show a
_changeable mind_. But I would by no means have what has been said
understood as without exception; for I doubt not but sometimes there are
found men with great and virtuous souls under very unpromising
outsides."

The great Prince of Conde was very expert in a sort of physiognomy which
showed the peculiar habits, motions, and postures of familiar life and
mechanical employments. He would sometimes lay wagers with his friends,
that he would guess, upon the Pont Neuf, what trade persons were of that
passed by, from their walk and air.

CHARACTERS DESCRIBED BY MUSICAL NOTES.

The idea of describing characters under the names of Musical Instruments
has been already displayed in two most pleasing papers which embellish
the _Tatler_, written by Addison. He dwells on this idea with uncommon
success. It has been applauded for its _originality_; and in the
general preface to that work, those papers are distinguished for their
felicity of imagination. The following paper was published in the year
1700, in a volume of "Philosophical Transactions and Collections," and
the two numbers of Addison in the year 1710. It is probable that this
inimitable writer borrowed the seminal hint from this work:--

"A conjecture at dispositions from the modulations of the voice.

"Sitting in some company, and having been but a little before musical, I
chanced to take notice that, in ordinary discourse, _words_ were spoken
in perfect _notes_; and that some of the company used _eighths_, some
_fifths_, some _thirds_; and that his discourse which was the most
pleasing, his _words_, as to their tone, consisted most of _concords_,
and were of _discords_ of such as made up harmony. The same person was
the most affable, pleasant, and best-natured in the company. This
suggests a reason why many discourses which one _hears_ with much
pleasure, when they come to be _read_ scarcely seem the same things.

"From this difference of MUSIC in SPEECH, we may conjecture that of
TEMPERS. We know the Doric mood sounds gravity and sobriety; the Lydian,
buxomness and freedom; the AEolic, sweet stillness and quiet composure;
the Phrygian, jollity and youthful levity; the Ionic is a stiller of
storms and disturbances arising from passion; and why may we not
reasonably suppose, that those whose speech naturally runs into the
notes peculiar to any of these moods, are likewise in nature hereunto
congenerous? _C Fa ut_ may show me to be of an ordinary ca