_Characteristics of the Fiddle Species._—In the _variety_ of expression, as well as in its _quality_, the violin has often been signalized for its approximation to the human voice. The _finesse_ of perception of a clever woman has discovered in that remarkable instrument, and its ligneous family, a yet closer approach to human character. The ingenious parallels which this lady has drawn are described by Monsieur Beyle, in a passage which I here translate from his curious and amusing work on Haydn and Mozart.—“In listening to the quartetts of Haydn, this lady felt as if present at a conversation held by four agreeable persons. She found in the _First Violin_ the semblance of a man of considerable intelligence, of the middle time of life, an accomplished talker, and equally capable of sustaining the conversation, as of furnishing the subject of it. In the _Second Violin_, she recognized a _friend_ of the First, who endeavoured by every possible method to draw out his brilliant qualities,—was rarely occupied about _himself_,—and kept up the discourse rather by his approbation of what fell from the others, than by advancing any ideas of his own. The _Tenor_ was a solid, profound, and sententious personage, who gave support to the remarks of the First Violin, by maxims of a laconic turn, but of striking truth. As for the _Violoncello_, ’twas a good woman, of a somewhat babbling inclination, who said nothing to signify overmuch, but yet would not be without her share in the conversation. She contributed a certain grace to it, however, and, whilst she was talking, the other interlocutors got time to breathe! One thing, with respect to her, was not difficult to discover—namely, that she cherished a secret bias for the _Tenor_, and gave him the preference over his instrumental brethren.” If these comparisons should appear too fanciful, let it be remembered that the subject is inviting, and might even be carried a good deal further. We should only wonder that Monsieur Beyle’s clever female friend, having contrived to make up so snug a little party, did not still further develop their capabilities, and explain, “avec circonstance,” the _matter_ of their amiable chit-chat. _Why_ she should have chosen, by the by, to assign to the _Violoncello_ the feminine gender, is by no means obvious. According to the general rules of proportion, which govern sex, it would be otherwise. Perhaps the creation of that instrument subsequently to the fiddle, as a help-mate to it, may have suggested this notion to our speculatist; but, _n’importe_; let us be content, rather than differ with a lady, to allow personification under the softer sex to the instrument in question, which may then figure characteristically, like one of Byron’s heroines, as “Somewhat large, and languishing, and lazy.”