And so we shall see it also in music. That is beginning to show signs of the coming art—subtler harmonies, minuter distances between notes, tendencies to quarter-notes as well as half-notes, quarter-tones; and already there are one or two musicians who are beginning in their melodies to play with these subtler kinds of tones, making strange new music—music which the public ear is not yet accustomed to, which it challenges when it hears it, but which is the Music of the Future, when a vaster range of sound shall appeal to ears more finely organised than ours, and when the ears of a new race shall demand from its musicians greater delicacies of musical sound than have yet been mastered amongst us; and there is a new possibility there. That has been seized in India, although little put at present into music that the West would love. If you go to India you will find some strange rules of music there: there is music for the sunrising, and music for the high noon, and music for the evening hours, and music for the stillness of the night. Nature has her sounds in all the different times of her unfolding, from dawn to sunset, and sunset to dawn, and these finer notes are attuned to these mysteries of Nature, so that unheard melodies may be mirrored in the music of human instruments. The Indian musician would not play to you a melody of the dawn when the sun was setting; he would say it was against religion to do it, for to him all things are religious. It is a subtler harmony between man and Nature; and not without significance, again, was it that, at the Congress I have just spoken of, a Russian lady teacher—for the Russian is very sensitive, a young nation with possibilities of the future in it—brought to us what she called “coloured sounds.” She had learned to translate into musical sounds the colours of the sunset and the colours of a forest, so that in music she could play sounds that made arise in the mind the same emotions as would be aroused in the mind that looked at the glory of the clouds in the sunset, or that sat in the wood and saw the delicate shadings of the trees; the same emotions in the one case seen in Nature, in the other heard in music, and both changeable the one into the other, eye and ear, and ear and eye. Along those lines many new possibilities lie—new melodies, new delicacies, new exquisite harmonies in sound. So art will go forward here, with these keener, subtler organs, further even in one way than science along the line of observation, for art reaches out by emotion where science is only observing, and so the poet is very easily the prophet, and the artist very easily the seer; and as these powers increase and multiply, a new race arises in which the powers are inborn. Can you not dream some of the new possibilities in Religion, in Science, and in Art?