the javelin which has been cleverly whirled about, dart through the air
with the best effect; and in managing a bow and arrow, is not the beauty
of the attitude as much more graceful as the aim is more unerring? In
feats of arms, and in all the exercises of the palæstra, is not his
attitude best calculated for defense or offense, who uses a certain art
in all his motions, and keeps to a certain position of the feet?
Composition, therefore, in my opinion, is to thoughts and words what the
dexterous management of a bow or string may be for directing the aim of
missive weapons; and I may say that the most learned are convinced that
it is greatly conducive not only to pleasure, but also to making a good
impression on others. First, because it is scarcely possible that
anything should affect the heart, which begins by grating on the ear.
Secondly, because we are naturally affected by harmony, otherwise the
sounds of musical instruments, tho they express no words, would not
excite in us so great a variety of pleasing emotions. In sacred
canticles, some airs are for elating the heart into raptures, others to
restore the mind to its former tranquillity. The sound of a trumpet is
not the same when it is the signal for a general engagement, and when on
defeat it implores the conqueror's mercy; neither is it the same when an
army marches up to give battle, and when it is intent on retreating. It
was a common practise with the Pythagoric philosophers, on arising in
the morning, to awake their minds by an air on the lyre, in order to
make them more alert for action; and they had recourse to the same
musical entertainment for disposing them to sleep, believing it to be a
means for allaying all tumultuous thoughts which might in any way have
ruffled them in the course of the day.

If, then, so great a power lies in musical strains and modulations, what
must it be with eloquence, the music of which is a speaking harmony? As
much, indeed, as it is essential for a thought to be exprest in suitable