Letter XLVIII. To Eloisa. Ah! my Eloisa, how have I been entertained! What melting sounds! what music! delightful source of sensibility and pleasure! Lose not a moment; collect your operas, your cantatas, in a word all your French music; then make a very hot fire, and cast the wretched, stuff into the flames: be sure you stir it well, that, cold as it is, it may once at least send forth a little warmth. Make this sacrifice to the God of taste, to expiate our mutual crime in having profaned your voice with such doleful psalmody, and so long mistaking a noise that stunned our ears for the pathetic language of the heart. How entirely your worthy brother was in the right; and in what unaccountable ignorance have I lived, concerning the productions of that charming art! It gave me but little pleasure, and therefore I thought it naturally impotent. music, I said, is a vain sound, that only flatters the ear, and makes little or no impression upon the mind. The effect of harmonic sounds is entirely mechanical or physical; and what have these to do with sentiment? Why should I expect to be moved with musical chords more than with a proper agreement of colours? But I never perceived, in the accents of melody applied to those of language, the secret but powerful unison between music and the passions. I had no idea that the same sensations which modulate the voice of an orator, gives the singer a still greater power over our hearts, and that the energic expression of his own feelings is the sympathetic cause of all our emotion. This lesson I was taught by his lordship’s Italian singer, who, for a musician, talks pretty sensibly of his own art. Harmony, says he, is nothing more than a remote accessory in imitative music; for, properly speaking, there is not in harmony the least principle of imitation. Indeed, it assures the intonations, confirms their propriety, and renders the modulation more distinct; it adds force to the expression and grace to the air. But from melody alone proceeds that invincible power of pathetic accents over the soul. Let there be performed the most judicious succession of chords, without the addition of melody, and you would be tired in less than a quarter of an hour; whilst on the contrary, a single voice, without the assistance of harmony, will continue to please a considerable time. An air, be it ever so simple, if there be any thing of the true pathos in the composition, becomes immediately interesting; but, on the contrary, melody without expression will have no effect, and harmony alone can never touch the heart.