recollecting, we shall gain some idea of the innumerable catenated trains
and circles of action, which form the tenor of our lives, and which began,
and will only cease entirely with them.

2. When a young lady begins to learn music, she voluntarily applies herself
to the characters of her music-book, and by many repetitions endeavours to
catenate them with the proportions of sound, of which they are symbols. The
ideas excited by the musical characters are slowly connected with the keys
of the harpsichord, and much effort is necessary to produce every note with
the proper finger, and in its due place and time; till at length a train of
voluntary exertions becomes catenated with certain irritations. As the
various notes by frequent repetitions become connected in the order, in
which they are produced, a new catenation of sensitive exertions becomes
mixed with the voluntary ones above described; and not only the musical
symbols of crotchets and quavers, but the auditory notes and tones at the
same time, become so many successive or synchronous links in this circle of
catenated actions.

At length the motions of her fingers become catenated with the musical
characters; and these no sooner strike the eye, than the finger presses
down the key without any voluntary attention between them; the activity of
the hand being connected with the irritation of the figure or place of the
musical symbol on the retina; till at length by frequent repetitions of the
same tune the movements of her fingers in playing, and the muscles of the
larynx in singing, become associated with each other, and form part of
those intricate trains and circles of catenated motions, according with the
second article of the preceding propositions in No. 1. of this Section.

3. Besides the facility, which by habit attends the execution of this
musical performance, a curious circumstance occurs, which is, that when our