&CT. XVI. 2. CATENATION OF MOT IONS. 



our hourly modes of reafoning, or imagining, or 

 recolle&ing, we (hall gain fome idea of the innu- 

 merable catenated trains and circles of aclion, which 

 form the tenor of our lives, and which began, and 

 will only ceafe entirely with them. 



2. When a young lady begins to learn mufic, flic 

 voluntarily applies herfelf to the characters of her 

 mufic-book, and by many repetitions endeavours to 

 catenate them with the proportions of found, of 

 which they are fymbols. The idea excited by the 

 mufical characters are ilowly connected with the 

 keys of the harpfichord, and much effort is necef- 

 fary to produce every note with the proper finger, 

 and in its due place and time ; till at length a traia 

 of voluntary exertions becomes catenated with cer- 

 tain irritations. As the various notes by frequent 

 repetitions become connected in the order, in which 

 they are produced, a new catenation of fenfitive 

 exertions becomes mixed with the voluntary ones 

 above defcribed ; and not only the mufical fymbols 

 of crotchets and quavers, but the auditory notes 

 and tones at the fame time, become fo many fuc- 

 ceffive or fynchronous links in this circle of cate- 

 nated actions. 



At length the motions of her fingers become ca- 

 tenated with the mufical characters ; and thefe no 

 fooner ftrike the eye, than the finger prefles 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 

 mufical fymbol on the retina ; till at length by fre- 

 quent repetitions of the fame tune the movements 

 of her fingers in playing, and the mufcles of the 

 larynx in finging, become aflbciated with each 

 other, and form part of thofe intricate trains and 

 circles of catenated motions, according with the fe- 

 cond article of the preceding propofidons in No. i. 

 of this Section. 



3, Befides 



