SECT. XVII. 2. CATENATION OF MOTIONS. 229 



very inconfiderable time, (he can dill continue her 

 performance, according to the fixth article. 



7. If however this interruption be greater, 

 though the chain of actions be not diiTevered, it 

 proceeds confufedly, and our young performer 

 continues indeed to play, but in a hurry without 

 accuracy and elegance, till fhe begins the tune a- 

 gain, according to the feventh of the preceding ar- 

 ticles, 



8. But if this interruption be ftjll greater, the 

 circle of actions becomes entirely diffevered, and 

 fhe finds herfelf immediately under the neceility Co 

 begin over again to recover the loft catenation, ac- 

 cording to the eighth preceding article. 



9. Or in trying to recover it fhe will fing fome 

 diifonant notes, or ftrike fomc improper keys, ac- 

 cording to the ninth preceding article. 



10. A very remarkable thing attends this breacli 

 of catenation, if the performer has forgotten 

 fome word of her fong, the more energy of 

 mind me ufes about it, the more diftant is fhe 

 from regaining it ; and artfully employs her mind 

 in part on fome other object, or endeavours to 

 dull its perceptions, continuing to repeat, as h 

 were inconfciouily, the former part of the fonga 

 that me remembers, in hopes to regain the loft co- 

 aexion. 



For if the activity of the mind itfelf be more 

 energetic, or takes its attention more, than the 

 connecting word, which is wanted ; it will not per- 

 ceive the flighter link of this loft word ; as who 

 liftens to a feeble found, muft be very filent and 

 motionlefs ; fo that in this cafe the very vigour of 

 the mind itfelf feems to prevent it from regaining 

 the loft catenation, as well as the too great exer- 

 tion in endeavouring to regain it, according to the 

 tenth preceding article* 



We 



