The Essays of Adam Smith · Adam Smith
PART II.
The effect of instrumental Music upon the mind has been called its expression. In the feeling it is frequently not unlike the effect of what is called the expression of Painting, and is sometimes equally interesting. But the effect of the expression of Painting arises always from the thought of something which, though distinctly and clearly suggested by the drawing and colouring of the picture, is altogether different from that drawing and colouring. It arises sometimes from sympathy with, sometimes from antipathy and aversion to, the sentiments, emotions, and passions which the countenance, the action, the air and attitude of the persons represented suggest. The melody and harmony of instrumental Music, on the contrary, do not distinctly and clearly suggest any thing that is different from that melody and harmony. Whatever effect it produces is the immediate effect of that melody and harmony, and not of something else which is signified and suggested by them: they in fact signify and suggest nothing. It may be proper to say that the complete art of painting, the complete merit of a picture, is composed of three distinct arts or merits; that of drawing, that of colouring, and that of expression.
But to say, as Mr. Addison does, that the complete art of a musician, the complete merit of a piece of Music, is composed or made up of three distinct arts or merits, that of melody, that of harmony, and that of expression, is to say, that it is made up of melody and harmony, and of the immediate and necessary effect of melody and harmony: the division is by no means logical; expression in painting is not the necessary effect either of good drawing or of good colouring, or of both together; a picture may be both finely drawn and finely coloured, and yet have very little expression: but that effect upon the mind which is called expression in Music, is the immediate and necessary effect of good melody. In the power of producing this effect consists the essential characteristic which distinguishes such melody from what is bad or indifferent. Harmony may enforce the effect of good melody, but without good melody the most skilful harmony can produce no effect which deserves the name {432} of expression; it can do little more than fatigue and confound the ear. A painter may possess, in a very eminent degree, the talents of drawing and colouring, and yet possess that of expression in a very inferior degree.
Ideas discussed in this chapter
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