Music, we have seen, originates in the spontaneous gestures and cries made by primitive man under the sway of emotion, imitated by observers, and arousing in them the same feelings. As intelligence dawns, men see that this triple process of spontaneous action, imitation and reduplicated feeling affords a basis for a language of emotion, a language that needs, however, to be somehow defined and articulated. Articulation gradually follows by means of the grouping in time which develops the gestures of active feeling into Dance, and the grouping in pitch which develops the utterances of contemplative feeling into Song. Eventually the two modes of grouping are combined, and music becomes an independent art. Meanwhile, the forms at first adopted for the sake of mere definition become the basis of a new and deeper delight, æsthetic beauty, which is sought for both as ancillary to expression and for itself alone. Finally, beauty of form reacts potently on eloquence of expression, and the most universal composers, recognizing the interdependence of the two elements, produce the highest type of pure music, music in which beauty is based upon expression and expression transfigured by beauty. IV The principles we now have before us, interesting as they are in themselves, must finally vindicate their worth by helping us to form sound opinions of musical tendencies and of individual composers; they must provide a corrective for the whims and freaks of prejudice, and a basis for that intelligent and systematic criticism which takes account both of a man's qualities and of his defects before assigning him his place in the general artistic movement. With them in mind, we should be able to avoid the current one-sided and partial views, and also to attain that positive insight into the nature of music which alone can give our opinions sanity, liberality and perspective.