its being supereminently harsh and disagreeable. I tremble, however,
for my misapplication of the simplest terms of _that_ which I
disclaim. While I profess my ignorance, I scarce know what to _say_ I
am ignorant of I hate, perhaps, by misnomers. _Sostenuto_ and _adagio_
stand in the like relation of obscurity to me; and _Sol_, _Fa_, _Mi_,
_Re_, is as conjuring as _Baralipton_.

It is hard to stand alone--in an age like this,--(constituted to the
quick and critical perception of all harmonious combinations, I verily
believe, beyond all preceding ages, since Jubal stumbled upon the
gamut)--to remain, as it were, singly unimpressible to the magic
influences of an art, which is said to have such an especial stroke at
soothing, elevating, and refining the passions.--Yet rather than break
the candid current of my confessions, I must avow to you, that I have
received a great deal more pain than pleasure from this so cried-up
faculty.

I am constitutionally susceptible of noises. A carpenter's hammer, in
a warm summer noon, will fret me into more than midsummer madness. But
those unconnected, unset sounds are nothing to the measured malice of
music. The ear is passive to those single strokes; willingly enduring
stripes, while it hath no task to con. To music it cannot be passive.
It will strive--mine at least will--'spite of its inaptitude, to thrid
the maze; like an unskilled eye painfully poring upon hieroglyphics.
I have sat through an Italian Opera, till, for sheer pain, and
inexplicable anguish, I have rushed out into the noisiest places of
the crowded streets, to solace myself with sounds, which I was not
obliged to follow, and get rid of the distracting torment of endless,
fruitless, barren attention! I take refuge in the unpretending
assemblage of honest common-life sounds;--and the purgatory of the