THE BEAUTIFUL. 117 



permit me to raise the question, What is the subjective 

 nature of music? Has music an existence independent 

 of sound? Would music exist if there were no precipi- 

 ent beiniTs to receive harmonious vibrations? I venture 

 the opinion that the rhythm of music is one element 

 of its pleasing effect; and then, as tone, the product of 

 synchronous vibrations, is but another sort of rhythm, 

 it ma}^ be that musical rhythm and melody and harmony 

 yield us aesthetic gratification for the ultimate reason 

 that all are measured, harmonious impressions upon the 

 sensorium, like the equal intervals in a file of soldiers 

 or other objects regularly repeated. This would be one 

 step toward a generalized expression of the nature of 

 the beautiful in sound and in certain forms, and I think 

 that in its broadest signification the beautiful may be 

 formulated under the principle of harmony or correspond- 

 ence; but the discussion must be passed by. 



It is not alone in formal music that sound assumes 

 the character of the beautiful. From the chimes of 

 cathedral bells to the jingling of the merry sleigh-bells, or 

 the "drowsy tinkling" of the cow-bell in the distant field; 

 from the solo of a Lucca to the warblinof of a wood- 

 thrush, or the purling of a mountain trout-brook; from 

 the majesty of a sacred chorus to the distant bleating of 

 the homeward herd at sunset, or the cheery chattering 

 of a bevy of school-girls on a picnic; from the deep bass 

 of the organ to the hoarse voice of the thunder, or the 

 moaning of the south wind in the pine trees, these all 

 are easy transitions to forms of sound which in them- 

 selves are beautiful, and are often doubly pleasing from 

 the fond associations with which they renew our pleas- 

 ures past. 



