significance of our existence hangs over the farce and the endless miseries of human life, and never leaves it for a moment.
If we now cast a glance at purely instrumental music, a symphony of Beethoven presents to us the greatest confusion, which yet has the most perfect order at its foundation, the most vehement conflict, which is transformed the next moment into the most beautiful concord. It is rerum concordia discors, a true and perfect picture of the nature of the world which rolls on in the boundless maze of innumerable forms, and through constant destruction supports itself. But in this symphony all human passions and emotions also find utterance; joy, sorrow, love, hatred, terror, hope, &c., in innumerable degrees, yet all, as it were, only in abstracto, and without any particularisation; it is their mere form without the substance, like a spirit world without matter. Certainly we have a tendency to realise them while we listen, to clothe them in imagination with flesh and bones, and to see in them scenes of life and nature on every hand. Yet, taken generally, this is not required for their comprehension or enjoyment, but rather imparts to them a foreign and arbitrary addition: therefore it is better to apprehend them in their immediacy and purity.
Since now, in the foregoing remarks, and also in the text, I have considered music only from the metaphysical side, that is, with reference to the inner significance of its performances, it is right that I should now also subject to a general consideration the means by which, acting upon our mind, it brings these about; therefore that I should show the connection of that metaphysical side of music, and the physical side, which has been fully investigated, and is well known, I stare from the theory which is generally known, and has by no means been shaken by recent objections, that all harmony of the notes depends upon the coincidence of their vibrations, which when two notes sound together occurs perhaps at every second, or
