interests which we call knowledge and morality it is easily
intelligible that we should have a parallel interest which we
call art closely akin and lending powerful support to the other
two. It is intelligible too that moral goodness, intellectual
power, high vitality, and strength should be approved by the
intuition." This reduces, or rather brings the problem back to a
tangible basis namely:--the translation of an artistic intuition
into musical sounds approving and reflecting, or endeavoring to
approve and reflect, a "moral goodness," a "high vitality," etc.,
or any other human attribute mental, moral, or spiritual.

Can music do MORE than this? Can it DO this? and if so who and
what is to determine the degree of its failure or success? The
composer, the performer (if there be any), or those who have to
listen? One hearing or a century of hearings?-and if it isn't
successful or if it doesn't fail what matters it?--the fear of
failure need keep no one from the attempt for if the composer is
sensitive he need but launch forth a countercharge of "being
misunderstood" and hide behind it. A theme that the composer sets
up as "moral goodness" may sound like "high vitality," to his
friend and but like an outburst of "nervous weakness" or only a
"stagnant pool" to those not even his enemies. Expression to a
great extent is a matter of terms and terms are anyone's. The
meaning of "God" may have a billion interpretations if there be
that many souls in the world.

There is a moral in the "Nominalist and Realist" that will prove
all sums. It runs something like this: No matter how sincere and
confidential men are in trying to know or assuming that they do
know each other's mood and habits of thought, the net result