re the inevitable concomitants of certain moral conditions.
The half-unconscious memory become part and parcel of the human mind,
that, just as certain mental conditions induce a movement in the muscles
which brings tears into the eye or a knot into the throat, so also
certain audible movements are due to the muscular tension resulting from
mental buoyancy, and certain others to the muscular relaxation due to
mental depression, this half-unconscious memory, this instinct, this
inevitable association of ideas, generated long before music existed
even in the most rudimentary condition, carried with the various
elements of pitch, movement, sonority, and proportion into the musical
forms constructed out of these elements, this unconscious association
of ideas, this integrated recollection of the inevitable connection
between certain sounds and certain passions is the one main cause and
explanation of the expressiveness of music. And when to it we have added
the conscious perception, due to actual comparison, of the resemblance
between certain modes of musical delivery and certain modes of ordinary
speaking accentuation, between certain musical movements and certain
movements of the body in gesticulation; when we have completed the
instinctive recognition of passion, which makes us cry or jump, we know
not why, by the rapidly reasoned recognition of resemblance between the
utterance of the art and the utterance of human life, which, when we
listen for instance to a recitative, makes us say, "This sentence is
absolutely correct in expression," or, "No human being ever said such
a thing in such a manner;" when we have the instinctive perception of
passion, and the conscious perception of imitation; and we have added to
these two the power of tone and harmony, neither of them connected in
any way with the expression of emotion, but both rendering us, by their
nervous stimulant, infinitely more sensitive to its expression; when we
have all this, we have all the elements which the musician can employ to
bring home to us a definite state of mind; all the mysterious unspoken,
unwritten words by means of which Mozart can describe to us what
Beaumarchais has described in clear, logical, spoken, written words--the
page Cherubino.

Now let us see how much of Cherubino can be shown us by these mere
musical means. Cherubino is childish, coquettish, sentimental, amorous,
timid, audacious, fickle; he is self-conscious and self-unconscious,