The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.

Shenstone is arguing that memorability and quotability depend less on a passage’s informational content than on its sound. “Musical” here points to rhythm, cadence, and euphony—the patterned pleasures of language that make lines easy to retain and satisfying to repeat. By extending the claim from poetry to prose and even Scripture, he suggests that the ear governs cultural transmission across genres: what survives in common recollection is what can be internally “heard.” The remark also reflects an eighteenth‑century preoccupation with taste and elocution, where effective writing was often judged by its harmony and suitability for oral delivery.