Resembling causes may produce effects that have no resemblance; and causes that have no resemblance may produce resembling effects. A magnificent building, for example, resembles not in any degree an heroic action; and yet the emotions they produce, being concordant, bear a resemblance to each other. We are still more sensible of this resemblance, in a song where the music is properly adjusted to the sentiment. There is no resemblance betwixt thought and sound; but there is the strongest resemblance betwixt the emotion raised by music tender and pathetic, and that raised by the complaint of an unsuccessful lover. To apply these examples to the present subject, I observe, that the sound even of a single word makes, in some instances, an impression resembling that which is made by the thing it signifies; witness the word _running_, composed of two short syllables; and more remarkably the words _rapidity_, _impetuosity_, _precipitation_. Brutal manners produce in the spectator, an emotion not unlike what is produced by a harsh and rough sound. Hence the figurative expression, _rugged_ manners; an expression peculiarly agreeable by the relation of the sound to the sense. Again, the word _little_, being pronounced with a very small aperture of the mouth, has a weak and faint sound, which makes an impression resembling that made by any diminutive object. This resemblance of effects, is still more remarkable where a number of words are connected together in a period. Words pronounced in succession make often a strong impression; and when this impression happens to accord with that made by the sense, a peculiar pleasure arises. The thought or sentiment produces one pleasant emotion: the melody or tone of the words produces another. But the chief pleasure proceeds from having these two concordant emotions combined in perfect harmony, and carried on in the mind to a full close[94]. Except in the single case where sound is described, all the examples given by critics of sense being imitated in sound, resolve into a resemblance of effects. Emotions raised by sound and signification may have a resemblance; but sound itself cannot have a resemblance to any thing but sound. Proceeding now to particulars, and beginning with those cases where the emotions have the strongest resemblance, I observe, first, That in pronouncing a number of syllables in succession, an emotion is sometimes raised extremely similar to that raised by successive motion. This may be made evident even to those who are defective in taste, by the following fact, that the term _movement_ in all languages is equally apply’d to both. In this manner, successive motion, such as walking, running, galloping, can be imitated by a succession of long or short syllables, or by a due mixture of both. For example, slow motion may be aptly imitated in a verse where long syllables prevail; especially when aided by a slow pronunciation: