cal quality we note in music is identical with the rhythmical quality of prose or poetry, it must be remembered that the musician creates rhythm with pure tone, sound, whereas in any good prose or poetry sense and definite meaning must play their part. Most of us are unlike Mme. de Staël who delighted in the melody of verse, demanding nothing more. She would read a favourite specimen and declare, "That is what I call poetry! It is delicious, and so much the more so because it does not convey a single idea to me!"
Probably the best and truest reason, however, why musicians cannot juggle words is definitely a puritanic reason. Of all artists the musician is the only one who can express himself freely. In a casual paper, James Huneker once observed, "Because of its opportunities for the expansion of the soul music has ever attracted the strong free sons of earth. It is, par excellence, the art masculine. The profoundest truths, the most blasphemous ideas, may be incorporated within the walls of a symphony, and the police none the wiser." The painter even less than the writer can reproduce all that he really sees. Nor can the sculptor do more than the painter. These artists, then, find themselves free, unrestricted in the medium of words, because hitherto they have observed and felt deeply so much more than they could express on canvas or in marble. The mu-
