Milton has described this species of music in one of his juvenile poems.[27] I need not say that Milton was perfectly well versed in that art; and that no man had a finer ear, with a happier manner of expressing the affections of one sense by metaphors taken from another.
The description is as follows:-- "And ever against eating cares, Lap me in _soft_ Lydian airs; In notes with many a _winding_ bout Of _linked sweetness long drawn_ out; With wanton heed, and giddy cunning, The _melting_ voice through _mazes_ running; _Untwisting_ all the chains that tie The hidden soul of harmony." Let us parallel this with the softness, the winding surface, the unbroken continuance, the easy gradation of the beautiful in other things; and all the diversities of the several senses, with all their several affections, will rather help to throw lights from one another to finish one clear, consistent idea of the whole, than to obscure it by their intricacy and variety.
To the above-mentioned description I shall add one or two remarks.

The first is; that the beautiful in music will not hear that loudness and strength of sounds, which may be used to raise other passions; nor notes which are shrill, or harsh, or deep; it agrees best with such as are clear, even, smooth, and weak.

The second is; that great variety, and quick transitions from one measure or tone to another, are contrary to the genius of the beautiful in music.

Such[28] transitions often excite mirth, or other sudden or tumultuous passions; but not that sinking, that melting, that languor, which is the characteristical effect of the beautiful as it regards every sense.

The passion excited by beauty is in fact nearer to a species of melancholy, than to jollity and mirth.