composition, on the contrary, as such sounds constitute a whole, and have all a relation to the key, or fundamental note in which they close, they not only afford us a satisfaction as parts of a regular whole, but, what is of much more consequence, they keep our attention continually awake, and our expectation excited, until we arrive at that fundamental tone, which is both the close of the composition, and the end of our expectation. Instead, therefore, (as in the former case) of our emotion becoming more languid as the sounds proceed, it becomes, in the ease of musical composition, on the contrary, more strong. The peculiar affection we feel is kept continually increasing, by means of the expectation which is excited for the perfection of this whole, and the one and the other are only gratified when we arrive at this desired and expected end.

In this respect, indeed, musical expression is in itself superior even to the expression of language: and were the passions or affections which it can express, as definite or particular, as those which can be communicated by words, it may well be doubted, whether there is any composition of words, which could so powerfully affect us, as such a composition of sounds. In language, every person under the influence of passion or emotion, naturally begins with expressing the cause of his emotion; an observation, which every one must have made in real life, and which might easily be confirmed by instances from dramatic poetry. In this case, our emotion is immediately at its height, and as it has no longer any assistance from curiosity, naturally cools as the speaker goes on. In music, on the contrary, the manner of this communication resembles the artful, but interesting conduct of the epic or dramatic poem, where we find our selves at once involved in the progress of some great in

terest, where our curiosity is wound up to its utmost to discover the event, and where at every step this interest increases, from bringing us nearer to the expected end. That the effect of musical composition is similar, that while it excites emotion from the nature of the sounds, it excites also an increasing expectation and interest from the conduct of these sounds, and from their continued dependence upon the close, has, I am persuaded, been felt in the strongest manner by every person of common sensibility, and indeed is in itself extremely obvious, from the effect which is universally produced by any pathetic composition upon the audience. The increasing silence-the impatience of interruption, which are so evident as the composition goes on-the arts by which the performer is almost instinctively led to enhance the merit of the close, by seeming to depart from it-the suppression of every sign of emotion till the whole is completed, and the violence either of sensibility or applause, that are immediately displayed, whenever a full and harmonious close is produced; all testify in the strongest manner the increasing nature of the emotion, and the singular advantage which music thus possesses, in keeping the attention and the sensibility so powerfully

awake.

Such seems to me the natural effect of music on the human mind: in expressing to us those affections or emotions, which are signified by the tones of the voice, and the progress of articulate sounds; limited indeed in the reach of its imitation or expression, and far inferior to language, in being confined to the expression only of general emotions; but powerful within those limits, beyond any other means we know, both by the variety which it can afford, and the continued and increasing interest which it can raise

It is obvious, that the observations which I have now offered, relate principally to vocal music, and to that simple species of composition, which is commonly called song, or air. I believe it will be found that this is in reality, not only the most expressive species of composi tion, but the only one which affects the minds of uninstructed men. It is the only music of early ages, the only music of the common people, the only music which pleases us in infancy and early youth. It is a considerable time before we discern the beauties of more artificial composition, or indeed before we understand it. In such kinds of composition, a young person, whatever may be his natural taste, seldom discovers any continued relation. He is disposed to divide it in his own mind into different parts; to consider it as a collection of distinct airs; and he is apt to judge of it, not as a whole, but as the separate parts of it are expressive to him or not. There is nothing accordingly more common, than to find young people expressing their admiration of a particular strain or division of the composition, and such strains are always the most simple, and those which approach most to the nature of airs; but it is seldom, I believe, that they are able to follow the whole of a concerto, or that they are found to express their admiration of it as a whole.

With such a species of composition, however, they who are instructed in music have many and very interesting associations. A song or an air leads us always to think of the sentiment, and seldom disposes us to think of any thing else. An overture or a concerto, disposes us to think of the composer. It is a work in which much invention, much judgment, and much taste may be displayed; and it may have, therefore, to those who are capable of judging of it, all that pleasing effect up

on the mind, which the composition of an excellent poem or oration has upon the minds of those who are judges of such works. The qualities of skill, of novelty, of learning, of invention, of taste, may, in this manner, be expressed by such compositions; qualities, it is obvious, which are the foundation both of sublimity and beauty in other cases, and which may undoubtedly be the foundation of such characters in musical composition, even although it should have no other or more affecting expression to recommend it. Nor is this all; such compositions are not read in private, but are publicly recited. There is therefore the additional circumstance of the performance to be attended to; a circumstance of no mean consequence, and of which every man will acknowledge the importance, who recollects the different effects the same composition has produced on him, when performed by different people. There is therefore, the judgment, the taste, the expression of the performer, in addition to all those different qualities of excellence which may distinguish the composition; and the whole effect is similar to that which every one has felt from any celebrated piece of poetry, when recited by an able and harmonious declaimer. Even to the very worst music, this gives an effect, and the effect may easily be conceived when the music also is good.

III.

While music has this power in expressing some of the most interesting and affecting passions of the human mind; and is, in its more artificial state, significant to us of so many pleasing and delightful qualities, it will not, I hope, be considered as rash, if I presume to think that it is from these associations that it derives all its power in producing the emotions of sublimity or beauty, and that

wherever it does produce either of these effects, it is by being expressive to us either of some interesting passion, or of some valuable and pleasing quality in the composition, or the performance.

When any musical composition affects us with the emotions either of sublimity or beauty, it should seem that this effect must arise from one or other of the following causes 1st, From the nature of the single or in dividual sounds which enter into the composition. 2dly, From the nature of the composition itself, or from those laws, which, as has before been observed, are necessary to render a succession of sounds agreeable, or to constitute music or, 3dly, From the associations we connect with it, or the qualities of which it is expressive to us. That the beauty or sublimity of single sounds, is not a quality of the sounds themselves, but arises from their expression, I have already endeavoured to illustrate. That the beauty of musical composition does not arise from the second of those causes, or from the circumstances of the composition itself, and that it is altogether to be ascribed to the qualities of which it is expressive to us, I am disposed to conclude from the following consider

ations:

1. If the beauty of music arose from the regular composition of sounds, according to those laws, which are necessary to constitute music or an agreeable succession of sounds, it would necessarily follow, that every composition where these laws were observed would be beautiful. Every man, however, knows, that there is a very wide distinction between music and beautiful music. If a composition is expressive of no sentiment, a common hearer feels no beauty from it: If it is quite common, and has neither novelty nor skill in it, a connoisseur in music feels as little. If it has neither one nor other, all