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 that, though a certain modicum of Realism, or Truth to Nature, is indispensable to the artistic status of Poetry, Painting, or Sculpture, Music can perfectly well do without it; also that such modicum of Realism—when present in Music—cannot be regarded as any true measure of her artistic status."

It may be regarded as a significant fact that the four composers whom I previously selected as types of the fairly successful musician-writer all resorted to this "modicum of realism" in their music. Every one of them was what is known as a literary composer. Every one of them wrote program music. Every one of them leaned on nature, books, and painting for his inspiration. Not only was Schumann's Carnaval and a great deal more of his piano music so inspired; at least two of his symphonies had a definite starting point somewhere outside music itself. Berlioz and Liszt are notorious cases. It is only necessary to recall the titles of Berlioz's symphonies, Fantastique, Romeo and Juliet, Harold in Italy, or of Liszt's tone-poems (a form which he invented), Les Préludes, Tasso, Mazeppa, etc., to realize that although music was the end to these men it was seldom the means. With Debussy