As a rule the instinctive discernment of humanity was so far just that it is far more easy to point to periods when human feeling predominated than to those when the organizing instinct predominated. This was natural because all artistic beings are, as far as the impulse is concerned, at the outset bent upon expressing feelings of some sort. Even those who have more aptitude for technical efficiency than mind are not actually aiming at producing supernaturally correct grammatical exercises. They are always much offended if such a thing is suggested. The unsophisticated lovers of music who have no technical knowledge to speak of are always concerned with the human side of it, they are moved by the sound, the color, the rhythm, the character of the melody, and, as far as they can get at it, by the idea the composer wants to express. It lies with the unsophisticated to maintain the claims of that side of art, as Wagner suggested when he said that he made his works for the not-musicians. The fully instructed are inevitably inclined to overestimate mere workmanship. The wonder that is inspired by supremely masterly organization impels experts to be carried away by their admiration of it; and, moreover, it is practicable to discuss that aspect of art fully and clearly, whereas language is not apt to discuss the meaning and spirit of musical art, for the obvious reason that it is the business of music to express things that are beyond the reach of words. And it is pathetic to think how many thousands of people who have musical insight, and are really moved and inspired by it, are, through their very conscientious desire to understand it, misled into supposing that organization and dexterous use of the methods of art are the things that are of highest importance. This has been the bane of the greater part of theoretic writing about art and is the thing which arouses rebellion in ardent and aspiring minds against the stress that is laid on principles of form and grammatical orthodoxies. To such dispositions it seems preposterous to devote so much attention to the organization and to take so little count of the thing organized; and their antagonism is indeed very serviceable. For, however ridiculous the results their ardor often produces, they do help to keep art alive and to prevent its being stifled by conventions. And they do maintain the necessary protest against the paralyzing theory that has at times been propounded, that art is merely a special manifestation of clever mechanical ingenuity. Coherent organization is indeed a necessary condition of art, but the thing organized is of the foremost importance. The idea comes first and the organization is secondary. Yet the one is futile without the other; the idea cannot be conveyed without the organization, but organization without something to organize is mere superfluity. The idea without organization is mere incoherence; mere organization without meaning is empty puzzle making.