects ascribed to Musick by the Antients, almost amount to Miracles; by means thereof Diseases are said to have been cured, Unchastity corrected, Seditions quelled, Passions raised and calmed, and even Madness occasioned.——

Musick has been used as a Sermon of Morality.... Athenæus tells us, that the Lives and Actions of illustrious Men were written in Verse, and publickly sung by a Chorus, to the Sound of Instruments, which was found to be the most effectual means to impress Morality, and a right Sense of Duty on the human Mind^[323].

Thus the Pythagoreans made use of Musick to cultivate the Mind, and settle in it a passionate Love of Virtue. Pythagoras instituted a most profitable Correction of Manners by Musick, which, he says, conduces very much to Health; and he made use of it, not only against Diseases of the Mind, but those of the Body. It was the common Custom of the Pythagoreans to soften their Minds with Musick before they went to sleep; and also in the Morning, to excite themselves to the Business of the Day^[324].

This Cure of Distempers by Musick sounds odd, but was a celebrated Medicine among the Antients. We have already considered, how those wounded by the Tarantula were healed by Musick; the Evidence of which is too strong to be overturned: That which now lies before me, is, to prove this to be the Practice of Antiquity, which will appear by the following Instances.

I shall begin with Democritus (a Philosopher of the first Rank, and a most diligent Inquirer into the Mysteries of Nature) who taught in his Works, that Musick of Pipes was a Medicine for most Distempers.... Thales of Crete, being sent for by the Lacedemonians to remove the Plague, came, and by the Help of Musick he did so; and he is said to do it by the Command of Apollo, as appears from the Great Chæronean Moralist^[325]. If any Credit be given to Terpander, it appears he supprest an Insurrection in their Town by the Use of Musick. Ibid.

We read of a young Man among others of Tautomenium, whose Passions being inflamed by Musick in the Phrygian Mood, was going to force open a Matron’s House, but his Rage was soon calmed, when the Piper (by Pythagoras’s Advice) changed his Air into the Spondaic Mood; and he went home quietly, which the Philosopher could not make him do by Persuasives. This historical Passage is confirmed by Ammonius, and Cicero, and is thus related, viz.

When as some young Men, being drunk, and irritated by the Musick of Flutes, would have broke into an honest Woman’s House, but upon hearing one playing a Spondaic Air, their outragious Heat was allay’d by the Slowness of the Mood, and Solemness of the Tune....

St. Basil gives another Instance to the same purpose, viz. That Pythagoras meeting with some that came with Musick from a Feast, drunk, requested the Musician to change his Tune; which he did, and playing a Doric Air, they were so brought to themselves, that they threw away their Garlands, and walked home, ashamed of their Folly.

THEOPHRASTUS is said to cure Persons that had been wounded by Serpents, with various kinds of Musick—Probatum est^[326]. Another Observation of his was, that Diseases were made and mitigated by Musick. Plato forbids Musick and Wine to young Persons, lest one Fire should kindle another^[327].

The Pythagoreans, to appease the Troubles of the Mind, lulled themselves asleep by Tunes upon the Harp: Thus Homer brings in Achilles relieving his Melancholy by playing on his Lute, and mitigating his Anger against Agamemnon by Musick, which he had learned of Chiron. Asclepiades, a Roman Physician of great Reputation, is said to heal frantic Melancholy, and mad People, by vocal and instrumental Musick^[328]. The learned Neapolitan adds, Tanta hominis naturæ cum harmonia consensio est.

Whatever be the Cause of it, there is nothing more powerful than Musick for moving the human Passions, making some pensive and melancholy, others brisk and lively. The truth is, says the Learned Wallis, we can match most of the antient Stories of this kind in the modern Histories. e. g.

If Timotheus could excite Alexander’s Fury with the Phrygian Mood, and sooth him into Indolence with the Lydian, a more modern Musician is said to have driven Eric King of Denmark, into such a Rage, as to kill his best Servants. The Occasion was thus—The King willing to make Trial in his own Person, whether a Musician spoke true, who boasted, that by virtue of his Musick, he could make People mad: The Artist play’d, and the King became outragious, and experienced the Truth of it so thoroughly, that in the Excess of his Rage, he kill’d some of his best Friends^[329].

This may be owing to the Impression made by the Vibrations of the Air, being carried as far as the Origin of the Nerves, passes into the Soul, and puts the animal Spirits into a rapid Motion, determines them to run into different Nerves, diffused thro’ different Parts of the Body, and is communicated to those Nerves, according as it finds them more or less in Unison.... Hence the Passions and Madness itself. Ibid.

In Musick are different Tastes, which seems to proceed from the different Constitutions of the Fibres or the animal Spirits: The Fibres of the auditory Nerves are differently disposed in different Persons, and in the same Person at diverse Times; but generally speaking, Musick inspires more pleasing Sentiments, e. g.

A certain famous French Physician being ill, fell into a violent Delirium, after some Days Illness of a continued Fever: the third Day of his Delirium, I know not by what Instinct, (says the Learned Father Regnault) made him desire a Concert of Musick; upon which, they play’d, and sung to him the Songs of M. Bernier^[330]: Scarcely had he heard the first Notes, but his Eyes were calm; a Serenity was spread all over his Countenance, the Convulsions ceased, and he wept thro’ Excess of Pleasure; he was free from his Fever all the time of the Concert, but whenever they ceased singing, he relapsed into his former Condition: They fail’d not to continue so marvellous a Remedy, which always suspended his Indisposition. In short, after ten Days musical Entertainment, he was restored to his former Health. Ibid.

Another Instance, is a Dancing-Master of Alais in France, who had the same Fate in the Year 1708; after a Fever of about four Days, and a long Lethargy, he fell into a Delirium, both mad and dumb. One of his Friends took his Violin, and plaid to him those Airs he was most accustom’d to: People thought at first, that the Player was as mad as the Patient; but, in a short time, the sick Man raised himself upright in his Bed, with the Air of a Man agreeably surpriz’d.... All his Motions discover’d the Pleasure he felt: Soon after he fell into a deep Sleep, and the Crisis he had during his Sleep, perfected his Cure. Ibid.

One Reason of this strange Operation might be this, viz. The Sound of the Instrument agitates the Fibres, especially those that are in Unison, by that means brings to his Remembrance agreeable Perceptions ... sets the animal Spirits going, and restores them to their natural Course: These Spirits being moved, run into the Nerves and Muscles, where they have been used to run, in order to form the Motion of certain Airs; the Passages of the Blood thereby become more free: Hence that serene Air diffused all of a sudden over the Face of the sick Musician, who was cured by the Charms of his own Art.

These two Instances are quoted by the Learned Dr. Nieuwentyt, who says, both of them (the Musician and Dancing-Master) were perfectly restored to their Senses by Musick. He also observes, that the Wound given by the Tarantula can only be cured by the Sound of Musick, of which different Airs and Tunes must be play’d, according to the different Nature and Colour of those Tarantula’s that have given the Wound^[331]. Then adds;

That the famous Italian Musician, Angelo Vitali had related to him the following Story, and assured him of the Truth of it, viz.

That a certain Player on the Flute at Venice had boasted, that by his playing, he could deprive the Hearers of the Use of their Understanding: Whereupon he was sent for by the Doge, who was a Lover of Musick, and commanded to put his Art in practice before him; where, after having play’d some time very finely, (and to the Amazement of the Hearers) he at last begun a mournful Tune, with a Design, as far as he was able, to put the Doge into a melancholy Humour; and presently, he struck up a jovial one, to dispose him to Mirth and Dancing; and after having repeated these two kind of Tunes several times by turns, the Doge being no longer able to endure those different Emotions, which he felt in his Soul, he was ordered to forbear playing any longer. Ibid. p. 271.

FROM the Account given of Concords and Discords in Musick, a Reason may be form’d why two Strings of a Viol, that are Unisons or Octaves one to another, if one be struck the other will tremble, so as to be visibly perceived.

What is this Unison? In Musick, Unison is a Consonance of two Sounds, produced by two Strings, or other Bodies of the same Matter, Length, Thickness, and Tension, equally struck, and at the same Time, so that they yield the same Tone or Note. Others define it, the Union of two Sounds, so like each other, that the Ear perceiving no Difference, receives them as one and the same Sound.

What constitutes Unisonance, is the Equality of the Number of Vibrations: Unison is the first and greatest of Concords. Others say, it is only that in Sounds which Unity is in Numbers.

Being once in a Room where there was a Bass-Viol, and striking one of the Strings, a loose Quarry of Glass in the Window, jarr’d every time that String was struck, which it wou’d not do upon striking any of the other discordant Strings. The Reason may be, viz. That the times of the Vibration of the loose Quarry, were equal or near Concordance to those of the String. A Gentleman of my Acquaintance, when he sounded a particular Tone on the Bass-Viol, very plainly heard the Noise of the Glass of the Clock in his Chamber, which Glass never moved, upon his sounding any other Tone.... It is a general Remark, that an Unison-String will receive the Motion, and so tremble, when another Unison is made to sound; and yet all other Strings of the same Instrument, that are not Unisons, shall remain silent and unmoved.

Musick does not only exert its Force on the Passions and Affections, and musical Instruments, but on the Parts of the human Body also. Witness the Gascoigne-Knight, (mention’d by Mr. Boyle) who could not contain his Water, at the playing of a Bag-pipe: The Woman, mention’d by the same Author, who would burst out in Tears, at the hearing of a certain Tune, with which other People were but little affected: And in this County, near Rochdale, there is a certain Man, who can’t forbear dancing, if in a House, or Market, upon hearing a certain Tune sung.

Wonder not at the strange Effects of musical Sounds, when other Sounds strangely affect the Mind. How are the Passions excited by the Sound of a Drum and the Discharge of Canons.... Not only human Minds and Bodies are affected by the Impression of Sounds, but even Things without Life.

KIRCHER tells us of a large Stone that would tremble at the Sound of one particular Organ-Pipe. Mersenne also tells us, of a particular part of a Pavement that would shake and tremble, as if the Earth would open, when the Organs play’d. Mr. Boyle adds, that Seats will tremble at the Sound of Organs, that he has felt his Hat do so under his Hand, at certain Notes, both of Organs and Discourse; and that he was well inform’d, every well-built Vault, would answer some determinate Note.

We may observe the like mechanic Perception in several empty Drinking-Glasses, of fine white Metal. Thus if we cause the Strings of a musical Instrument to be stretched to a certain Tone or Note, it would make one of the Glasses ring, and not the other; nor would the Sound of the same String, tuned to another, sensibly affect the same Glass. Morhoff mentions one Petter, a Dutchman, who could break Rummer-Glasses with the Tone of his Voice. The same, I think, is said of Purcel.

When two Viols are tuned in Unison, one of them being touch’d, the other will answer, tho’ at some distance. This is a noble Proof of an harmonious Creation: This Unison looks like a more pure sort of sympathising that is found in all the Creatures, when those of the same Species flock together.

Here give me leave to observe, that all Nature is as it were a System of divine Musick, and delightful Harmony; or, in the sacred Language, a Poem which is a Work of Skill, curious and polite, lofty and sublime; in which Numbers and Measures are exactly observed. Under this Idea of a Poem the old and new Creation are represented.

THE invisible things of him from the Creation of the World are clearly seen, being understood by the things that are made, τοις ποιημασι^[332], Poems that are made. The Creation is, as it were, a Poem in the Sublime: Every Species of created Beings is a Stanza, and every individual Creature, a Verse in it, as a certain learned Divine expresses it. Creation here is not stiled εργον, which is a Work of manual Labor, but ποιημα^[333], a Work of Skill; not so much the Operation of the Hand, as of the Head and Heart: No Creature so small and mean, but glitters with a Beam of divine Skill.

So the new Creation is stil’d a Poem.... We are his Workmanship in Christ Jesus, Eph. ii. 10. In the Greek, we are his Poem in Christ Jesus.

As for the several Moods, which, in musical Composition, were observed by the Antients, for moving particular Passions, there is a remarkable Fragment of Damon the Musician, mentioned by Aristides in Plutarch. This is supposed to be that kind of Musick used by David and Elisha, as a Prescription to remove mental Disorders; and may suppose to point at the Original of the Pagans curing Diseases of the Body and Mind by instrumental Musick.

It’s said, when an evil Spirit from God was upon Saul, David took a Harp and play’d with his Hand, so Saul was refreshed, and was well, and the evil Spirit departed from him. 1 Sam. xvi. 23.

... AND Elisha said to Jehoram, King of Israel.... Were it not that I regard the Presence of the King of Judah, I would not look towards thee, but now bring me a Minstrel. And it came to pass when the Minstrel play’d, that the Hand of the Lord came upon him. 2 Kings iii. 13,-15.

It is observable here, that the Mind of Elisha the Prophet was very much ruffled; now, under this Discomposure, he calls for a Minstrel, not out of Levity, but for a religious End; and that was, to compose his Mind, and to bring it into a serene and sedate Frame, and thereby to prepare himself for divine Exercises; or perhaps, a devout Levite, well skill’d in musical Performances, might play before him, and intermix with it, Psalms and spiritual Songs, according to the Constitutions of those Times.

As the Prophets might indispose themselves for the Spirit of Prophecy, so they were to use Means to dispose themselves for the Impulses of the Holy Spirit; and for this End the School of the Prophets was appointed, in which the Students were trained up in the Science of Musick, in strict Virtue, Self-denial, Contempt of worldly Grandeur, Knowledge of the Law, &c. These Schools were Seminaries of Religion, in which the intended Guardians of the Spirituality were instructed, and prepared to receive the extraordinary Gifts of the Spirit.

We read how the Indians performed their Worship by dancing to Songs, the Priests of Cybele with Cymbals, the Curetes with Drums and Trumpets, the Romans sung Spondaic Verses, while they offer’d their Sacrifices; the musical Sound that calm’d the Passions (consisting of Spondees principally) Aristotle calls moral; (to distinguish it from the Diatonic and Phrygian) from whence the Custom might be derived. When the Spartans went to War, they march’d to the Sound of Flutes, to animate the Soldiers; as is now done by Drum and Trumpet, to lessen the Terror of Death.

THE Antients having related wonderful Things done by Musick in their days, by which Diseases were suspended, the Sick restored ... I shall make a short Inquiry into the Reasons of it. Tho’ the Report be strange, and in some degree hyperbolical, yet some Account may be given of the surprizing Effects of Musick, and is attempted by the learned Dr. Willis, (among others;) a Hint of which I shall add here, to what was observed before upon the Subject.

I. That Musick, if not new, was in those Days a rare thing, which the Vulgar, on whom ’tis reported to have mighty Effects, had scarce heard any before, and on whom a little Musick will do great Feats, as we now find a Bag-pipe at a Morris-Dance.

II. Antient Musick was much more simple and plain than ours now, having only one single Voice or Instrument apart, which to a rude Ear is much more taking, than compound Musick; the former not exceeding their Capacity, whereas a Concert of Musick confounds them quite, and ’tis by no means distinguishable by them, so as to affect them with the Harmony of its Parts.

III. Musick, with the Antients, was of a much larger Extent than what we now call by that Name; for Poetry, and Dancing or graceful Motion, were then counted part of Musick, when it had arrived to some degree of Perfection: And we see that Verse alone, if in good Measure and moving Words, sung by an agreeable Voice, with soft instrumental Musick, will work strangely on the Ear, and move all Affections suitable to the Tune and Ditty ... especially if attended with proper Gestures and Actions.... Thus suitable Acting on the Stage, gives great Life to the Words^[334].

If a deliberate pathetick Reading of a well-penn’d Romance, will strike the Passions, and produce Mirth, Tears, Joy, Grief, Pity, Wrath, Indignation, suitable to the respective Intents of it; much more would it so do, if accompanied with all those Attendants.——

If it be ask’d, Why may not all this be done now? I answer, No doubt but it may, if the Address be made in proper Words, emphatically spoken, with agreeable Voice, attended with a decent Gesture; and all these adjusted to the Passion and Temper of the Mind, particularly design’d to be produced, (be it Joy, Grief, Pity, Courage, Indignation) will certainly now, as well as then, produce great Effects upon the Mind, especially upon a Surprize, and where Persons are not otherwise pre-engaged. Ibid.

The Antients had the Art of exciting this or that particular Passion of the Mind, the Tunes being suitably adapted to such Designs; whereas those now are almost quite neglected in our modern Musick.

The Chromatick Genus^[335], with its greater and lesser Semi-Tones, either ascending or descending, is very proper for the Pathetick in Musick; as is also an artful Management of Discords, with a Variety of Motions; now brisk, now languishing; now swift, now slow. The Venetian Musician before-mentioned, excell’d in the Pathetick to that degree, that he was able to play any of his Auditors into Distraction.... The great Means he made use of, was the Variety of Motions.——

Even little Children, when crying, are charm’d and quieted by a jingling Sound, a Shadow of Musick. In short, Musick attends the Man to his Grave, where Elegies were formerly sung in Honour of the Deceased: Thus the Phenicians added Flutes to their Mournings, and the Romans had their Siticines, that is, those who sung to a Pipe, or blow’d the Trumpet at their Funerals, a Custom not yet entirely abolish’d among the antient Britons and some Parts of England, who, when they take up the Corps, sing Psalms before it all the way to Church; a common Practice about seventy Years ago: So far I can charge my Memory.

We are not without modern Instances of Persons extraordinarily affected by the Powers of Musick, as appears from our Opera’s, and the very particular Devotion paid to the Farinello’s of the Age, and to Italian Musick, display’d in Temples as well as on the Stage, the first Erection of which was intended for the Honour and Defence of Virtue.

The Laconians were wont at the Death of their King to tinkle a Caldron, instead of a Bell: Yea, the Jews had their Minstrels at Funerals; for, at the raising to Life the Daughter of Jairus, ’tis said, the Musicians were commanded to troop off, Matth. ix. Before the Roman Funerals, a Trumpeter went, follow’d by the Præficæ, i. e. old Women, singing Songs in Praise of the Deceased.

Thus we have had a general View of Serpents, their Poison and Cure; and a particular Account of Persons wounded by the Tarantula, and cured by Musick; the Effects of which musical Operation, have past for Miracles; for, by means of it, dangerous Distempers have been cured, Insurrections quelled, Passions calm’d and raised, even to Distraction and Madness.

Antiently all Laws, Exhortations to Knowledge and Virtue, and Lives of illustrious Men, were written in Verse, and publickly sung by a Chorus to the Sound of musical Instruments, which was found a most effectual way to impress Morality. So much for Serpents in particular.

N. B. In the Description of some Serpents by different Authors, ’tis difficult to know whether they mean the same, or another; some having the same Description with different Names, and some different Description with the same Name. Another Mistake may arise from some Difference in the same Serpent, in different Climates, as in Situation (N. or S.) and Size.

CHAPTER I.

Contents. Various Sentiments about the Primæval Serpent: Some say, ’twas a real Serpent; others say, the Passage is allegorical. Some make the Serpent to be Pleasure; others the Devil in the Natural Serpent. Reasons why Adam was not made beyond a Capacity of Sinning. Our first Parents arm’d with sufficient Power to stand: They knew no Enemy. Satan a compleat Orator. The Fatal Surrender. Satan’s triumphant Return from Eden. Serpent’s Head and Subtility. Intercourse between the Angelick and Human World. A Plea for our first Mother. Why Moses introduces a speaking Serpent. Method of Divine Government. Satan’s View. Reasons why Adam was created in a State of Trial. A strong Negative, sufficient to put the Tempter to flight. The Paradisaical Law guarded by the most powerful Sanction. The Opinion of Pagans and Mahometans about the Fall of Adam, &c. Why Satan punish’d under a visible Figure, viz. Serpent. Christ’s Death publish’d, before Sentence of Death past upon Adam. The Earth, a secondary Paradise. Moral Reflection.

The Manner of Sin’s first Entrance into our World, is inscrutable: The Subject is an Article of Lamentation, an Article that conducts us to Paradise indeed, but ’tis to Paradise lost; whence date the fatal Æra of all human Calamities. There, there in a blissful Field; Sin, the Plague of Hell, made its first Appearance on Earth: but as to the Mode of its Introduction, there is a Spread of impenetrable Darkness over the Face of that great Deep; after the most critical Disquisitions about it, the Difficulty remains unsolvable.

Men of Letters may give their Conjectures, but it seems to be one of those secret Things which belongs to him who is unsearchable, and whose ways are past finding out; therefore we should rather think, how to get Sin out of the World, than how it came in at first: The one would only prove what our Understandings could do, but the other would declare our Hearts, what they ought to be.

What this Serpent was, that triumph’d in Paradise, has been a Subject of long Debate, and the Learned are not yet agreed in their Verdict about it. I shall first lay down their various Opinions, and then give my own Conjectures.

Among the Jews, some took it for a real, natural Serpent, and did believe, it was endued with the Gift of Speaking; but because it deceived the Woman, was condemn’d to lose its vocal Tongue, to go upon its Belly, and feed upon Dust^[336].