As a mere sensation, music has power. A little maid I have known, who would sit on her cricket by her father’s knee until he had read the whole of Christobel—of which she did not know the meaning of a line. It was melodious to her ear, and merely in its music there was fascination to her infant spirit. The songs which primitive people sing—in which they have their best social interchange, are frequently poor in diction and bald in sentiment. It is the music that gives the words a life; and this life can transfuse energetic inspiration into the meanest words. Early melodies are, of necessity, most simple. They are the instincts seeking to put themselves into measured sound—yet with little to fill the ear, and less to reach the mind. Nevertheless, they are good for the mind and pleasant to the ear. A rude musical sensation is of value; of how much more value is a refined musical sensation. But a musical sensation is of its very nature a refined one. It is among the purest of sensations. It may, indeed, be associated with coarse and base emotions. This, however, is not in itself. It is in the imagination or the word-music simply, as music presents nothing to the sense that is either coarse or base. The conception is from the mind to music, not from music to the mind. Speaking of music as a sensation, I speak relatively—for to man there is no music without soul. In music soul and sense both mingle—and become _one_ in its inspired sound.