remain the same within as without the mind. For, where the
ultimate end is not in mere bodily sensation, neither the senses nor
the objects possess, of themselves, any productive power; of the
product that follows, the _tertium aliquid_, whether the pleasure
we feel be in a beautiful animal or in according sounds, neither the
one nor the other is really the cause, but simply the _occasion_.
It is clear, then, that the effect realized supposes of necessity
another agent, which must therefore exist only in the mind. But of
this hereafter.

If the cause of any emotion, which we seem to derive from an outward
object, were inherent exclusively in the object itself, there could
be no failure in any instance, except where the organs of sense were
either diseased or imperfect. But it is a matter of fact that they
often do fail where there is no disease or organic defect. Many of us,
perhaps, can call to mind certain individuals, whose sense of hearing
is as acute as our own, who yet can by no possibility be made to
recognize the slightest relation between the according notes of the
simplest melody; and, though they can as readily as others distinguish
the individual sounds, even to the degrees of flatness and sharpness,
the harmonic agreement is to them as mere noise. Let us suppose
ourselves present at a concert, in company with one such person and
another who possesses what is called musical sensibility. How are
they affected, for instance, by a piece of Mozart's? In the sense
of hearing they are equal: look at them. In the one we perceive
perplexity, annoyance, perhaps pain; he hears nothing but a confused
medley of sounds. In the other, the whole being is rapt in ecstasy,
the unutterable pleasure gushes from his eyes, he cannot articulate
his emotion;--in the words of one, who felt and embodied the subtile
mystery in immortal verse, his very soul seems "lapped in Elysium."
Now, could this difference be possible, were the sole cause, strictly
speaking, in mere matter?

Nor do we contradict our position, when we admit, in certain
cases,--for instance, in the producer,--the necessity of a nicer
organization, in order to the more perfect _transmission_ of the
finer emotions; inasmuch as what is to be communicated in space and
time must needs be by some medium adapted thereto.

Such a person as Paganini, it is said, was able to "discourse most
excellent music" on a ballad-monger's fiddle; yet will any one
question that he ne