But we may well ask whether the music of suggestion has not, in its restless anxiety to correlate itself with non-musical culture, reached or perhaps even overstepped the limits of musical possibility. It is no question of a composer's rights: he has a right to do anything he can, provided that he preserves a due proportion between essentials and unessentials. And judicious criticism will turn, if not a blind, at any rate a short-sighted eye towards a great composer's occasional realistic escapades, which, however irritating they may perhaps be to others, are to him only a part of the general background of his texture; after all, in their different media, Bach and most of the other giants have occasionally allowed themselves similar little flings. It is a question not of rights, but of powers. The poet and the painter and the novelist, not to mention all the non-human agents in the universe, are bound to do a good many things much better than the composer can; and even if he may personally aspire to be a kind of spectator of all time and existence, he has no means of making his listeners see eye to eye with himself. The risk he runs may be too great. Realizing as we must that all this ferment of suggestion-seeking has undoubtedly vivified and enriched musical development in not a few aspects, we may nevertheless feel, and feel profoundly, that there is a cardinal weakness inherent in it. A composer may so easily be tempted to forget that it is after all by his music, and by his music alone, that he stands or falls. If he asks too much extra-musical sympathy from the listener, he defeats his own end. The listener will inevitably concentrate on the unessentials, and will as likely as not get them quite wrong; he may indeed indulge the habit of realistic suspicion to such an extent as to make him become thoughtlessly unfair and credit the composer with sins of taste, whether babyish or pathological, of which the objurgated culprit may be altogether innocent. If a composer plays with fire, he is fairly sure to burn some one's fingers, even if he successfully avoids burning his own. And anyhow it is waste of time, and worse, for us to cudgel our brains to fits of entirely unnecessary inventiveness when the composer has left his music unlabelled. We sometimes hear of children being encouraged to give verbal or dramatic expression of their own to instrumental music; that is not education--very much the reverse. It is merely the expense of spirit in a waste of fancifulness, the wilful murder of all feeling for music as such.