and ONLY that? Or inversely does not this theory tend
to limit music to programs?--a limitation as bad for music itself--for
its wholesome progress,--as a diet of program music is bad for the
listener's ability to digest anything beyond the sensuous (or
physical-emotional). To a great extent this depends on what is meant by
emotion or on the assumption that the word as used above refers more to
the EXPRESSION, of, rather than to a meaning in a deeper sense--which
may be a feeling influenced by some experience perhaps of a spiritual
nature in the expression of which the intellect has some part. "The
nearer we get to the mere expression of emotion," says Professor Sturt
in his "Philosophy of Art and Personality," "as in the antics of boys
who have been promised a holiday, the further we get away from art."

On the other hand is not all music, program-music,--is not pure music,
so called, representative in its essence? Is it not program-music
raised to the nth power or rather reduced to the minus nth power? Where
is the line to be drawn between the expression of subjective and
objective emotion? It is easier to know what each is than when each
becomes what it is. The "Separateness of Art" theory--that art is not
life but a reflection of it--"that art is not vital to life but that
life is vital to it," does not help us. Nor does Thoreau who says not
that "life is art," but that "life is an art," which of course is a
different thing than the foregoing. Tolstoi is even more helpless to
himself and to us. For he eliminates further. From his definition of
art we may learn little more than that a kick in the back is a work of
art, and Beethoven's 9th Symphony is not. Experiences are passed on
from one man to another. Abel knew that. And now we know it. But where
is the bridge placed?--at the end of the road or only at the end of our
vision? Is it all a bridge?--or is there no bridge because there is no
gulf? Suppose that a composer writes a piece of music conscious that he
is inspired, say, by witnessing an act of great self-sacrifice--another
piece by the contemplation of a certain trait of nobility he perceives
in a friend's character--and another by the sight of a mountain lake
under moonlight. The first two, from an inspirational standpoint would
naturally seem to come under the subjective and the last under the
objective, yet the chances are, there is something of the quality of
both in all. There may have been in the first