In this sense we find an equal aptitude to be affected in a soft and
delicate manner; and how far sweet or beautiful sounds agree with our
descriptions of beauty in other senses, the experience of every one
must decide. Milton has described this species of music in one of his
juvenile poems. (L'Allegro.) I need not say that Milton was perfectly
well versed in that art; and that no man had a finer ear, with a happier
manner of expressing the affections of one sense by metaphors taken from
another. The description is as follows:--
--"And ever against eating cares,
Lap me in SOFT Lydian airs:
In notes with many a WINDING bout
Of LINKED SWEETNESS LONG DRAWN out;
With wanton heed, and giddy cunning,
The MELTING voice through MAZES running;
UNTWISTING all the chains that tie
The hidden soul of harmony."
Let us parallel this with the softness, the winding surface, the
unbroken continuance, the easy gradation of the beautiful in other
things; and all the diversities of the several senses, with all their
several affections; will rather help to throw lights from one another
to finish one clear, consistent idea of the whole, than to obscure it by
their intricacy and variety.
To the above-mentioned description I shall add one or two remarks. The
first is; that the beautiful in music will not bear that loudness and
strength of sounds, which may be used to raise other passions; nor notes
which are shrill or harsh, or deep; it agrees best with such as are
clear, even, smooth, and weak. The second is: that great variety, and
quick transitions from one measure or tone to another, are contrary
to the genius of the beautiful in music. Such transitions often excite
mirth, or other sudden or tumultuous passions; but not that sinking,
that melting, that languor, which is the characteristical effect of the
beautiful as it regards every sense. (I ne'er am merry when I hear sweet
music.--Shakspeare.) The passion excited by beauty is in fact nearer to
a species of melancholy, than to jollity and mirth. I do not here mean
to confine music to any one species of notes, or tones, neither is it
an art in which I can say I have any great skill. My sole design in this
remark is, to settle a consistent idea of beauty. The infinite variety
of the affections of the soul will suggest to a good head, and skilful
ear, a variety of such sounds as are fitted to raise them. It can be no
prejudice to this, to clear and distinguish some few particulars, that
belong to the same class, and are consistent with each other, from the
immense crowd of different, and sometimes contradictory, ideas, that
rank vulgarly under the standard of beauty. And of these it is my
intention to mark such only of the leading points as show the conformity
of the sense of hearing with the other senses, in the article of their
pleasures.