"When music imitates the modulations of grief or joy, it either actually inspires us with those passions, or at least puts us in the mood which disposes us to conceive them. But when it imitates the notes of anger, it inspires us with fear. Joy, grief, love, admiration, devotion, are all of them passions which are naturally musical. Their natural tones are all soft, clear, and melodious; and they naturally express themselves in periods which are distinguished by regular pauses, and which upon that account are easily adapted to the regular returns of the correspondent airs of a tune."
— Smith, Adam (1723-1790)
Author
Work Title
Place of Publication
London and Edinburgh
Publisher
Printed for A. Millar, A. Kincaid, and J. Bell
Date
1759
Metaphor
"When music imitates the modulations of grief or joy, it either actually inspires us with those passions, or at least puts us in the mood which disposes us to conceive them. But when it imitates the notes of anger, it inspires us with fear. Joy, grief, love, admiration, devotion, are all of them passions which are naturally musical. Their natural tones are all soft, clear, and melodious; and they naturally express themselves in periods which are distinguished by regular pauses, and which upon that account are easily adapted to the regular returns of the correspondent airs of a tune."
Metaphor in Context
When music imitates the modulations of grief or joy, it either actually inspires us with those passions, or at least puts us in the mood which disposes us to conceive them. But when it imitates the notes of anger, it inspires us with fear. Joy, grief, love, admiration, devotion, are all of them passions which are naturally musical. Their natural tones are all soft, clear, and melodious; and they naturally express themselves in periods which are distinguished by regular pauses, and which upon that account are easily adapted to the regular returns of the correspondent airs of a tune. The voice of anger, on the contrary, and of all the passions which are akin to it, is harsh and discordant. Its periods too are all irregular, sometimes very long, and sometimes very short, and distinguished by no regular pauses. It is with difficulty, therefore, that music can imitate any of those passions; and the music which does imitate them is not the most agreeable. A whole entertainment may consist, without any impropriety, of the imitation of the social and agreeable passions. It would be a strange entertainment which consisted altogether of the imitations of hatred and resentment.
(pp. 76-7; cf. p. 37 in Liberty Fund ed.)
(pp. 76-7; cf. p. 37 in Liberty Fund ed.)
Categories
Provenance
Reading
Citation
10 entries in the ESTC (1759, 1761, 1764, 1767, 1774, 1777, 1781, 1790, 1792, 1793, 1797). A revised title with a complicated textual history.
See The Theory of Moral Sentiments: By Adam Smith (London: Printed for A. Millar; and A. Kincaid and J. Bell, in Edinburgh, 1759). <Link to ESTC><Link to ECCO-TCP>
Reading Adam Smith, The Theory of Moral Sentiments, ed. D.D. Raphael and A.L. Macfie (Indianapolis: Liberty Fund, 1984).
See The Theory of Moral Sentiments: By Adam Smith (London: Printed for A. Millar; and A. Kincaid and J. Bell, in Edinburgh, 1759). <Link to ESTC><Link to ECCO-TCP>
Reading Adam Smith, The Theory of Moral Sentiments, ed. D.D. Raphael and A.L. Macfie (Indianapolis: Liberty Fund, 1984).
Date of Entry
06/17/2014
