1133. The most antient Lyre had, we are told, only three strings, tuned, perhaps, by thirds, to the simple and sweet harmony of the common chord, in the manner of the old British Lute and English Guitar. But, supposing them tuned to three consecutive notes, or by seconds of the natural scale, then, being gently touched across the strings by one hand at the distances of,, and, from the nut or bridge, while they are struck with the fingers of the other hand so as to produce the harmonic notes of 3rd., 5th., and 8ve., to the three notes of the open strings, the entire series of the scale will be obtained, thus:

In these instances,

the fifths, and or whole strings.

of the strings give the thirds, the octaves to the fundamentals,

1134. The Lyre of four strings, afterwards generally used by the Greeks, would in the same manner accomplish the scale with one only redundant note, by employing the harmonics of the fifths and octaves alone, as is evident; and the seven-stringed Lyre of Terpander would accomplish the same by octaves only, without redundance or deficiency, while it doubled the extent of the instrument, and in this view carried it to perfection.

1135. If these conjectures are as true as they appear probable, the compass of the antient Lyre was not so confined as has been supposed; and if the above were the practice of the Greek musicians, there must have arisen thence a sweet coalescence of sounds, which, when combined with equally fine modulation and Poetry, must have produced harmony of celestial mould and

pathopoeia.

1136. It would be almost an offence to common conception to trace hence all the variety of the Harp, Lute, and other plectral instruments, to the more mechanical Spinnet, Harpsichord, and Pianoforte; but, by an easy effort of imagination, we may pass, in like manner, from the Outen Reed and simple Pastoral Pipe, through all the variety of wind instruments: for art accomplishes her

ends as nature does, by slow and imperceptible degrees.

1137. The note of the simple pipe is varied according to its length, and by stoppages; and the first step in the music of the pipe would naturally be ringing the changes on a series of pipes by an equal number of performers; which could hardly fail to suggest the improvement of combining them in the Mouth-organ, Pan's Pipes, or Masrakitha ; from which, advancing, would gradually arise the more complex wind instruments, ending in the production of that which is, by way of pre-eminence, called the Organ.

1138. By the easy device of notching the pipe so as to produce ventages to be stopped by the fingers, a single pipe was made to supply the place and power of many, which with the variation of the mouth-piece would, by a like natural progress of art, conduct to every other variety of wind instruments. Now, there are no other musical instruments than the stricken, the bowed, or the blown, or, technically, the Plectric, Violic, and Æolic, their variations or compounds; and of each of these we have indicated the probable origin in illustration of the fundamental relations of harmonic science.

1139. Having thus briefly discussed the doctrine of elementary musical sounds, and the chief instruments by which they are produced, we need not enter here into any inquiry concerning sounds in

188

THE ANALOGY OF MUSICAL SOUNDS.

harmonious or accidental, which are merely natural notices of objects to the ear, subject, nevertheless, to the same natural laws and relations as musical sounds; and of artificial sounds significant, as related to the present science, we have already spoken. We proceed, therefore, to a further brief review of the Appetitive Senses, and, finally, of the Passions, which belong in the highest respect to sense, and through which it is the chief office and purpose of musical sounds to emove the mind morally.

"Nor wanting pow'r to mitigate and 'suage

With solemn touches troubled thoughts, and chase
Anguish, and doubt, and fear, sorrow and pain,

From mortal or immortal minds."

Paradise Lost, 1. 557.

THE ANALOGY OF ODOURS AND SAPORS.

189

CHAPTER V.

OF THE APPETITIVE SENSES.

1140. HAVING in the preceding chapters delivered brief and distinct outlines of the three sciences which comprehend the relations of Sense, as distinguished from Appetite and Passion, of which there have hitherto been no accredited sciences, it remains only that we further adduce the esthetical relations of the Appetitive Senses and of the Passions, as referred to at the commencement of the present outline.

1141. Sense, as appetitive, belongs principally to touch, taste, and smell; each of which is referable to the palpable sense of feeling, and to material nature, as severally affected by solids, liquids, and elastics.

1142. We have already indicated the science of touch esthetically, under Plastics, which regard the forms or shapes of things, and not their matter, which is the object of appetite, and regarded thereby only as pleasing or disgusting to touch, as