We are not inclined to deny that in structural beauty--in the symmetrical disposition and elaboration of musical themes--the symphony has the advantage. The words, which in the oratorio serve to give definite direction to the currents of emotion, may also sometimes hamper the free development of the pure musical conception, just as in psychical life the obtrusive entrance of ideas linked by association may hinder the full fruition of some emotional state. Nevertheless, in spite of this possible drawback, it may be doubted if the higher forms of polyphonic composition fall so very far short of the symphony in capability of giving full elaboration to the musical idea. The practical testimony of Beethoven, in his Ninth Symphony, is decidedly adverse to any such supposition. But to pursue this interesting question would carry us far beyond our limits. Whatever may be the decision as to the respective claims of vocal and instrumental music, we have every reason for welcoming the appearance, in our own country, of an original work in the highest form of vocal music. It is to be hoped that we shall often have the opportunity to "hear with our ears" this interesting work; for as a rule great musical compositions are peculiarly unfortunate among works of art, in being known at first hand by comparatively few persons. In this way is rendered possible that pretentious kind of dilettante criticism which is so common in musical matters, and which is often positively injurious, as substituting a factitious public opinion for one that is genuine. We hope that the favour with which the new oratorio has already been received will encourage the author to pursue the enviable career upon which he has entered. Even restricting ourselves to vocal music, there is still a broad field left open for original work. The secular cantata--attempted in recent times by Schumann, as well as by English composers of smaller calibre--is a very high form of vocal music; and if founded on an adequate libretto, dealing with some supremely grand or tragical situation, is capable of being carried to an unprecedented height of musical elaboration. Here is an opportunity for original achievement, of which it is to be hoped that some gifted and well-trained composer, like the author of "St. Peter," may find it worth while to avail himself. June, 1873. XIII. A PHILOSOPHY OF ART. [65] [65] The Philosophy of Art. By H. Taine. New York: Leypoldt & Holt. 1867. We are glad of a chance to introduce to our readers one of the works of a great writer. Though not yet [66] widely known in this country, M. Taine has obtained a very high reputation in Europe. He is still quite a young man, but is nevertheless the author of nineteen goodly volumes, witty, acute, and learned; and already he is often ranked with Renan, Littre, and Sainte-Beuve, the greatest living French writers. [66] That is, in 1868.