nature which have such qualities, are distinguished by such sounds, and this association is farther confirmed from the human Voice, in which all violent and impetuous passions are expressed in loud tones.

2. Low Sound has a contrary expres sion, and is connected with ideas of Weakness, Gentleness, and Delicacy. This as sociation takes its rise not only from the observation of inanimate nature, or of animals, where, in a great number of cases, such sounds distinguish objects with such qualities, but particularly from the human Voice, where all gentle, or delicate, or sorrowful affections, are expressed by such

tones.

3. Grave Sound is connected with ideas of Moderation, Dignity, Solemnity, &c. principally, I believe, from all moderate, or restrained, or chastened affections being distinguished by such tones in the human Voice.

4. Acute Sound is expressive of Pain, or

Fear, or Surprise, &c. and generally operates by producing some degree of astonishment. This association, also, seems principally to arise from our experience of such connections in the human Voice.

5. Long or lengthened Sound seems to me to have no expression in itself, but only to signify the continuance of that quality which is signified by other qualities of Sound. A loud, or a low, a grave, or an acute Sound prolonged, expresses to us no more than the continuance of the quality which is generally signified by such Sounds.

6. Short or abrupt Sound has a contrary expression, and signifies the sudden cessation of the quality thus expressed.

7. Increasing Sound signifies, in the same manner, the increase of the quality expressed; as,

8. Decreasing Sound signifies the gradual diminution of such qualities.

I shall leave to the reader to attend to

the diversity of expression which arises from the different combination of these diversities of Sound.

The most Sublime of these Sounds appears to me to be a loud, grave, lengthened and increasing Sound.

The least Sublime, a low, acute, abrupt, or decreasing Sound.

The most beautiful, a low, grave and decreasing Sound.

The least beautiful, a loud, acute, lengthened and increasing Sound.

Such are the few general principles that, as far as I can judge, take place, with regard to the Sublimity or Beauty of Sounds. The innumerable exceptions that there are to every one of these rules, afford a sufficient proof, that this Sublimity or Beauty does not arise from the Sounds themselves. Where, however, any new 'sound occurs, it is, I think, by its approach to one or other of these classes that we determine its Sublimity or Beauty.

SECTION II.

Of Composed Sounds, or Music,

I.

In the preceding illustrations, I have considered only Simple Sounds as producing the Emotions of Sublimity or Beauty.

Sounds, however, are capable of being united by certain laws, and of forming a whole. To such a composition of Sounds we give the name of Music; an Art, confessedly, of great power, in producing Emotions both of Sublimity and Beauty, and the source of one of the first and purest pleasures of which our nature is susceptible.

Upon this subject, I shall beg leave to offer a few observations, although it is with great diffidence that I speak upon an art of which I have no theoretical knowledge,

and of which I can judge only from the effect that it produces on myself.

The essence of Music consists in continued Sound. The same sound, however, when continued, has no beauty, farther than as a simple sound, and when long continued, becomes positively disagreeable: Music therefore must necessarily consist in the composition of different sounds.

The Succession or Composition of all different Sounds is not equally pleasing. By a peculiar law of our nature, there are certain sounds of which the union is agreeable, and others of which the union is disagreeable. There is therefore a relation between sounds, established by nature, which cannot be violated without pain. Music, therefore, as an art intended to produce pleasure, must consist in the composition of related Sounds.

These observations are sufficiently obvious. There are, however, two other cir