The new steel organs of man have begotten their music in "Le Sacre du printemps." For with Strawinsky, the rhythms of machinery enter musical art. With this his magistral work a new chapter of music commences, the spiritualization of the new body of man is manifest. Through Debussy, music had liquified, become opalescent and impalpable and fluent. It had become, because of his sense, his generation's sense, of the infirmity of things, a sort of symbol of the eternal flux, the eternal momentariness. It had come to body forth all that merges and changes and disappears, to mirror the incessant departures and evanescences of life, to shape itself upon the infinitely subtle play of light, the restless, heaving, foaming surface of the sea, the impalpable racks of perfume, upon gusts of wind and fading sounds, upon all the ephemeral wonder of the world. But through Strawinsky, there has come to be a music stylistically well-nigh the reverse of that of the impressionists. Through him, music has become again cubical, lapidary, massive, mechanistic. Scintillation is gone out of it. The delicate, sinuous melodic line, the glamorous sheeny harmonies, are gone out of it. The elegance of Debussy, the golden sensuality, the quiet, classic touch, are flown. Instead, there are come to be great, weighty, metallic masses, molten piles and sheets of steel and iron, shining adamantine bulks. Contours are become grim, severe, angular. Melodies are sharp, rigid, asymmetrical. Chords are uncouth, square clusters of notes, stout and solid as the pillars that support roofs, heavy as the thuds of triphammers. Above all, there is rhythm, rhythm rectangular and sheer and emphatic, rhythm that lunges and beats and reiterates and dances with all the steely perfect tirelessness of the machine, shoots out and draws back, shoots upward and shoots down, with the inhuman motion of titanic arms of steel. Indeed, the change is as radical, as complete, as though in the midst of moonlit noble gardens a giant machine had arisen swiftly from the ground and inundated the night with electrical glare and set its metal thews and organs and joints relentlessly whirring, relentlessly functioning.