7. If however this interruption be greater, though the chain of actions be
not dissevered, it proceeds confusedly, and our young performer continues
indeed to play, but in a hurry without accuracy and elegance, till she
begins the tune again, according to the seventh of the preceding articles.

8. But if this interruption be still greater, the circle of actions becomes
entirely dissevered, and she finds herself immediately under the necessity
to begin over again to recover the lost catenation, according to the eighth
preceding article.

9. Or in trying to recover it she will sing some dissonant notes, or strike
some improper keys, according to the ninth preceding article.

10. A very remarkable thing attends this breach of catenation, if the
performer has forgotten some word of her song, the more energy of mind she
uses about it, the more distant is she from regaining it; and artfully
employs her mind in part on some other object, or endeavours to dull its
perceptions, continuing to repeat, as it were inconsciously, the former
part of the song, that she remembers, in hopes to regain the lost
connexion.

For if the activity of the mind itself be more energetic, or takes its
attention more, than the connecting word, which is wanted; it will not
perceive the slighter link of this lost word; as who listens to a feeble
sound, must be very silent and motionless; so that in this case the very
vigour of the mind itself seems to prevent it from regaining the lost
catenation, as well as the too great exertion in endeavouring to regain it,
according to the tenth preceding article.