Note 95 — Chapter III

"What we hear" writes Professor Max Müller "when listening to a chorus or a symphony is a commotion of elastic air, of which the wildest sea would give a very inadequate image. The lowest tone which the ear perceives is due to about 30 vibrations in one second, the highest to about 4,000. Consider then what happens in a Presto when thousands of voices and instruments are simultaneously producing waves of air, each wave crossing the other, not only like the surface waves of the water, but like spherical bodies, and, as it would seem, without any perceptible disturbance; consider that each tone is accompanied by secondary tones, that each instrument has its peculiar timbre, due to secondary vibrations; and, lastly, let us remember that all this cross-fire of waves, all this whirlpool of sound, is moderated by laws which determine what we call harmony, and by certain traditions or habits which determine what we call melody—both these elements being absent in the songs of birds—that all this must be reflected like a microscopic photograph on the two small organs of hearing, and there excite not only perception, but perception followed by a new feeling even more mysterious, which we call either pleasure or pain; and it will be clear that we are surrounded on all sides by miracles transcending all we are accustomed to call miraculous, and yet disclosing to the genius of an Euler or a Newton laws which admit of the most minute mathematical determination." Science of Language, Second Series, p. 115.