For this Reason the _Italian_ Artists cannot agree with our _English_ Musicians in admiring _Purcell's_ Compositions, [3] and thinking his Tunes so wonderfully adapted to his Words, because both Nations do not always express the same Passions by the same Sounds. I am therefore humbly of Opinion, that an _English_ Composer should not follow the _Italian_ Recitative too servilely, but make use of many gentle Deviations from it, in Compliance with his own Native Language. He may Copy out of it all the lulling Softness and _Dying Falls_ (as _Shakespear_ calls them), but should still remember that he ought to accommodate himself to an _English_ Audience, and by humouring the Tone of our Voices in ordinary Conversation, have the same Regard to the Accent of his own Language, as those Persons had to theirs whom he professes to imitate. It is observed, that several of the singing Birds of our own Country learn to sweeten their Voices, and mellow the Harshness of their natural Notes, by practising under those that come from warmer Climates. In the same manner, I would allow the _Italian_ Opera to lend our _English_ Musick as much as may grace and soften it, but never entirely to annihilate and destroy it. Let the Infusion be as strong as you please, but still let the Subject Matter of it be _English_. A Composer should fit his Musick to the Genius of the People, and consider that the Delicacy of Hearing, and Taste of Harmony, has been formed upon those Sounds which every Country abounds with: In short, that Musick is of a Relative Nature, and what is Harmony to one Ear, may be Dissonance to another. The same Observations which I have made upon the Recitative part of Musick may be applied to all our Songs and Airs in general.