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 needed an instrument of somewhat finer construction to show forth his full powers? Nay, we might add, that he needed no less than the most delicate _Cremona_,--some instrument, as it were, articulated into humanity,--to have inhaled and respired those attenuated strains, which, those who heard them think it hardly extravagant to say, seemed almost to embody silence. Now this mechanical instrument, by means of which such marvels were wrought, is but one of the many visible symbols of that more subtile instrument through which the mind acts when it would manifest itself. It would be too absurd to ask if any one believed that the music we speak of was created, as well as conveyed, by the instrument. The violin of Paganini may still be seen and handled; but the soul that inspired it is buried with its master.