at random hither and thither in pure wantonness.” Mr. Spingarn, in his exceptionally interesting, if somewhat overly indignant, treatise on “Creative Criticism,” provides, it seems to me, a particularly clear illustration of the manner in which the proponents of the more modern theories of criticism imprison themselves in the extravagance of their freedom. While liberating art from all the old rules of criticism, they simultaneously confine criticism with the new rules--or ghosts of rules--wherewith they free art. If each work of art is a unit, a thing in itself, as is commonly agreed, why should not each work of criticism be similarly a unit, a thing in itself? If art is, in each and every case, a matter of individual expression, why should not criticism, in each and every such case, be similarly and relevantly a matter of individual expression? In freeing art of definitions, has not criticism been too severely defined? I believe that it has been. I believe that there may be as many kinds of criticism as there are kinds of art. I believe that there may be sound analytical, sound emotional, sound cerebral, sound impressionistic, sound destructive, sound constructive, and other sound species of criticism. If art knows no rules, criticism knows no rules--or, at least, none save those that are obvious. If Brahms’ scherzo in E flat minor, op. 4, is an entity, a work in and of itself, why shouldn’t Huneker’s criticism of it be regarded as an entity, a work in and of itself? If there is in Huneker’s work inspiration from without, so, too, is there in Brahms’: if Brahms may be held a unit in this particular instance with no consideration of Chopin, why may not Huneker with no consideration of Brahms?