We have it from Ruskin that all fatal faults in art that might otherwise be good arise from one or other of three things: either from the pretence to feel what we do not; the indolence in exercise necessary to obtain the power of expressing the Truth; or the presumptuous insistence upon, or indulgence in, our own powers and delights, with no care or wish that they should be useful to other people, so only they should be admired by them. These three fatal faults must be avoided, or conquered, by the person who would interpret music. V How to Listen to Music Listening is an art. It requires close and accurate attention, sympathy, imagination and genuine culture. Listening to music is an art of high degree. Many derive exquisite enjoyment from it, for music is potent and universal in its appeal. To listen intelligently to music is an accomplishment few have acquired. A great painting presents itself as a completed whole before the observer's eye. It holds on the canvas the fixed place given it by the master from whose genius it proceeded. No intermediary force is needed to come between it and the impression it makes on the beholder. Music, on the contrary, must be aroused from the written, or printed page to living tone by the hand or voice of the interpreter, and but a fragment at a time can be made perceptible to the listener's ear. Like a panorama, it comes and goes before the imagination, its kaleidoscopic tints and forms now sharply contrasted, now almost imperceptibly graduated one into the other, but all shaping themselves into a logical union, stamped with the design of a creative mind. Properly to inspect the successive musical images, and grasp their significance, in parts and as a whole, demands keen mental alertness. Many are content to listen to music for the mere sensuous impression it creates as it wraps itself about the inner being, lulling a perturbed spirit to rest, or awakening longing and aspiration, joy and sadness, according to the nature of the music and the hearer's mood. Some even take pleasure in formulating into words the sensations evoked by the ebb and flow of the tonal waves, and fancy they are thus deriving intellectual profit from music.