,*APT] #ab 

#ahigahig 

,PEOPLE 3 

,AU?OR 3 ,LEO ,TOL/OY 

,TRANSLATOR 3 ,AYLM] ,MAUDE 

,TEXT 3 

,9 \R SOCIETY ?REE CONDITIONS CO-OP]ATE TO CAUSE ! PRODUCTION 
( OBJECTS ( C\NT]FEIT >T4 ,!Y >E--7#a7 ! 
CONSID]ABLE REMUN]ATION ( >TI/S = !IR PRODUCTIONS 
& ! PR(ESSIONALIZATION ( >TI/S :I* ?IS HAS PRODUC$1 
7#b7 >T CRITICISM1 & 7#c7 S*OOLS ( >T4 

,:ILE >T WAS AS YET UNDIVID$1 & ONLY RELIGI\S >T 
WAS VALU$ & REW>D$ :ILE 9DISCRIM9ATE >T WAS 
LEFT UNREW>D$1 !RE W]E NO C\NT]FEITS ( >T1 
OR1 IF ANY EXI/$1 BE+ EXPOS$ TO ! CRITICISM ( ! 
:OLE PEOPLE1 !Y QUICKLY DISAPPE>$4 ,BUT AS SOON AS 
?AT DIVISION OCCURR$1 & ! UPP] CLASSES ACCLAIM$ 
EV]Y K9D ( >T AS GOOD IF ONLY IT AF=D$ !M PLEASURE1 
& BEGAN TO REW>D SU* >T MORE HI<LY ?AN ANY O!R 
SOCIAL ACTIVITY1 IMM$IATELY A L>GE NUMB] ( PEOPLE DEVOT$ 
!MSELVES TO ?IS ACTIVITY1 & >T ASSUM$ QUITE A DIFF]5T 
*>ACT] & BECAME A PR(ESSION4 

,& AS SOON AS ?IS OCCURR$1 ! *IEF & MO/ PRECI\S 
QUALITY ( >T--ITS S9C]ITY--WAS AT ONCE GREATLY WEAK5$ 
& EV5TUALLY QUITE DE/ROY$4 

,! PR(ESSIONAL >TI/ LIVES BY HIS >T1 & HAS CONT9UALLY 
TO 9V5T SUBJECTS = HIS WORKS1 & DOES 9V5T !M4 
,& IT IS OBVI\S H[ GREAT A DIFF]5CE MU/ EXI/ BETWE5 
WORKS ( >T PRODUC$ ON ! ONE H& BY M5 SU* AS 
! ,JEWI% PROPHETS1 ! AU?ORS ( ! ,PSALMS1 ,FRANCIS ( 
,ASSISI1 ! AU?ORS ( ! ,ILIAD & ,ODYSSEY1 ( FOLK-/ORIES1 
LEG5DS1 & FOLK-SONGS1 MANY ( :OM NOT ONLY RECEIV$ 
NO REMUN]ATION = !IR WORK1 BUT DID NOT EV5 ATTA* 
#a#a#i!IR NAMES TO IT2 &1 ON ! O!R H&1 WORKS PRODUC$ 
BY C\RT POETS1 DRAMATI/S & MUSICIANS RECEIV+ HONORS 
& REMUN]ATION2 & LAT] ON BY PR(ESSIONAL >TI/S1 :O 
LIV$ BY ! TRADE1 RECEIV+ REMUN]ATION FROM NEWSPAP] 
$ITORS1 PUBLI%]S1 IMPRES>IOS1 & 9 G5]AL FROM ?OSE 
AG5TS :O COME BETWE5 ! >TI/S & ! T[N PUBLIC--! 
CONSUM]S ( >T4 

,PR(ESSIONALISM IS ! FIR/ CONDITION ( ! DIFFUSION ( 
FALSE1 C\NT]FEIT >T4 

,! SECOND CONDITION IS ! GR[?1 9 REC5T TIMES1 ( 
>TI/IC CRITICISM1 I4E4 ! VALUATION ( >T NOT BY EV]YBODY1 
&1 ABOVE ALL1 NOT BY PLA9 M51 BUT BY ]UDITE1 ?AT IS1 BY 
P]V]T$ & AT ! SAME TIME SELF-CONFID5T 9DIVIDUALS4 

,A FRI5D ( M9E1 SPEAK+ ( ! RELATION ( CRITICS TO 
>TI/S1 HALF-JOK+LY DEF9$ IT ?US3 0,CRITICS >E ! /UPID 
:O DISCUSS ! WISE40 ,H[EV] P>TIAL1 9EXACT1 & RUDE 
?IS DEF9ITION MAY BE1 IT IS YET P>TLY TRUE1 & IS 9COMP>ABLY 
JU/] ?AN ! DEF9ITION :I* CONSID]S CRITICS TO 
BE M5 :O CAN EXPLA9 WORKS ( >T4 

0,CRITICS EXPLA960 ,:AT DO !Y EXPLA98 

,! >TI/1 IF A REAL >TI/1 HAS BY HIS WORK TRANSMITT$ 
TO O!RS ! FEEL+ HE EXP]I5C$4 ,:AT IS !RE1 !N1 
TO EXPLA98 

,IF A WORK BE GOOD AS >T1 !N ! FEEL+ EXPRESS$ BY 
! >TI/--BE IT MORAL OR IMMORAL--TRANSMITS ITSELF TO 
O!R PEOPLE4 ,IF TRANSMITT$ TO O!RS1 !N !Y FEEL IT1 
& ALL 9T]PRETATIONS >E SUP]FLU\S4 ,IF ! WORK DOES 
NOT 9FECT PEOPLE1 NO EXPLANATION CAN MAKE IT CONTAGI\S4 
,AN >TI/'S WORK CANNOT BE 9T]PRET$4 ,HAD IT BE5 POSSIBLE 
TO EXPLA9 9 WORDS :AT HE WI%$ TO CONVEY1 ! 
>TI/ W\LD HAVE EXPRESS$ HIMSELF 9 WORDS4 ,HE EXPRESS$ 
IT BY HIS >T1 ONLY BECAUSE ! FEEL+ HE EXP]I5C$ C\LD 
NOT BE O!RWISE TRANSMITT$4 ,! 9T]PRETATION ( WORKS 
( >T BY WORDS ONLY 9DICATES ?AT ! 9T]PRET] IS HIMSELF 
9CAPABLE ( FEEL+ ! 9FECTION ( >T4 ,& ?IS IS 
#a#bACTUALLY ! CASE1 =1 H[EV] /RANGE IT MAY SEEM TO SAY 
SO1 CRITICS HAVE ALWAYS BE5 PEOPLE LESS SUSCEPTIBLE ?AN 
O!R M5 TO ! CONTAGION ( >T4 ,= ! MO/ P>T !Y 
>E ABLE WRIT]S1 $UCAT$ & CLEV]1 BUT ) !IR CAPACITY 
( BE+ 9FECT$ BY >T QUITE P]V]T$ OR ATROPHI$4 ,& 
!RE=E !IR WRIT+S HAVE ALWAYS L>GELY CONTRIBUT$1 & 
/ILL CONTRIBUTE1 TO ! P]V]SION ( ! TA/E ( ?AT PUBLIC 
:I* READS !M & TRU/S !M4 

,>TI/IC CRITICISM DID NOT EXI/--C\LD NOT & CANNOT 
EXI/--9 SOCIETIES :]E >T IS UNDIVID$1 & :]E1 CONSEQU5TLY1 
IT IS APPRAIS$ BY ! RELIGI\S UND]/&+-(-LIFE 
COMMON TO ! :OLE PEOPLE4 ,>T CRITICISM GREW1 
& C\LD GR[1 ONLY ON ! >T ( ! UPP] CLASSES1 :O 
DID NOT ACKN[L$GE ! RELIGI\S P]CEPTION ( !IR TIME4 

,UNIV]SAL >T HAS A DEF9ITE & 9DUBITABLE 9T]NAL 
CRIT]ION--RELIGI\S P]CEPTION2 UPP]-CLASS >T LACKS ?IS1 & 
!RE=E ! APPRECIATORS ( ?AT >T >E OBLIG$ TO CL+ TO 
SOME EXT]NAL CRIT]ION4 ,& !Y F9D IT 9 0! JUDGM5TS 
( ! F9E/-NURTUR$10 AS AN ,5GLI% AES!TICIAN HAS 
PHRAS$ IT1 ?AT IS1 9 ! AU?ORITY ( ! PEOPLE :O >E 
CONSID]$ $UCAT$1 NOR 9 ?IS ALONE1 BUT ALSO 9 A TRADITION 
( SU* AU?ORITIES4 ,?IS TRADITION IS EXTREMELY MISLEAD+1 
BO? BECAUSE ! OP9IONS ( 0! F9E/-NURTUR$0 >E (T5 
MI/AK51 & ALSO BECAUSE JUDGM5TS :I* W]E VALID 
ONCE CEASE TO BE SO ) ! LAPSE ( TIME4 ,BUT ! CRITICS1 
HAV+ NO BASIS = !IR JUDGM5TS1 NEV] CEASE TO REPEAT 
!IR TRADITIONS4 ,! CLASSICAL TRAG$IANS W]E ONCE CONSID]$ 
GOOD1 & !RE=E CRITICISM CONSID]S !M TO BE SO 
/ILL4 ,DANTE WAS E/EEM$ A GREAT POET1 ,RAPHAEL A GREAT 
PA9T]1 ,BA* A GREAT MUSICIAN--& ! CRITICS1 LACK+ A 
/&>D BY :I* TO SEP>ATE GOOD >T FROM BAD1 NOT ONLY 
CONSID] !SE >TI/S GREAT1 BUT REG>D ALL !IR PRODUCTIONS 
AS ADMIRABLE & WOR?Y ( IMITATION4 ,NO?+ HAS CONTRIBUT$1 
& /ILL CONTRIBUTES1 SO MU* TO ! P]V]SION ( >T 
AS !SE AU?ORITIES SET UP BY CRITICISM4 ,A MAN PRODUCES A 
#a#b#aWORK ( >T1 LIKE EV]Y TRUE >TI/ EXPRESS+ 9 HIS [N 
PECULI> MANN] A FEEL+ HE HAS EXP]I5C$4 ,MO/ PEOPLE 
>E 9FECT$ BY ! >TI/'S FEEL+2 & HIS WORK BECOMES 
KN[N4 ,!N CRITICISM1 DISCUSS+ ! >TI/1 SAYS ?AT ! 
WORK IS NOT BAD1 BUT ALL ! SAME ! >TI/ IS NOT A ,DANTE1 
NOR A ,%AKESPE>1 NOR A ,GOE!1 NOR A ,RAPHAEL1 NOR :AT 
,BEE?OV5 WAS 9 HIS LA/ P]IOD4 ,& ! Y\NG >TI/ 
SETS TO WORK TO COPY ?OSE :O >E HELD UP = HIS IMITATION1 
& HE PRODUCES NOT ONLY FEEBLE WORKS1 BUT FALSE WORKS1 
C\NT]FEITS ( >T4 

,?US1 = 9/ANCE1 \R ,PU%K9 WRITES HIS %ORT POEMS1 
,EVG5IY ,ONEG91 ,! ,GYPSIES1 & HIS /ORIES--WORKS ALL 
V>Y+ 9 QUALITY1 BUT ALL TRUE >T4 ,BUT !N1 UND] ! 
9FLU5CE ( FALSE CRITICISM EXTOLL+ ,%AKESPE>1 HE WRITES 
,BORIS ,GODUN(F1 A COLD1 BRA9-SPUN WORK1 & ?IS PRODUCTION 
IS LAUD$ BY ! CRITICS1 SET UP AS A MODEL1 & IMITATIONS ( 
IT APPE>3 ,M99 BY ,O/ROVSKY1 & ,CZ> ,BORIS BY ,ALEXEE 
,TOL/OY1 & SU* IMITATIONS ( IMITATIONS AS CR[D ALL LIT]ATURES 
) 9SIGNIFICANT PRODUCTIONS4 ,! *IEF H>M DONE 
BY ! CRITICS IS ?IS1 ?AT !MSELVES LACK+ ! CAPACITY TO 
BE 9FECT$ BY >T 7& ?AT IS ! *>ACT]I/IC ( ALL 
CRITICS2 = DID !Y NOT LACK ?IS !Y C\LD NOT ATTEMPT 
! IMPOSSIBLE--! 9T]PRETATION ( WORKS ( >T71 !Y 
PAY MO/ ATT5TION TO1 & EULOGIZE1 BRA9-SPUN1 9V5T$ 
WORKS1 & SET !SE UP AS MODELS WOR?Y ( IMITATION4 
,?AT IS ! REASON !Y SO CONFID5TLY EXTOLL1 9 LIT]ATURE1 
! ,GREEK TRAG$IANS1 ,DANTE1 ,TASSO1 ,MILTON1 ,%AKESPE>1 
,GOE! 7ALMO/ ALL HE WROTE71 &1 AMONG REC5T WRIT]S1 
,ZOLA & ,IBS52 9 MUSIC1 ,BEE?OV5'S LA/ P]IOD1 & 
,WAGN]4 ,TO JU/IFY !IR PRAISE ( !SE BRA9-SPUN1 
9V5T$ WORKS1 !Y DEVISE 5TIRE !ORIES 7( :I* ! 
FAM\S !ORY ( BEAUTY IS ONE72 & NOT ONLY DULL BUT 
ALSO TAL5T$ PEOPLE COMPOSE WORKS 9 /RICT DEF]5CE TO 
!SE !ORIES2 & (T5 EV5 REAL >TI/S1 DO+ VIOL5CE TO 
!IR G5IUS1 SUBMIT TO !M4 

#a#b#b,EV]Y FALSE WORK EXTOLL$ BY ! CRITICS S]VES AS A 
DOOR ?R\< :I* ! HYPOCRITES ( >T AT ONCE 
CR[D 94 

,IT IS SOLELY DUE TO ! CRITICS1 :O 9 \R TIMES /ILL PRAISE 
RUDE1 SAVAGE1 &1 = US1 (T5 MEAN+LESS WORKS ( ! 
ANCI5T ,GREEKS3 ,SOPHOCLES1 ,EURIPIDES1 ,A,ES*YLUS1 & ESPECIALLY 
,>I/OPHANES2 OR1 ( MOD]N WRIT]S1 ,DANTE1 ,TASSO1 
,MILTON1 ,%AKESPE>2 9 PA9T+1 ALL ( ,RAPHAEL1 ALL ( 
,MI*AEL ,ANGELO1 9CLUD+ HIS ABSURD 0,LA/ ,JUDGM5T02 9 
MUSIC1 ! :OLE ( ,BA*1 & ! :OLE ( ,BEE?OV51 
9CLUD+ HIS LA/ P]IOD1--?ANKS ONLY TO !M1 HAVE ! 
,IBS5S1 ,MAET]L9CKS1 ,V]LA9ES1 ,MALL>MES1 ,PUVIS DE ,*AVANNES1 
,KL+]S1 ,BOCKL9S1 ,/UCKS1 ,S*NEID]S2 9 MUSIC1 
! ,WAGN]S1 ,LISZTS1 ,B]LIOZES1 ,BRAHMSES1 & ,RI*>D 
,/RAUSSES1 ETC41 & ALL ?AT IMM5SE MASS ( GOOD-=-NO?+ 
IMITATORS ( !SE IMITATORS1 BECOME POSSIBLE 9 
\R DAY4 

,AS A GOOD ILLU/RATION ( ! H>MFUL 9FLU5CE ( CRITICISM1 
TAKE ITS RELATION TO ,BEE?OV54 ,AMONG HIS 9NUM]ABLE 
HA/Y PRODUCTIONS WRITT5 TO ORD]1 !RE >E1 NOT)/&+ 
!IR >TIFICIALITY ( =M1 WORKS ( TRUE >T4 ,BUT HE 
GR[S DEAF1 CANNOT HE>1 & BEG9S TO WRITE 9V5T$1 
UNF9I%$ WORKS1 :I* >E CONSEQU5TLY (T5 MEAN+LESS 
& MUSICALLY UN9TELLIGIBLE4 ,I KN[ ?AT MUSICIANS CAN 
IMAG9E S\NDS VIVIDLY 5\<1 & CAN ALMO/ HE> :AT 
!Y READ1 BUT IMAG9>Y S\NDS CAN NEV] REPLACE REAL ONES1 
& EV]Y COMPOS] MU/ HE> HIS PRODUCTION 9 ORD] TO 
P]FECT IT4 ,BEE?OV51 H[EV]1 C\LD NOT HE>1 C\LD NOT 
P]FECT HIS WORK1 & CONSEQU5TLY PUBLI%$ PRODUCTIONS 
:I* >E >TI/IC RAV+S4 ,BUT CRITICISM1 HAV+ ONCE 
ACKN[L$G$ HIM TO BE A GREAT COMPOS]1 SEIZES ON JU/ 
!SE ABNORMAL WORKS ) SPECIAL GU/O1 & SE>*ES = 
EXTRAORD9>Y BEAUTIES 9 !M4 ,&1 TO JU/IFY ITS LAUDATIONS 
7P]V]T+ ! V]Y MEAN+ ( MUSICAL >T71 IT 
ATTRIBUT$ TO MUSIC ! PROP]TY ( DESCRIB+ :AT IT CANNOT 
#a#b#cDESCRIBE4 ,& IMITATORS APPE>--AN 9NUM]ABLE HO/ ( 
IMITATORS ( !SE ABNORMAL ATTEMPTS AT >TI/IC PRODUCTIONS 
:I* ,BEE?OV5 WROTE :5 HE WAS DEAF4 

,!N ,WAGN] APPE>S1 :O AT FIR/ 9 CRITICAL >TICLES 
PRAISES JU/ ,BEE?OV5'S LA/ P]IOD1 & CONNECTS ?IS MUSIC 
) ,S*OP5HAU]'S MY/ICAL !ORY ?AT MUSIC IS ! EXPRESSION 
( ,WILL--NOT ( SEP>ATE MANIFE/ATIONS ( WILL 
OBJECTIVIZ$ ON V>I\S PLANES1 BUT ( ITS V]Y ESS5CE--:I* 
IS 9 ITSELF AS ABSURD AS ?IS MUSIC ( ,BEE?OV54 
,& AFT]W>DS HE COMPOSES MUSIC ( HIS [N ON ?IS 
!ORY1 9 CONJUNCTION ) ANO!R /ILL MORE ]RONE\S 
SY/EM ( ! UNION ( ALL ! >TS4 ,AFT] ,WAGN] YET 
NEW IMITATORS APPE>1 DIV]G+ YET FUR!R FROM >T3 
,BRAHMS1 ,RI*>D ,/RAUSS1 & O!RS4 

,SU* >E ! RESULTS ( CRITICISM4 ,BUT ! ?IRD CONDITION 
( ! P]V]SION ( >T1 NAMELY1 >T S*OOLS1 IS ALMO/ MORE 
H>MFUL /ILL4 

,AS SOON AS >T BECAME1 NOT >T = ! :OLE PEOPLE BUT 
= A RI* CLASS1 IT BECAME A PR(ESSION2 AS SOON AS IT BECAME 
A PR(ESSION1 ME?ODS W]E DEVIS$ TO TEA* IT2 PEOPLE 
:O *OSE ?IS PR(ESSION ( >T BEGAN TO LE>N !SE 
ME?ODS1 & ?US PR(ESSIONAL S*OOLS SPRANG UP3 CLASSES 
( RHETORIC OR LIT]ATURE 9 ! PUBLIC S*OOLS1 ACADEMIES 
= PA9T+1 CONS]VATOIRES = MUSIC1 S*OOLS = DRAMATIC 
>T4 

,9 !SE S*OOLS >T IS TAU<T6 ,BUT >T IS ! TRANSMISSION 
TO O!RS ( A SPECIAL FEEL+ EXP]I5C$ BY ! >TI/4 
,H[ CAN ?IS BE TAU<T 9 S*OOLS8 

,NO S*OOL CAN EVOKE FEEL+ 9 A MAN1 & /ILL LESS CAN 
IT TEA* HIM H[ TO MANIFE/ IT 9 ! ONE P>TICUL> MANN] 
NATURAL TO HIM ALONE4 ,BUT ! ESS5CE ( >T LIES 9 !SE 
?+S4 

,! ONE ?+ !SE S*OOLS CAN TEA* IS H[ TO TRANSMIT 
FEEL+S EXP]I5C$ BY O!R >TI/S 9 ! WAY ?OSE O!R 
>TI/S TRANSMITT$ !M4 ,& ?IS IS JU/ :AT ! 
#a#b#dPR(ESSIONAL S*OOLS DO TEA*2 & SU* 9/RUCTION NOT ONLY 
DOES NOT ASSI/ ! SPREAD ( TRUE >T1 BUT1 ON ! CONTR>Y1 
BY DIFFUS+ C\NT]FEITS ( >T1 DOES MORE ?AN ANY?+ 
ELSE TO DEPRIVE PEOPLE ( ! CAPACITY TO UND]/& 
TRUE >T4 

,9 LIT]>Y >T PEOPLE >E TAU<T H[1 )\T HAV+ 
ANY?+ !Y WI% TO SAY1 TO WRITE A MANY-PAG$ COMPOSITION 
ON A !ME AB\T :I* !Y HAVE NEV] ?\<T1 
&1 MOREOV]1 TO WRITE IT SO ?AT IT %\LD RESEMBLE ! 
WORK ( AN AU?OR ADMITT$ TO BE CELEBRAT$4 ,?IS IS TAU<T 
9 S*OOLS4 

,9 PA9T+ ! *IEF TRA9+ CONSI/S 9 LE>N+ TO DRAW 
& PA9T FROM COPIES & MODELS1 ! NAK$ BODY *IEFLY 
7! V]Y ?+ ?AT IS NEV] SE51 & :I* A MAN 
OCCUPI$ ) REAL >T H>DLY EV] HAS TO DEPICT71 & TO 
DRAW & PA9T AS =M] MA/]S DREW & PA9T$4 ,! 
COMPOSITION ( PICTURES IS TAU<T BY GIV+ \T !MES SIMIL> 
TO ?OSE :I* HAVE BE5 TREAT$ BY =M] ACKN[L$G$ 
CELEBRITIES4 

,SO ALSO 9 DRAMATIC S*OOLS1 ! PUPILS >E TAU<T TO 
RECITE MONOLOGUES JU/ AS TRAG$IANS1 CONSID]$ CELEBRAT$1 
DECLAIM$ !M4 

,IT IS ! SAME 9 MUSIC4 ,! :OLE !ORY ( MUSIC IS 
NO?+ BUT A DISCONNECT$ REPETITION ( ?OSE ME?ODS 
:I* ! ACKN[L$G$8 MA/]S ( COMPOSITION MADE 
USE (4 

,I HAVE ELSE:]E QUOT$ ! PR(\ND REM>K ( ! 
,RUSSIAN >TI/ ,BRUL(F ON >T1 BUT ,I CANNOT H]E REFRA9 FROM 
REPEAT+ IT1 BECAUSE NO?+ BETT] ILLU/RATES :AT CAN 
& :AT CAN NOT BE TAU<T 9 ! S*OOLS4 ,ONCE :5 
CORRECT+ A PUPIL'S /UDY1 ,BRUL(F JU/ T\*$ IT 9 A FEW 
PLACES1 & ! POOR DEAD /UDY IMM$IATELY BECAME ANIMAT$4 
0,:Y1 Y\ ONLY T\*$ IT A WEE BIT1 & IT IS QUITE 
ANO!R ?+60 SAID ONE ( ! PUPILS4 0,>T BEG9S :]E 
! WEE BIT BEG9S10 REPLI$ ,BRUL(F1 9DICAT+ BY !SE 
#a#b#eWORDS JU/ :AT IS MO/ *>ACT]I/IC ( >T4 ,! REM>K 
IS TRUE ( ALL ! >TS1 BUT ITS JU/ICE IS P>TICUL>LY NOTICEABLE 
9 ! P]=MANCE ( MUSIC4 ,?AT MUSICAL EXECUTION %\LD 
BE >TI/IC1 %\LD BE >T1 I4E4 %\LD 9FECT1 ?REE *IEF CONDITIONS 
MU/ BE OBS]V$1--!RE >E MANY O!RS NE$$ = 
MUSICAL P]FECTION2 ! TRANSITION FROM ONE S\ND TO ANO!R 
MU/ BE 9T]RUPT$ OR CONT9U\S2 ! S\ND MU/ 9CREASE 
OR DIM9I% /EADILY2 IT MU/ BE BL5D$ ) ONE & NOT 
) ANO!R S\ND2 ! S\ND MU/ HAVE ?IS OR ?AT 
TIMBRE1 & MU* BESIDES1--BUT TAKE ! ?REE *IEF CONDITIONS3 
! PIT*1 ! TIME1 & ! /R5G? ( ! S\ND4 
,MUSICAL EXECUTION IS ONLY !N >T1 ONLY !N 9FECTS1 :5 
! S\ND IS NEI!R HI<] NOR L[] ?AN IT %\LD BE1 
?AT IS1 :5 EXACTLY ! 9F9ITELY SMALL C5T] ( ! 
REQUIR$ NOTE IS TAK52 :5 ?AT NOTE IS CONT9U$ EXACTLY 
AS LONG AS IS NE$$2 & :5 ! /R5G? ( ! S\ND 
IS NEI!R MORE NOR LESS ?AN IS REQUIR$4 ,! SLI<TE/ 
DEVIATION ( PIT* 9 EI!R DIRECTION1 ! SLI<TE/ 9CREASE 
OR DECREASE 9 TIME1 OR ! SLI<TE/ /R5G!N+ OR 
WEAK5+ ( ! S\ND BEYOND :AT IS NE$$1 DE/ROYS 
! P]FECTION &1 CONSEQU5TLY1 ! 9FECTI\SNESS ( 
! WORK4 ,SO ?AT ! FEEL+ ( 9FECTION BY ! >T ( 
MUSIC1 :I* SEEMS SO SIMPLE & SO EASILY OBTA9$1 IS 
A ?+ WE RECEIVE ONLY :5 ! P]=M] F9DS ?OSE 
9F9ITELY M9UTE DEGREES :I* >E NECESS>Y TO P]FECTION 
9 MUSIC4 ,IT IS ! SAME 9 ALL >TS3 A WEE BIT LI<T]1 
A WEE BIT D>K]1 A WEE BIT HI<]1 L[]1 TO ! RI<T OR 
! LEFT--9 PA9T+2 A WEE BIT WEAK] OR /RONG] 9 
9TONATION1 OR A WEE BIT SOON] OR LAT]--9 DRAMATIC >T2 
A WEE BIT OMITT$1 OV]-EMPHASIZ$1 OR EXAGG]AT$--9 
POETRY1 & !RE IS NO CONTAGION4 ,9FECTION IS ONLY 
OBTA9$ :5 AN >TI/ F9DS ?OSE 9F9ITELY M9UTE DEGREES 
( :I* A WORK ( >T CONSI/S1 & ONLY TO ! EXT5T TO 
:I* HE F9DS !M4 ,& IT IS QUITE IMPOSSIBLE TO TEA* 
PEOPLE BY EXT]NAL MEANS TO F9D !SE M9UTE DEGREES3 !Y 
#a#b#fCAN ONLY BE F\ND :5 A MAN YIELDS TO HIS FEEL+4 ,NO 
9/RUCTION CAN MAKE A DANC] CAT* JU/ ! TACT ( ! 
MUSIC1 OR A S+] OR A FIDDL] TAKE EXACTLY ! 9F9ITELY 
M9UTE C5T] ( HIS NOTE1 OR A SKET*] DRAW ( ALL POSSIBLE 
L9ES ! ONLY RI<T ONE1 OR A POET F9D ! ONLY MEET >RANGEM5T 
( ! ONLY SUITABLE WORDS4 ,ALL ?IS IS F\ND ONLY 
BY FEEL+4 ,& !RE=E S*OOLS MAY TEA* :AT IS NECESS>Y 
9 ORD] TO PRODUCE SOME?+ RESEMBL+ >T1 BUT NOT 
>T ITSELF4 

,! TEA*+ ( ! S*OOLS /OPS !RE :]E ! WEE 
BIT BEG9S--CONSEQU5TLY :]E >T BEG9S4 

,ACCU/OM+ PEOPLE TO SOME?+ RESEMBL+ >T1 DISACCU/OMS 
!M TO ! COMPREH5SION ( REAL >T4 ,& ?AT 
IS H[ IT COMES AB\T ?AT NONE >E MORE DULL TO >T ?AN 
?OSE :O HAVE PASS$ ?R\< ! PR(ESSIONAL S*OOLS & 
BE5 MO/ SUCCESSFUL 9 !M4 ,PR(ESSIONAL S*OOLS PRODUCE 
AN HYPOCRISY ( >T PRECISELY AK9 TO ?AT HYPOCRISY ( 
RELIGION :I* IS PRODUC$ BY !OLOGICAL COLLEGES = 
TRA9+ PRIE/S1 PA/ORS1 & RELIGI\S TEA*]S G5]ALLY4 
,AS IT IS IMPOSSIBLE 9 A S*OOL TO TRA9 A MAN SO AS TO 
MAKE A RELIGI\S TEA*] ( HIM1 SO IT IS IMPOSSIBLE TO TEA* 
A MAN H[ TO BECOME AN >TI/4 

,>T S*OOLS >E ?US D\BLY DE/RUCTIVE ( >T3 FIR/1 9 
?AT !Y DE/ROY ! CAPACITY TO PRODUCE REAL >T 9 ?OSE 
:O HAVE ! MIS=TUNE TO 5T] !M & GO ?R\< A 
#g OR #h YE>S' C\RSE2 SECONDLY1 9 ?AT !Y G5]ATE 
5ORM\S QUANTITIES ( ?AT C\NT]FEIT >T :I* P]V]TS 
! TA/E ( ! MASSES & OV]FL[S \R WORLD4 ,9 
ORD] ?AT BORN >TI/S MAY KN[ ! ME?ODS ( ! 
V>I\S >TS ELABORAT$ BY =M] >TI/S1 !RE %\LD 
EXI/ 9 ALL ELEM5T>Y S*OOLS SU* CLASSES = DRAW+ 
& MUSIC 7S++7 ?AT1 AFT] PASS+ ?R\< !M1 
EV]Y TAL5T$ S*OL> MAY1 BY US+ EXI/+ MODELS 
ACCESSIBLE TO ALL1 BE ABLE TO P]FECT HIMSELF 9 HIS >T 
9DEP5D5TLY4 

#a#b#g,!SE ?REE CONDITIONS--! PR(ESSIONALIZATION ( >TI/S1 
>T CRITICISM1 & >T S*OOLS--HAVE HAD ?IS EFFECT ?AT 
MO/ PEOPLE 9 \R TIMES >E QUITE UNABLE EV5 TO UND]/& 
:AT >T IS1 & ACCEPT AS >T ! GROSSE/ C\NT]FEITS 
( IT4 

,FROM 3 ,GUT5B]G4ORG4 

,*RONOLOGY 3 
,NOVEMB] #c1 #ahif 3 ,*APT] #ab -- ,PUBLICATION4 

 FILE G5]AT$ FROM 3  
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