13. TUNE.

"The breeze warbles, and the mute still air

Is music slumbering on her instrument."--Coleridge.

This is the perception of the pitch of sound, and the fundamental element of music. Music, like painting and poetry, is a complicated and compound subject, and its philosophy is not so obvious as is commonly supposed. The scientific and natural performance of music, involves almost every organ in the brain. It is common for phrenologists to attempt to judge of the amount of musical talent, by reference to the organ of Tune alone; but if my definition of the faculty is correct, they commit an error analogous to that of Dr. Gall, who, when he first discovered the organ of Color, described it as the organ of the talent for painting. Now, although the perception of color is simple, and natural, the art of painting is very difficult, and calls into action all the powers of the mind. Without Tune, no person can be a musician; but with it very large, he may yet be incapable of becoming a performer; for Tune is merely the perception of the pitch of sounds-it enables us to judge of their concord or discord-it is related to the seven primary sounds of the musical scale, just as the organ of Color is related to the seven primary colors of the prismatic spec

trum.

In music, besides Tune and Time, the organ of Weight is necessary to judge of the force of sound, particularly in instrumental music-Language and Imitativeness are necessary, to give just expression-Eventuality to perceive the different kinds of action represented by the music-and, if any of the propensities are expressed, it will be also necessary that the corresponding organs be large in the head of

the performer, in order to enable him to do justice to that

kind of expression

Each passion of the soul has a music of its own,

That thrills in happy unison with its congenial tone. Destructiveness is roused by rough, and Combativeness by loud and sudden sounds; while Adhesiveness, Parentiveness and Kindness are pleased with soft, gentle and sweet tones. It is, consequently, not difficult to judge by examination what kind of music is most pleasing to any particular form of head; and it is obvious, that although Tune may be small, yet music will please if it expresses, in a natural manner the predominant emotions.

It is undoubtedly upon this principle, that music affects some animals, as the horse and the elephant, that upon military parade, seem to partake of the feelings of their master. We can now understand the meaning of Shakespeare's celebrated passage—

The man that has no music in himself,

Nor is not moved by concord of sweet sounds,

Is fit for treasons, stratagems, and spoils;

The motions of his spirit are dull as night,

And his affections dark as Erebus:

Let no such man be trusted.

The poet certainly did not mean to be understood as censuring those who cannot judge with accuracy of musical performances, but he who is not moved by concord of sweet sounds, his social affections are dark as Erebus, and his lower Ipseals predominate.

Beattie expresses the same idea, when describing

"A heart that music cannot melt,"

and in whom Alimentiveness, Secretiveness, and Acquisitiveness predominate; he says,

"He need not woo the Muse; he is her scorn,

The sophist's rope of cob-web he shall twine,

Mope o'er the schoolman's peevish page; or mourn

And delve for life in Mammon's dirty mine;

Sneak with the scoundrel fox, or grunt with glutton swine."

Those who have a military disposition, will be fond of martial music; and those who have a gentle, and effeminate organization, will be pleased with gentle and soothing tones, and they will be likely to say with Scott

I hate the drum's discordant sound,
Parading round and round and round;
To me it talks of ravaged plains,
And burning towns, and ruined swains,
And mangled limbs, and dying groans,
And widow's tears, and orphan's moans,
And all that misery's hand bestows,
To fill the catalogue of human woes.

UPPER RANGE, OR REFLECTIVES.

14. COMPARISON.

"Look here on this picture, and on this."-Shakespeare.

Almost every object or subject which can occupy the mind, belongs to a class to which it bears more or less analogy; and it is the function of this faculty to compare all our perceptions together, and perceive their resemblances and differences, and the classification to which they belong. It harmonizes all our perceptions, and perceives the agreement among them. If a new object is presented to us, Comparison immediately compares all that we know concerning it, to every thing else within our recollection, in order to know to what class it belongs; for instance, if a new phrenological organ is discovered in the brain, this faculty would compare it with the organs already known, and discover whether it belongs to the Ipseal, Social, or Intellectual Class.

If all the perceptives below Comparison be large, and this organ is also large, the individual will possess great power of discrimination; will be capable of making nice. distinctions, or conceiving striking contrasts. When he is explaining any difficult subject, he will illustrate it by comparison; he will discover analogies between things which to the common observer, appear totally dissimilar; his language will abound with figures of speech, brought together from all quarters of the explored universe; from the heathen mythology, the history of individuals, of nations, of animals, and vegetables-science, literature and the arts-every thing under the sun, will be pressed into his service to adorn, amplify, or illustrate his productions.

The talent of public speaking is very dependent upon this faculty; after a plain and simple statement of the case has been made, many speakers find a great difficulty in dwelling longer upon the subject; even though Language may be large, they find it difficult to continue their remarks, from a want of interesting matter which is related to the question; let now a speaker with large Comparison rise, and he immediately begins to present the subject in a new light, and to refer to analogous cases; or if he knows no such cases, he supposes some to suit his purpose; and if he is artful, he will suppose cases in which the audience feel a deep interest, thus enlisting their feelings warmly upon a subject which before was a matter of indifference to them.

Thus Mitford's Rienzi, after having related to his countrymen the death of his innocent and lovely brother, murdered by the tyrants, he suddenly turns and applies the case to themselves, and concludes by contrasting their present condition with their former glory:

Have ye brave sons? look in the next fierce brawl
To see them die. Have ye fair daughters? Look
To see them live, torn from your arms, distained,

Dishonored; and, if ye dare call for justice,
Be answered by the lash. Yet this is Rome,
That sat on her seven hills, and from her throne
Of beauty, ruled the world.

15. CAUSALITY.

"Observe how system into system runs."-Pope.

Causality is the perception of dependence and connection. Every thing in existence is more or less intimately related to every other thing; but when the relation of one thing to another is such that it always must precede it, it is said to be its cause; and that which is thus preceded is called an effect; this effect may in its turn become a cause, and produce another effect, and so on to infinity, constituting a chain of causes and effects, which is called a concatenation. That cause which immediately precedes an effect, is called the immediate cause, and all the other links in the chain of causation are remote causes. So also those effects which are immediately followed by a cause, are called immediate effects, and all others are remote effects; now it is the function of the faculty of Causality to perceive the relation among phenomena which constitutes cause and effect.

It perceives the dependence of one thing upon another, of one event upon another, or of one phenomena of any kind upon some other. Thus, it perceives the dependence of the rivers upon their tributary streams-the dependence of the streams upon the springs-of the springs upon the rainsof the rains upon the clouds-of the clouds upon evaporation-of evaporation upon heat-of heat upon the sun, and the dependence of all these phenomena upon the laws of gravitation.