The instrument is divided into fourths, that is, into four sets of chords.  The first only of these four sets is touched by the player, but on any of the first set being intoned, each corresponding string of the three other sets, all of which are stouter and more powerful than the set played upon, resounds in harmony.

The power given out by the three sets of strings is proportioned to the sound produced on the first set by the performer, as the force of an echo is stronger or weaker according as the sound producing it is increased or diminished in volume.

In the framework of the harp there are conducting strings of electricity, which unite all the rest with the first set and with each other.  The electricity is generated by a liquid contained in a small tube, and is set in motion by the movement of the strings of the first set of chords.  The tube can be placed in or removed from the instrument with the greatest ease; without it, the first set alone responds to the player’s touch.

The musician has the power of varying and depressing the notes of the instrument in a marvellous manner, so as to produce instantaneously the most delicate or the most powerful sounds, with endless modulations and variety of tone.  I have heard echoes and responses given out as though the music had been breathed from a great distance;—­the gentlest whispers were alternated with all the force of a band of music.

I could not, without much expenditure of time and labour, and without explaining our science of music, which is altogether different to yours, convey to you an adequate notion of the effect produced by a skilful player.  I have seen a multitude turned away from evil designs by the exquisite playing of the harpist—­their passions calmed, their thoughts raised from earth to heaven.

By the aid of little knobs on the instrument, the diapason can be changed to an extent that you would not credit, for it has reference to a system different to yours.  The compass and extent of sound given by our harps is very considerably higher than the notes produced by your violins, and deeper than the lowest notes given by your contrabassi.

We do not count by octaves, but by touching twos or threes different characters of sounds are produced, indicated by names such as—­gaiety, joy, melancholy, truthfulness, fickleness in some things, fickleness in all things, an exalted mind, poetry, domestic peace, hatred, jealousy, morbid sensibility, pardon, receiving again into favour, flowers, decay of health, sickness, returning health, love in a gentle degree, love in a sublime degree, doubting, also trusting love, loneliness, disappointment, ambition.

These and many other sentiments are expressed by strains that go directly to the soul, and without the need of words.  As all in Montalluyah understand the language the music is intended to convey, the player, without opening his lips, can express himself on the harp as clearly as by discourse; and two persons playing can hold a conversation.