y lack of will power and by the
incomplete subjection of body to mind. Unable to obtain physical
realization of its ideas, the brain amuses itself in forming images
without hope of realizing them, drops the real for the unreal, and
substitutes vain and vague speculation for the free and healthy union of
mind and body.

The first result of a thorough rhythmic training is that the pupil sees
clearly in himself what he really is, and obtains from his powers all
the advantage possible. This result seems to me one which should attract
the attention of all educationalists and assure to education by and for
rhythm an important place in general culture.

But, as an artist, I wish to add, that the second result of this
education ought to be to put the completely developed faculties of the
individual at the service of art and to give the latter the most subtle
and complete of interpreters--the human body. For the body can become a
marvellous instrument of beauty and harmony when it vibrates in tune
with artistic imagination and collaborates with creative thought. It is
not enough that, thanks to special exercises, students of music should
have corrected their faults and be no longer in danger of spoiling their
musical interpretations by their lack of physical skill and harmonious
movements; it is necessary in addition that the music which lives within
them--artists will understand me--should obtain free and complete
development, and that the rhythms which inspire their personality should
enter into intimate communion with those which animate the works to be
interpreted.

The education of the nervous system must be of such a nature that the
suggested rhythms of a work of art induce in the individual analogous
vibrations, produce a powerful reaction in him and change naturally into
rhythms of expression. In simpler language, the body must become capable
of responding to artistic rhythms and of realizing them quite naturally
without fear of exaggeration.

This faculty of emotion, indispensable to the artist, was formerly
natural to almost all beginners in music, for hardly any but
pre-destined artists devoted themselves to the art; but, if this is no
longer the case, it is possible at least to awaken dulled faculties, to
develop and co-ordinate them, and it is the duty of every musical
educationalist to deter from instrumental technique every individual who
is still without musical feeling.

The experimental study of rhythm sh