magis dementat quam rimun.” In modern times, the great est advocate for music in the treatment of insanity has been Dr. Mason Cox, who employed it systematically, and, as he relates, with the best effect. Frank also employed it, and he relates the instance of a young person affected with peri odical insanity, who, every time he heard the sound of music, was seized with a furious paroxysm of mania. Dr. Knight had seen its tranquilizing and beneficial effects in numerous cases, and had never seen it do harm; but yet he could not think its employment safe in excited and recent cases. Guis lain distinguishes its use—1st, as exercising the mind of the patient who executes; and, 2nd, when played by others, as producing effects upon the nervous system through the emo tions. In the first of these modes, its employment is, un doubtedly, beneficial as a means of recreation; but modern physicians appear to have little faith in its effects when simply listened to. Either the nerves are less delicately strung than formerly, or the quality of music has deteriorated, or the power of medical faith has decayed; of which explanations the latter is, probably, the true one. Still, credence is given to its power in certain conditions; for instance, the national melo dies of mountain countries are said to possess a most wonder ful influence on the nerves.
The ramz des vaches causes
melancholy in the Switzer; and Locheil, in the shrill screams of the bagpipe, is said to produce the occasional effect of making the Scotchman desire to return to his own country. Shakespeare records another remarkable consequence of lis tening to the Highland music. A physiological explana tion, however, may be offered of Shylock's assertion, that some men, “when the bagpipe sings in the nose, cannot contain their urine,” namely, that the musical performance described merely meant a violent fit of sneezing; which might easily, in nervous persons, occasion the peculiar effect attributed to it. It may be the forcing strain of interrupted
