He then repeated a few Italian scenes without singing, made me sensible of the harmony between the music and the words in the recitative, between the sentiment and the music in the airs, and in general the energy which was added to the expression by the exact measure and the proper choice of chords. In short, after joining to my knowledge of the Italian, the most perfect idea in my power of the oratorial and pathetic emphasis, namely the art of speaking to the ear and to the heart in an inarticulate language, I sat down and gave my whole attention to this enchanting music, and, by the emotions I felt, soon perceived that there is a power in the art infinitely beyond what I imagined. It is impossible to describe the voluptuous sensation which imperceptibly stole upon me. It was not an unmeaning succession of sounds, as in our musical recitals. Every phrase imprest my brain with some new image, or conveyed a fresh sensation to my heart. The pleasure did not stop at the ear; it penetrated my soul. The performance, without any extraordinary effort, seemed to flow with charming facility; and the performers appeared to be all animated by one soul. The singer, who was quite master of his voice, expressed, with ease, all that the music and the words required. Upon the whole, I was extremely happy to find myself relieved from those heavy cadences, those terrible efforts of the voice, that continual combat between the air and the measure which in our music so seldom agree, and which is not less fatiguing to the audience than the musician. But when, after a succession of agreeable airs, they struck into those grand pieces of expression, which, as they paint, excite the more violent passions, I every moment lost the idea of music, song, imitation; and imagined I heard the real voice of grief, rage, despair. Sometimes methought I saw a weeping disconsolate mother, a lover betrayed, a furious tyrant, and the sympathy was frequently so powerful that I could hardly keep my seat. I was thus affected, because I now fully conceived the ideas of the composer, and therefore his judicious combination of sounds acted upon me with all its force. No, Eloisa, it is impossible to feel those impressions by halves; they are excessive or not at all; one is either entirely insensible or raised to an immoderate degree of enthusiasm: either it is an unintelligible noise, or an impetuosity of sensation that hurries you along, and which the soul cannot possibly resist.