some other object, according with the fourth article of the preceding
proportions.

The manuscript copy of this work was lent to many of my friends at
different times for the purpose of gaining their opinions and criticisms on
many parts of it, and I found the following anecdote written with a pencil
opposite to this page, but am not certain by whom. "I remember seeing the
pretty young actress, who succeeded Mrs. Arne in the performance of the
celebrated Padlock, rehearse the musical parts at her harpsichord under the
eye of her master with great taste and accuracy; though I observed her
countenance full of emotion, which I could not account for; at last she
suddenly burst into tears; for she had all this time been eyeing a beloved
canary bird, suffering great agonies, which at that instant fell dead from
its perch."

5. At the same time many other catenated circles of action are going on in
the person of our fair musician, as well as the motions of her fingers,
such as the vital motions, respiration, the movements of her eyes and
eyelids, and of the intricate muscles of vocality, according with the fifth
preceding article.

6. If by any strong impression on the mind of our fair musician she should
be interrupted for a very inconsiderable time, she can still continue her
performance, according to the sixth article.

7. If however this interruption be greater, though the chain of actions be
not dissevered, it proceeds confusedly, and our young performer continues
indeed to play, but in a hurry without accuracy and elegance, till she
begins the tune again, according to the seventh of the preceding articles.

8. But if this interruption be still greater, the circle of actions becomes
entirely dissevered, and she finds herself immediately under the necessity
to begin over again to recover the lost catenation, according to the eighth
preceding article.

9. Or in trying to recover it she will sing some dissonant notes, or strike
some improper keys, according to the ninth preceding article.

10. A very remarkable thing attends this breach of catenation, if the
performer has forgotten some word of her song, the more energy of mind she
uses about it, the more distant is she from regaining it; and artfully
employs her mind in part on some other object, or endeavours to dull its
perceptions, continuing to repeat, as it were inconsciously, the former
part of the song, that she remembers, in hopes to regain the lost
connexion