another who possesses what is called musical sensibility. How are
they affected, for instance, by a piece of Mozart's? In the sense
of hearing they are equal: look at them. In the one we perceive
perplexity, annoyance, perhaps pain; he hears nothing but a confused
medley of sounds. In the other, the whole being is rapt in ecstasy,
the unutterable pleasure gushes from his eyes, he cannot articulate
his emotion;--in the words of one, who felt and embodied the subtile
mystery in immortal verse, his very soul seems "lapped in Elysium."
Now, could this difference be possible, were the sole cause, strictly
speaking, in mere matter?

Nor do we contradict our position, when we admit, in certain
cases,--for instance, in the producer,--the necessity of a nicer
organization, in order to the more perfect _transmission_ of the
finer emotions; inasmuch as what is to be communicated in space and
time must needs be by some medium adapted thereto.

Such a person as Paganini, it is said, was able to "discourse most
excellent music" on a ballad-monger's fiddle; yet will any one
question that he needed an instrument of somewhat finer construction
to show forth his full powers? Nay, we might add, that he needed no
less than the most delicate _Cremona_,--some instrument, as it
were, articulated into humanity,--to have inhaled and respired those
attenuated strains, which, those who heard them think it hardly
extravagant to say, seemed almost to embody silence.

Now this mechanical instrument, by means of which such marvels were
wrought, is but one of the many visible symbols of that more subtile
instrument through which the mind acts when it would manifest itself.
It would be too absurd to ask if any one believed that the music we