522 Mr. Henry Walford Davies [June 11, 



do no such thing as this, but aspires in other directions. So it 

 comes about that words tend to move us indirectly by the things 

 they are able to call up or suggest, while music tends to move us 

 not so much by association as by direct tonal energy. AVhile words 

 cultivate the expression of the infinitely minute, music as2)ires to 

 voice the plenitudes of the universe. 



But it should be carefully observed here that the two, while they 

 diverge and specialize, never entirely part company. The funda- 

 mental link between tones and words survives in the most highly 

 organized languages, and music in its turn cultivates a necessary 

 definiteness very like verbal definiteness. Tone is, and remains, a vital 

 part of verbal as of musical art, and probably every language preserves 

 a large leaven of true tonal significance in its strongest words. Think 

 of the hoot of the abusive appellation fool, or the hiss of ass, as the 

 schoolboy uses it ; think of the gentleness of the sound in the words 

 love, long, linger ; and, in passing, note the tonal effect of numberless 

 pictorial words, such as rusk, swish, kick, hullabaloo, and so forth. 

 Verbal expression from the first keeps its hold on words that are, 

 like mnsic, vitally expressive of the energies they present. And simi- 

 larly, though its divergent aptitudes lead music to specialize in direct 

 and vital expression, yet chords and melodies, like words and sentences, 

 also gather associated meanings as they are used : indeed, there exists 

 a strangely definite harmonic language, though still in embryo, and 

 though the constant tendency of music is away from definite signifi- 

 cances towards those that may be called infinite. In short, the two 

 arts preserve their likenesses while they develop difl'erences. These 

 differences may now be more thoroughly enumerated and tabulated. 



Table of Comparisons. — II. 



Divergence of Aptitude in Verbal and Musical Utterance. 



Verbal Utterance. Musical Utterance. 



1. Develops aptitude to express in- 1. Develops aptitude to express 



direct associated meanings. direct vital meanings. 



2. Primarily quickens the hearer by 2. Primarily quickens by its own 



what it suggests, and secondarily energy, and secondarily by sug- 



by its own sound. gestion. 



3. Is apt to become precise, particular, 3. Is apt to become vast, vague, gene- 



local, definite in its significances, ' ral, universal in its significances. 



4. Remains vague and wayward in its 4. Becomes clear, definite, highly or- 



inflections, rhythms!^ lights and j ganized in melody, harmony, 



shades, and colours. I rhythm, light and shade. 



5. Uses the device of repetition pri- 5. Uses repetition primarily for struc- 



marily for emotional and second- tural and secondarily for emo- 



arily for structural purposes. tional purposes. 



6. Tends to quicken thought by di- 6. Tends to augment energy rather 



versity of detail. than thought by diversity. 



7. Attains distinction in minuteness. 7. Attains distinction in magnitude. 



The attempt to make this table of comparisons complete has made 

 it too cumbersome to memorize, and too extensive to discuss in detail 

 here ; but out of it three main facts emerge which are sufficiently 



