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Show Additional Notes. snrpri e, if it suddenly dissevers our .accu.stomed habits of. motion, and is then more generally attended w1th d1_ agreeable sensatwn. To this circumstance attending objects of taste is to be referred what is termed wild and irregular in landscapes, in contradistinction to the repetition of parts or uniformity spoken o~ be.low. 'V: m~y add, that novelty of notes and tones in music, or of the1r com bmati~n.s or successions, are equally agreeable to the ear, as the novelty of forms and colours and of their combinations or successions arc to the eye; but that th~ greater quantity or degree of novelty, the sentiment of which is generally termed Surprise, is more frequently exc~ted by unusual or unexpected sounds; which are liable to alarm us wrth fear, as well as surprise us with novelty. Repetition if visible ofVects. The repeated excitement of the same or similar ideas with certain intervals of time, or distances of space be~ ween them, is attended with agreeable sensations, besides that simply of perception; and, though it appears to be diametrically opposite to the pleasure arising from the novelty of objects above treated of, enters into the compositions of all the agreeable arts. The pleasure arising from the repetition of similar ideas with cer-tain intervals of time or distances of space between them is a subject of great metaphysical curiosity, as well as the source of the pleasure derived from novelty, which will I hope excuse its introduction .in this place. The repetitions of motions may be at first produced either by vo-lition, or by sensation, or by irritation, but they soon become easier to perform than a.11y other kinds of action, because they soon become associated together; and thus their frequency of repetition, if as much sensorial power be produced during every reiteration, as is expended, adds to the facility of their production. If a stimulus be repeated at uniform intervals of time, the action, whether of our muscles or organs of sense, is produced with still greater facility or energy; because the sensorial power of association.t Aualysis r!f Ta te. 8j' menti. on.e d above' is combine c1 Wl" t] l tl1 c scnson.a l pow . f · .. · . that IS m common lallguagc, the ttC(Juired 1 b. . et o lliitatwn; the stimulus. Ia It as Jsts the power of . Thi. not only obtains in the annual lunar ancl cli'u 1 t f · · ' ' rna catena· w~s o ammal motwus, as explained in Zoonornia Sect XXXVI l wlll ch. are thus performed with great facility aJlcl ener;>·y. bL. t . .L .L •• cs · c1rcle f f · o ' 1 m every . t .. . o ac Ion. or Ideas, a in the burden of a sono· or the re- I Cl <ttwns of a dance. To the facility and eli tinctncss 'witl ] . h we hear sounds at repeated interval.' we owe the j)le'•su'I·e 11 'Wh1IC . ·c · f' · . .. , w uc we 1B cte iv·e Gro m musical time, and from poetic t"In1c , as c1 e scn'b ed I. n o amc arden, V. II. Interlude III. And to this tl 1 . , receiv f· h, .1 · . . · 1e pea tllc we e I om t c I Hmes and alliteratiOns of modern versificat" . th source of which without this key would be dii:xl·Clllt to 1' wn, e Tl · . .L · t 1scover. a l . lere IS n.o :anety o~ notes r:fcrable to the gamut in the beating of . c I nm, yet If 1t be performed m musical time, it is aoTeeable t ears;. ~nd therefore thi pleasurable sensation n1ust be ow in 0• t~ ~~~ rep~titwn of the eli vi& ions of the sounds at certain intervals of time, 0~ mns1cal bars. 1Vhcthcr these times or bars are distinO'uished b P.aus~, or by an emphasis, or accent, -certain it is, tllaf tbis dist~c~ ~ton IS perpetually repeated; otherwi e the ear could not determine m. tantl_r, whether the successions of sound were in common or in tnple t1me. Bu~ beside. the c little circles of musical time, there are the greater retu rn.mo· penocls, and the still more distinct chorusscs; which, like the rhuncs at the end of verses, owe their beauty to repetition. that :is, to the facility and distinctness with which we }Jerceive so,un Is 1 . 1 ( ' w nc 1 we expect to perceive or have perceived before; or in the lan-guage of thi work, to the greater ease and energy with which our organ is excited by the combined sensorial powers of as ociation and irritation, than by the latter singly. . This kind of pleasure arising from repetition, that is from the fa· cility and distinctness with which we perceive and under tancl repeated sensations, enters into all the agreeable arts; and when it is carried to excess is termed formality. The art of dancing Jike that of mu ic depends for a great part of the pleasure, it affords, on repetition; architecture, especially the Grecian, consists of one part being a repetition |