Perhaps the vice best adapted to illustrate the direct influence of musical culture is cruelty. If you find a boy in the back yard torturing a cat or a dog, or bullying and maltreating his playmates, it will probably do no good to sing or play to him by way of softening his heart. On the contrary, he will probably not appreciate or understand the music at all, and the interruption will only annoy and anger him. But if you take that same boy and put him in a house where there is an _infectious musical atmosphere_, the chances are that before long his feelings will undergo a change, and he will no longer derive any pleasure from cruelty. This pleasure is one which boys share with savages, and the best way to eradicate it is by cultivating the aesthetic sensibilities. "It cannot be doubted," says Eduard von Hartmann, in his "Philosophie des Schoenen," "that aesthetic culture is one of the most important means of softening the moral sentiments and polishing coarse habits;" and Shelley, in his "Defence of Poetry," says, "It will readily be confessed that those among the luxurious citizens of Syracuse and Alexandria who were delighted with the poems of Theocritus were less cold, cruel, and sensual than the remnant of their tribe." Now, music seems to be better adapted to bring about a regeneration of the heart than even poetry, and for two reasons: In the first place, poetry can, and often does, inculcate immoral sentiments, whereas music, pure and simple, can never be immoral. As Dr. Johnson remarks, "Music is the only sensual pleasure without vice." Secondly, it is in childhood that our moral habits are formed, and it is well known that children are susceptible to the influence of music at least five or ten years before they can really understand poetry. The infant in arms has its impatience and anger subdued countless times by the charms of a cradle song; and in this way music sweetens its temper, turns its frowns into smiles, and prevents it from becoming habitually cross and vicious. True, some young children also like to read and recite poetry, but what delights them in this case is the _musical_ jingle of rhyme and rhythm, rather than the specific qualities of the verse.