ndeavour to imitate the
_Recitatives_ of those Authors, who represent in them a lively image of
Nature, by Sounds which of themselves express the Sense, as much as the
very Words. But to what Purpose do I show this Concern about it? Can I
expect that these Reasons, with all their Evidences, will be found good,
when, even in regard to Musick, Reason itself is no more in the _Mode_?
Custom has great Power. She arbitrarily releases her Followers from the
Observance of the true Rules, and obliges them to no other Study than
that of the _Ritornello's_, and will not let them uselessly employ their
precious Time in the Application to _Recitative_, which, according to
her Precepts, are the work of the Pen, not of the Mind. If it be
Negligence or Ignorance, I know not; but I know very well, that the
Singers do not find their Account in it.

Sec. 13. Much more might still be[49] said on the Compositions of
_Recitative_ in general, by reason of that tedious chanting that offends
the Ear, with a thousand broken Cadences in every Opera, which Custom
has established, though they are without Taste or Art. To reform them
all, would be worse than the Disease; the introducing every time a final
Cadence would be wrong: But if in these two Extremes a Remedy were
necessary I should think, that among an hundred broken Cadences, ten of
them, briefly terminated on Points that conclude a Period, would not be
ill employed. The Learned, however, do not declare themselves upon it,
and from their Silence I must hold myself condemned.

Sec. 14. I return to the Master, only to put him in Mind, that his Duty is
to teach Musick; and if the Scholar, before he gets out of his Hands,
does not sing readily and at Sight, the Innocent is injured without
Remedy from the Guilty.

Sec. 15. If after these Instructions, the Master does really find himself
capable of communicating to his Scholar Things of greater Moment, and
what may concern his farther Progress, he ought immediately to initiate
him in the Study of Church-Airs, in which he must lay aside all the
theatrical effeminate Manner, and sing in a manly Stile; for which
Purpose he will provide him with different natural and easy _Motets_[50]
grand and genteel, mix'd with the Lively and the Pathetick, adapted to
the Ability he has discovered in him, and by frequent Lessons make him
become perfect in them with Readiness and Spirit. At the same time he
must be careful that the Words be well pronounced, and